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BEGIN:VEVENT
DTSTART;VALUE=DATE:20231208
DTEND;VALUE=DATE:20261207
DTSTAMP:20260403T151329
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:20250307T110000
DTEND;TZID=America/New_York:20271231T180000
DTSTAMP:20260403T151329
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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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20250919T100000
DTEND;TZID=America/Denver:20260510T170000
DTSTAMP:20260403T151329
CREATED:20250123T201026Z
LAST-MODIFIED:20250123T201026Z
UID:111745-1758276000-1778432400@artinamericaguide.com
SUMMARY:“Tell Clyfford I Said ‘Hi’”: An Exhibition Curated by Children of the Colville Confederated Tribes
DESCRIPTION:“Tell Clyfford I Said ‘Hi’”: An Exhibition Curated by Children of the Colville Confederated Tribes is a collaborative exhibition co-curated with youth from the Colville Confederated Tribes in Washington State\, on view from September 19\, 2025–May 10\, 2026\, at the Clyfford Still Museum. It highlights the perspectives of Colville children on Clyfford Still’s depictions of their ancestors and their home\, as well as his abstract works. Installed in all nine of the Museum’s galleries\, this exhibition investigates six themes identified by our co-curators: Family & Culture\, Connection\, Storytelling\, Wilderness\, Love\, and Paint & Color. \nClyfford Still Museum’s curatorial and education staff worked with young children (ages three years to fourteen years old) and teachers from partner schools and childcare centers on the Colville Confederated Tribes Reservation on every level of the exhibition\, including artwork selection and arrangement\, object interpretation and gallery text\, and interactive space. \nThis exhibition continues CSM’s efforts to foster engagement with its collections by sharing authority on Still’s work with the Museum’s critical communities and is an occasion to bridge various gaps—physical\, cultural\, metaphorical—that exist between Indigenous communities and the traditional art museum space. \nBackground and Development \nWhile working as an instructor at the Washington State College Fine Arts Department\, Clyfford Still assisted in founding a summer art colony for WSC community members and became one of its first instructors in the summers of 1937 and 1938. Instructors held classes in Nespelem on the Colville Reservation and Toppenish on the Yakama Indian Reservation in Washington. The Clyfford Still Museum collections include three paintings on canvas\, over 85 drawings and sketches on paper\, nearly 20 documentary photographs\, and other archival ephemera documenting Still’s time in the area. These objects reveal how Still’s experiences with the Colville community profoundly impacted his work for years. \nWhile culturally distinct and diverse\, the twelve bands of the Confederated Tribes of the Colville Reservation—Chelan\, Chief Joseph Band of Nez Perce\, Colville\, Entiat\, Lakes\, Methow\, Moses-Columbia\, Nespelem\, Okanogan\, Palus\, San Poil\, and Wenatchi—share cultural practices and 1.4 million acres of land. Though CSM has focused past exhibitions and programs on Still’s work from Nespelem since 2013\, this exhibition seeks to extend and deepen CSM’s relationship with the Colville Tribal community. \nCo-curated with children in the Colville Confederated Tribes in northeastern Washington\, this exhibition explores Clyfford Still’s work through the perspectives of children\, some of whom are direct descendants of individuals Still portrayed in his art. “Tell Clyfford I Said ‘Hi’” centers young Indigenous voices by engaging them to collaboratively develop an exhibition that builds upon previous evaluation\, research\, and CSM exhibitions. \n  Save  
URL:https://artinamericaguide.com/event/tell-clyfford-i-said-hi-an-exhibition-curated-by-children-of-the-colville-confederated-tribes/
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:20260207
DTEND;VALUE=DATE:20260405
DTSTAMP:20260403T151329
CREATED:20260205T191930Z
LAST-MODIFIED:20260210T223853Z
UID:115812-1770422400-1775347199@artinamericaguide.com
SUMMARY:Beauford Delaney: The Light Contained in Every Thing
DESCRIPTION:The gallery’s fourth solo presentation featuring the work of celebrated American artist Beauford Delaney (1901–1979)\, Beauford Delaney: The Light Contained in Every Thing includes abstract paintings and works on paper created between 1954 and 1968. Taking its title from the introduction to Delaney’s 1964 solo exhibition at Galerie Lambert in Paris written by his close friend and famed author James Baldwin (1924–1987)\, this exhibition illuminates Delaney’s unmatched ability to imbue his compositions with a radiance that resonates on a visual\, psychological\, and spiritual level. \nLearn more \n  Save  
URL:https://artinamericaguide.com/event/beauford-delaney-the-light-contained-in-every-thing/
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;VALUE=DATE:20260207
DTEND;VALUE=DATE:20260405
DTSTAMP:20260403T151329
CREATED:20260205T191953Z
LAST-MODIFIED:20260210T223810Z
UID:115808-1770422400-1775347199@artinamericaguide.com
SUMMARY:William T. Williams: Word of Eye
DESCRIPTION:William T. Williams: Word of Eye is the debut presentation for a new series of paintings by William T. Williams (b.1942). The gallery’s fourth solo exhibition of the artist’s work\, the show includes eleven paintings created between 2024 and 2025. Imbued with a sense of monumentality that is expressed through their beauty\, compositional complexity\, and perceptual impact\, Williams states: “I wanted to make a body of work that demanded and would require a person looking and looking for a sustained amount of time. It’s not a 30 second pass\, its stopping\, looking\, inquiring\, and allowing the painting and the viewer to become one in the same.” \nLearn more \n  Save  
URL:https://artinamericaguide.com/event/william-t-williams-word-of-eye/
LOCATION:Michael Rosenfeld Gallery\, 100 11th Ave\, New York\, NY\, New York\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
GEO:40.7460874;-74.0076191
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260207T110000
DTEND;TZID=America/Los_Angeles:20260517T170000
DTSTAMP:20260403T151329
CREATED:20260109T153801Z
LAST-MODIFIED:20260109T153801Z
UID:115662-1770462000-1779037200@artinamericaguide.com
SUMMARY:Wallflowers
DESCRIPTION:Wallflowers is a dialogue across time centered on one of art history’s most underestimated genres: the floral still life. Bringing together eleven paintings from the Frye’s collection with newly commissioned wallpaper designs from eleven contemporary artists\, the exhibition explores how artists from the nineteenth century to the present have turned to floral imagery as fertile ground for experimentation and reinvention. \nThe floral still life genre has proven remarkably durable\, capable of holding centuries’ worth of ideas about beauty\, impermanence\, social class\, and the shifting relationship between art and craft. Today\, contemporary artists continue to redeploy the floral as both image and symbol: an unassuming bouquet is actually neither quaint nor static\, but full of cultural memory\, and a site for subversive social critique. \nStructured to mimic the delights of navigating a cultivated garden\, Wallflowers oscillates between discrete paintings and immersive patterns\, between contemplation and exuberance. The selected works tell a broader story of industrialization\, design\, and modernism’s ongoing flirtation with the decorative\, and celebrate the ability of artists to invest familiar forms with fresh meaning. \n  Save  
URL:https://artinamericaguide.com/event/wallflowers/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/01/John-Marshall-Gamble_Chrysanthemums.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260226
DTEND;VALUE=DATE:20260413
DTSTAMP:20260403T151329
CREATED:20260226T210131Z
LAST-MODIFIED:20260226T210131Z
UID:116008-1772064000-1776038399@artinamericaguide.com
SUMMARY:Robert The: Book Work
DESCRIPTION:Artist Robert The creates sculptural works in which books are transformed with subversive wit and scrupulous invention. Often working with remaindered volumes that were part of large-scale mass-market editions\, the artist transfigures these objects through singular gestures such as through-slicing words and cutting out new iconic forms. Always uniquely appropriate to his source material\, the artist’s interventions have included turning a bible into a grenade and a Malevich monograph into a Kalashnikov. \nFor History of Art\, 2017\, The modifies a copy of H.W. Janson’s ubiquitous art history doorstopper by slicing ‘bristles’ into its leaved edge and affixing a broom handle to its spine. This remarkable sculptural hybrid could be designed for sweeping away the remnants of a dated art history—or reminding us of the alternate histories swept under the carpet by Janson’s grand narrative. \nWith The Illustrated Story of “O”\, 2005\, the artist highlights the violence at the core of the notorious “erotic” novel\, cutting a nested handgun through the book. As with all his work\, The’s disruptive gesture manages to hold the original book and its new form in an urgent\, engaging open conversation with one another. \nIn Philosophical Investigations\, 2017\, the artist cuts the word THIS all the way through a copy of Wittgenstein’s opus\, suggesting both an analog for indexical meaning\, as well as a counter to linguistic relativity through a gesture toward presentness. \nView the exhibition online here. \nWhile the precision of Robert The’s work suggests the use of die or laser-cut processes\, the works are in fact all directly cut by the artist. Playfully referring to his work as “precision vandalism”\, The prefers to avoid marks of the hand-crafted and high-end: his book works instead foreground the laser-like sharpness of their creator’s inventiveness. \n  \nRobert The studied philosophy and mathematics at the University of Wisconsin\, Madison\, and design at the Institute of Lettering and Design in Chicago. His work has been included in exhibitions at Yale University Art Gallery\, New Haven\, CT; the Bonner Kunstverein\, Bonn\, Germany; Momenta Art\, Brooklyn NY; Walker Art Center\, Minneapolis\, MN; Samuel Dorsky Museum of Art\, SUNY\, New Paltz\, NY; Center for Book Arts\, New York\, NY; and Parsons School of Design\, New York\, NY. The artist’s work can be found in the permanent collections of Los Angeles Museum of Contemporary Art\, Los Angeles\, CA; The Museum of Modern Art Artist Book Collection\, New York\, NY; New York Public Library\, Print Collection\, New York\, NY; Walker Art Center Library\, Minneapolis\, MN; Yale University Library\, Arts of the Book Collection\, New Haven\, CT; and Banff Centre Library\, Banff\, Alberta\, Canada\, among many others. \n  Save  
URL:https://artinamericaguide.com/event/robert-the-book-work/
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;VALUE=DATE:20260226
DTEND;VALUE=DATE:20260413
DTSTAMP:20260403T151330
CREATED:20260304T164457Z
LAST-MODIFIED:20260304T164457Z
UID:116020-1772064000-1776038399@artinamericaguide.com
SUMMARY:Robert The: Book Work
DESCRIPTION:Artist Robert The creates sculptural works in which books are transformed with subversive wit and scrupulous invention. Often working with remaindered volumes that were part of large-scale mass-market editions\, the artist transfigures these objects through singular gestures such as through-slicing words and cutting out new iconic forms. Always uniquely appropriate to his source material\, the artist’s interventions have included turning a bible into a grenade and a Malevich monograph into a Kalashnikov. \n  \nFor History of Art\, 2017\, The modifies a copy of H.W. Janson’s ubiquitous art history doorstopper by slicing ‘bristles’ into its leaved edge and affixing a broom handle to its spine. This remarkable sculptural hybrid could be designed for sweeping away the remnants of a dated art history—or reminding us of the alternate histories swept under the carpet by Janson’s grand narrative. \n  \nWith The Illustrated Story of “O”\, 2005\, the artist highlights the violence at the core of the notorious “erotic” novel\, cutting a nested handgun through the book. As with all his work\, The’s disruptive gesture manages to hold the original book and its new form in an urgent\, engaging open conversation with one another. \n  \nIn Philosophical Investigations\, 2017\, the artist cuts the word THIS all the way through a copy of Wittgenstein’s opus\, suggesting both an analog for indexical meaning\, as well as a counter to linguistic relativity through a gesture toward presentness. \n  \nWhile the precision of Robert The’s work suggests the use of die or laser-cut processes\, the works are in fact all directly cut by the artist. Playfully referring to his work as “precision vandalism”\, The prefers to avoid marks of the hand-crafted and high-end: his book works instead foreground the laser-like sharpness of their creator’s inventiveness. \n  \nView the exhibition online here>. \n  \nRobert The studied philosophy and mathematics at the University of Wisconsin\, Madison\, and design at the Institute of Lettering and Design in Chicago. His work has been included in exhibitions at Yale University Art Gallery\, New Haven\, CT; the Bonner Kunstverein\, Bonn\, Germany; Momenta Art\, Brooklyn NY; Walker Art Center\, Minneapolis\, MN; Samuel Dorsky Museum of Art\, SUNY\, New Paltz\, NY; Center for Book Arts\, New York\, NY; and Parsons School of Design\, New York\, NY. The artist’s work can be found in the permanent collections of Los Angeles Museum of Contemporary Art\, Los Angeles\, CA; The Museum of Modern Art Artist Book Collection\, New York\, NY; New York Public Library\, Print Collection\, New York\, NY; Walker Art Center Library\, Minneapolis\, MN; Yale University Library\, Arts of the Book Collection\, New Haven\, CT; and Banff Centre Library\, Banff\, Alberta\, Canada\, among many others. \n  Save  
URL:https://artinamericaguide.com/event/robert-the-book-work-3/
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;VALUE=DATE:20260305
DTEND;VALUE=DATE:20260522
DTSTAMP:20260403T151330
CREATED:20260226T200253Z
LAST-MODIFIED:20260310T180350Z
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SUMMARY:Unseen Layers
DESCRIPTION:“The most beautiful emotion we can experience is the mysterious. \nIt is the fundamental emotion that stands at the cradle of all true art and science.” \nAlbert Einstein \nfrom a 1931 essay\, included later in Ideas and Opinions and quoted by Eleanor Heartney in Unseen Layers catalogue. \n  \nRonald Feldman Gallery presents a series of new science-inspired paintings by Edwin Schlossberg\, marking his fifteenth solo exhibition with the gallery.  Compelled by his study of visual realms newly observed by scientists using innovative techniques and cutting-edge technology\, the works expound upon a broad range of subjects: biological and cosmic processes\, cellular emergence\, organic composition\, neural phenomenon\, and many others – all united by their alive-ness.  The artist approaches life’s activities from an expansive perspective\, where art\, science and humanity fundamentally interconnect\, and opportunities for crosspollination and renewal continually exist. \n  \nNotably\, Schlossberg considers each work a type of portrait\, with titles such as Portrait of Cells Dividing\, Portrait of Mouse Brain\, and Portrait of the Sun Shining.  At once corporeal and spiritual\, the paintings are made of luminous\, metallic colors with daubed or web-like compositions; the multiple paint layers applied to highly-reflective backgrounds portray structural\, life-supporting (or potentially life-threatening) entities. \nSchlossberg’s Making Visible will be played in the gallery’s street window.  The visionary\, 26:38 minute\, black and white video was commissioned by the Dilexi Foundation for public television in 1969.  The experimental work\, narrated by the artist and Buckminster Fuller\, is an essayistic exploration of the vast potential for electronic communication\, and embodies the promise of technology facilitating human interaction and understanding. \nThe exhibition is accompanied by a catalogue featuring contributors invited by Edwin Schlossberg and Lara Pan. The publication includes texts and reflections by John Alexander\, Céline Fribourg\, Steven Heller\, Eleanor Heartney\, Brett Littman\, Debbie Millman\, George Musser\, Lara Pan\, Rose Schlossberg\, Sasha Stiles\, Sacha Wade\, and Kevin Wade\, edited by Lara Pan. \n  \nEdwin Schlossberg has been represented by Ronald Feldman Gallery since 1978.  For over five decades\, he has worked across conventional and unconventional media to create visual and poetic worlds that bridge language\, image and perception.  His work has been exhibited widely in the United States and internationally and is included in major public and private collections\, including the Art Institute of Chicago\, the Solomon R. Guggenheim Museum\, the Metropolitan Museum of Art\, and the Museum of Modern Art.  In 2004\, he received the National Arts Club Medal of Honor\, and in 2011 he was appointed by President Barack Obama to the U.S. Commission of Fine Arts. \n  \nGallery hours are Tuesday through Thursday and Saturday\, 1-5pm (closed Saturday March 7th and April 4th) \nFor press and image inquiries\, contact Cat Zhou at (212) 226-3232 or catherine@feldmangallery.com \nReception: Thursday\, March 5\, 6-8pm\nPanel Discussion: Saturday March 28\, 5pm with Edwin Schlossberg\, Eleanor Heartney\, and George Musser\, moderated by Lara Pan \n  Save  
URL:https://artinamericaguide.com/event/unseen-layers/
LOCATION:Ronald Feldman Gallery\, 31 Mercer Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/Schlossberg-Portrait-of-Mouse-Brain-2023.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260319
DTEND;VALUE=DATE:20260427
DTSTAMP:20260403T151330
CREATED:20260304T164457Z
LAST-MODIFIED:20260304T164457Z
UID:116034-1773878400-1777247999@artinamericaguide.com
SUMMARY:Nishiki Sugawara-Beda: Scale and Tonality
DESCRIPTION:Amos Eno Gallery\, a non-profit\, artist-run gallery\, is pleased to present Scale and Tonality\, a solo exhibition by artist Nishiki Sugawara-Beda\, featuring the new series of work\, KuroKuroShiro+. The exhibition will be on view from March 19 to April 26\, 2026\, with an opening reception on Friday\, March 20\, from 6 to 8 p.m. at the gallery at 191 Henry St. on New York’s Lower East Side. \nLive music by the renowned duo Shoko Nagai and Satoshi Takeishi\, inspired by Sugawara-Beda’s paintings\, will be performed on Thursday\, April 9 at 6 p.m.\, followed by an art discussion moderated by Kyoko Sato\, a New York-based curator and Editor-in-Chief and Publisher of Japan Contemporaries. A closing reception is also scheduled on Saturday\, April 25\, from 2 to 5pm. Works and installation images are available to view via Artsy. \nFor many years\, Sugawara-Beda researched and used Sumi ink in her works—a material traditionally used in East Asia for writing and drawing\, made from soot and animal glue. She has made her own Sumi by collecting organic materials to burn into soot from various locations across the world. The resulting paintings\, a series called KuroKuroShiro\, act as a stage for the fusing together of this traditional Japanese craft and matter sourced from specific places that she has been drawn to over the course of her life. \nFor Scale and Tonality\, she is debuting a brand-new body of work\, KuroKuroShiro+\, which she began in early 2024 with the invitation to artistically respond to Palo Duro Canyon in west Texas\, the second largest canyon in the U.S. Multiple visits to the canyon allowed her to touch\, feel\, and extract materials from the canyon system and create this series of work that incorporated the materials from Texas. In addition\, she collaborated with a New York-based composer\, pianist\, and accordionist\, Shoko Nagai\, who created two pieces of music after visiting the canyon with Sugawara-Beda. Springboarded from this experience\, Scale and Tonality explores how the titular themes intersect in both the visual and aural realms. Ultimately\, this exhibition explores the relationship between scales and tonalities across music and painting through the materials she has harvested and collected from her current home state\, Texas\, and her native country\, Japan. \nAmos Eno Gallery’s new\, narrow gallery space in Manhattan inspired Sugawara-Beda to envision this exhibition with a large-scale painting\, KuroKuroShiro+ Scale and Tonality\, consisting of 6 panels as the center piece and aiming to occupy the majority of the viewer’s field of vision. The viewer’s visual experience will be accompanied by music that guides them and highlights the notions of scale and tonality\, both physically in the space and visually in the painting. Sugawara-Beda notes that “tonality becomes a guide for the viewer to navigate the painting; in the music\, the tonal shifts will help navigate the painting—the observation of tonality is really to create a more meaningful\, engaged experience with the painting itself.” Through the monumentality of the painting\, as well as the recording of Nagai’s music that will play throughout the gallery\, Sugawara-Beda hopes to guide the viewer into new emotional depths of reflection. \nFor the live music event on April 9\, the layers of interpretations can be witnessed through this performance which is the ultimate culmination of the collaboration between the musician and the artist. For this project\, Sugawara-Beda said “this synthesis began when I interpreted the music by Nagai and the land to produce a series of work. Then in this live music event\, Nagai will interpret my large painting which was the result of my exploration of the relationship between the visual and aural\, specifically her music”. Therefore\, this event will be the cycle of interpretation through a multi-sensory experience both for the viewers and herself. \nScale and Tonality welcomes the viewers to be immersed both physically with a large-scale painting and aurally with the sound of Nagai’s music\, bringing Texas and Japan to New York City. \nAbout the Artist \nNishiki Sugawara-Beda is a Japan-born\, Japanese-American visual artist. Through her art\, she seeks to find the core of shared humanity\, connecting across space and time. To do this\, she centers traditional artistic methods from multiple cultures and foregrounds the origins of materials in her artworks. \nShe holds an MFA in Painting from Indiana University in Bloomington\, Indiana\, exhibits her work in solo and group exhibitions\, and lectures nationwide and abroad. Her works are in private and public collections including the Dallas Museum of Art (TX) and the Dennos Museum (MI). Currently\, she is an Associate Professor and Cox Family Endowed Professor of Painting and Drawing at Southern Methodist University in Dallas\, Texas. \nAbout Amos Eno Gallery \nAmos Eno Gallery has been a fixture in the New York art scene since 1974 when it opened in Soho. The gallery is open Thursdays through Sundays from noon to 6 p.m. and is run by a small community of professional artists\, both from New York City and across the country\, and a part-time director. ​ \nAmos Eno Gallery’s programs are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature. \nAmos Eno Gallery is also partially funded thanks to the generosity of the Joseph Roberts Foundation. \n  Save  
URL:https://artinamericaguide.com/event/nishiki-sugawara-beda-scale-and-tonality/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Amos Eno Gallery":MAILTO:amosenogallery@gmail.com
GEO:40.7057864;-73.9331373
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