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DTSTART;VALUE=DATE:20231208
DTEND;VALUE=DATE:20261207
DTSTAMP:20260507T044755
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
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DTSTART;TZID=America/New_York:20250307T110000
DTEND;TZID=America/New_York:20271231T180000
DTSTAMP:20260507T044755
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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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260417T100000
DTEND;TZID=America/New_York:20260613T180000
DTSTAMP:20260507T044755
CREATED:20260325T165140Z
LAST-MODIFIED:20260325T165140Z
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SUMMARY:Dalí: The Great Years\, 1929–1939
DESCRIPTION:Di Donna Galleries is pleased to present Dalí: The Great Years\, 1929–1939\, a major exhibition tracing the pivotal decade in which Dalí established both his mature artistic language and enduring public persona. It is the most significant presentation of Dalí’s work in New York since the Museum of Modern Art’s exhibition in 2008. \n  Save  
URL:https://artinamericaguide.com/event/dali-the-great-years-1929-1939/
LOCATION:Di Donna Galleries\, 744 Madison Avenue\, New York\, NY\, 10065\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Di Donna Galleries":MAILTO:info@didonna.com
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260417T100000
DTEND;TZID=America/New_York:20260613T180000
DTSTAMP:20260507T044755
CREATED:20260325T165312Z
LAST-MODIFIED:20260325T165312Z
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SUMMARY:Dalí: The Great Years\, 1929–1939
DESCRIPTION:Di Donna Galleries is pleased to present Dalí: The Great Years\, 1929–1939\, a major exhibition tracing the pivotal decade in which Dalí established both his mature artistic language and enduring public persona. It is the most significant presentation of Dalí’s work in New York since the Museum of Modern Art’s exhibition in 2008. The exhibition is on view from April 16 through June 13\, 2026 at Di Donna’s Madison Avenue gallery. \n  Save  
URL:https://artinamericaguide.com/event/dali-the-great-years-1929-1939-2/
LOCATION:New York
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260418
DTEND;VALUE=DATE:20260808
DTSTAMP:20260507T044755
CREATED:20260415T191117Z
LAST-MODIFIED:20260415T191117Z
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SUMMARY:Benny Andrews: Migrants
DESCRIPTION:Michael Rosenfeld Gallery is pleased to present Benny Andrews: Migrants\, the gallery’s fourth solo exhibition celebrating the work of Benny Andrews (1930–2006). Created between 2004 and 2006\, The Migrant Series is the artist’s last body of work created before his death in November 2006. In the series\, Andrews traced three historical migration routes that connected to his own Black\, White\, and Cherokee ancestry: the Great Migration of the 20th century\, in which millions of Black Americans moved from the South to the North\, the 1930s Dust Bowl exodus from the Great Plains that was driven by environmental and economic hardship\, and the 19th century forced migration of Native Americans in what has become known as the Trail of Tears. By shedding light on human resilience amidst the injustices of history\, the series exemplifies Andrews’ humanist approach as an artist who recognized the power of history and sought to leverage the past to inform the future. \nLearn more \n  Save  
URL:https://artinamericaguide.com/event/benny-andrews-migrants/
LOCATION:Michael Rosenfeld Gallery\, 100 11th Ave\, New York\, NY\, New York\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260430
DTEND;VALUE=DATE:20260608
DTSTAMP:20260507T044755
CREATED:20260417T194927Z
LAST-MODIFIED:20260417T195403Z
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SUMMARY:José-Ricardo Presman
DESCRIPTION:Amos Eno Gallery is pleased to present A Mountain Overlooking a Home by the Lake – The Creation of Time from the State of Duration\, a solo exhibition by artist José-Ricardo Presman. Presman was among the founding artists who established Amos Eno Gallery in 1974\, making this exhibition both a continuation of a decades-long relationship and a reflection on the evolving concerns of his practice. \nIn this new body of work\, Presman explores the relationship between perception\, time\, and scale — drawing connections between the intimate spaces of human awareness and the vastness of the cosmos. The exhibition unfolds as a contemplative installation of canvas panels layered with diluted acrylic pigments that reveal themselves slowly\, shifting as viewers spend time with the surface. \nPresman’s paintings resist immediate readability. Instead\, subtle tonal variations and restrained color fields emerge gradually\, inviting viewers into an extended act of looking. The works operate less as static images than as perceptual environments — spaces where attention itself becomes part of the experience. \nThe exhibition’s title references philosophical ideas about time and duration\, particularly the notion that reality is in constant flux. Presman approaches each exhibition as an opportunity to begin again\, deliberately avoiding stylistic repetition in order to reflect this sense of continual transformation. The resulting works encourage viewers to move beyond habitual ways of seeing and engage the work through sustained attention and imagination. \nThe exhibition also includes a related video component and a forthcoming live musical performance by composer Damien Olsen Berdichevsky\, extending Presman’s investigation of rhythm\, perception\, and time across multiple sensory registers. \nOver five decades after helping to found Amos Eno\, Presman’s latest exhibition reflects both the continuity of his philosophical inquiry and its ongoing evolution. \nThe gallery will celebrate the exhibition with an opening reception on Friday\, May 1\, from 6 to 8 p.m. Works and installation images will be available to view on Artsy. \nAbout the Artist \nJosé-Ricardo Presman was born and raised in Buenos Aires\, Argentina\, and received his MFA from Pratt Institute in Brooklyn\, NY. He is one of the co-founders of the Amos Eno Gallery in 1974\, and has exhibited in numerous solo shows at Amos Eno Gallery in New York and in various group shows throughout the US and Canada. A complete list of exhibitions is available in his CV upon request. \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 nonprofit space  is open Thursdays through Sundays from noon to 6 p.m. and run by a community of professional artists from New York City and across the country\, along with a part-time director. ​ \nThe 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. \nAmos Eno Gallery is also funded in part thanks to the generosity of the Joseph Roberts Foundation. \n  Save  
URL:https://artinamericaguide.com/event/jose-ricardo-presman/
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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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260430
DTEND;VALUE=DATE:20260608
DTSTAMP:20260507T044755
CREATED:20260417T194927Z
LAST-MODIFIED:20260417T194927Z
UID:116274-1777507200-1780876799@artinamericaguide.com
SUMMARY:"In Translation" Group Show
DESCRIPTION:In Translation brings together five artists whose works examine how inherited systems — linguistic\, biological\, algorithmic\, political\, and ritual — shape identity and belonging. Across drawing\, painting\, sculpture\, and collage\, the exhibition asks how forms are received and remade: to be patterned by forces larger than the self\, and to respond by constructing new visual languages. \nCurated by gallery director Ellen Sturm Niz\, the exhibition traces a shared tension between origin and invention — between what is given and what is built in response. Each artist engages a distinct system of transformation\, from cultural displacement and personal syntax to painterly fracture\, algorithmic logic\, and political interference. Translation emerges here not as loss\, but as a generative act — a process of absorbing disturbance and reconstituting it as meaning. \nAt a moment when identity is increasingly mediated by technology\, migration\, and political division\, the question of how meaning is constructed — and who constructs it — feels newly urgent. In Translation responds by foregrounding artists who do not simply receive these systems\, but actively reshape them. \nReception: Friday\, May 1\, from 6 to 8 p.m. \nArtists & Works in the Exhibition \nZoë Elena Moldenhauer \nZoë Elena Moldenhauer is a New York–based artist who received her BFA from the Maryland Institute College of Art (2019) and an MA from New York University (2022). She is the founder of The Aerogramme Center for Arts and Culture\, an online platform supporting artists and writers\, and maintains a studio at Brooklyn Art Cluster. \nSince 2017\, Moldenhauer has developed a personal alphabet rooted in her experience as a Guatemalan transracial adoptee — a tool for constructing identity in the absence of inherited language or culture. The system continues to evolve\, incorporating Nahuatl\, pictorial languages from the Nazca lines in Peru\, and cave paintings from Serra da Capivara in Brazil. Using linoleum block printing on fabric\, she builds layered surfaces with yarn\, buttons\, zippers\, and wax crayon\, forming what she describes as imaginary constellations — a language that is both invented and deeply researched. \n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nComposition 3  |  2025  |  Screenprint\, zipper\, wax crayon\, plastic bread tags on fabric  |  12 × 20 in.  |  $300 \nTwo panels of vivid red fabric\, joined at the center by a zipper\, bear bold black screenprinted forms — abstracted figures or glyphs — surrounded by Moldenhauer’s evolving visual syntax and arrow-like notations in yellow and purple wax crayon. Small found objects punctuate the surface: a red button\, orange and green plastic bread tags. The zipper seam running across the middle feels structurally apt: two things held together\, translatable into each other\, always capable of coming apart. \n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nComposition 1  |  2025  |  Yarn\, buttons\, plastic bread tags\, wax crayon\, screenprint on fabric  |  21 × 19.5 in.  |  $300 \nMade in Rio de Janeiro in response to Brazil’s Tropicália Movement\, Composition 1 works in a quieter register — a dark fabric ground against which Moldenhauer’s coded system floats alongside loosely applied black shapes and thin wax crayon marks. Buttons and bread tags act as punctuation. The work resists legibility by design\, asking to be felt before it is read. \nAllison Pottasch \nAllison Pottasch is a Brooklyn-based artist who collages\, draws\, and paints. Trained in Advertising at Pratt Institute and largely self-taught\, she works with clippings from magazines and historical mass media\, transforming them into what she describes as hieroglyphic characters. \nHer maximalist collages reassemble these fragments into dense visual systems that examine contemporary Americana — exploring sexuality and gender\, religion and mysticism\, and cultural and personal identity. Removed from their original context\, the images invite viewers to activate their own visual memory to construct meaning. \n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nRangoli  |  2025  |  Paper collage  |  11 × 17 in.  |  $1\,200 \nSet against a ground of layered\, torn black paper\, Pottasch’s collage unfolds along a strict bilateral axis — the symmetry of a mandala or altar. At its center\, a dense horizontal band of fragments — crowns\, leopards\, religious iconography\, botanical forms\, and unmistakably American consumer imagery — is assembled into a form of unexpected ceremony. The traditional Indian rangoli\, typically made as an offering of welcome\, is here reconstructed from the detritus of print culture. The logic of accumulation becomes ceremonial\, transforming disposable imagery into a structure of attention and care. \nOlga Rudenko \nOlga Rudenko is a Ukrainian-born artist based in New York City\, trained in stone and wood carving and holding a Master’s degree in the history of philosophy. Working across sculpture\, textiles\, painting\, and digital language\, she examines how human identity is reshaped by ideology and technology. \nHer project AI_Augmented_Iconography merges Orthodox religious imagery — halos\, gold leaf\, frontal stillness — with algorithmic code\, emojis\, and scientific notation. Rooted in lived experience of cultural and personal transformation\, the work considers how technological systems alter perception\, relationships\, and the body. Slow processes like embroidery act in deliberate opposition to digital speed\, while the recurring child figure underscores the fragility of human life. \n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<!–edited–> #3   |  2024  |  Silicone dolls\, cotton\, embroidery\, sequins\, ink\, mirrors  |  34 × 20 × 18 in.  |  $10\,000 \nA cluster of soft\, stuffed figures — childlike in form\, unsettling in implication — hangs suspended against overlapping black mirror discs. Every surface is covered in embroidered and inked genetic notation: CRISPR\, mRNA\, scissor symbols\, DNA base-pair letters. The body becomes a readable document — legible to an algorithm. Where Orthodox iconography once marked the body as sacred\, here it is rendered as code. The work asks what individuality means when reproduction is systematized and the script of life is written elsewhere. \nSasha Skulinets \nSasha Skulinets is a Ukrainian-born painter and filmmaker based in New York. Working across painting and narrative film\, she examines perception and the construction of point of view. \nHer paintings\, made primarily with acrylic on canvas and wood\, evolve through layering\, pouring\, and erasure\, emphasizing surface\, duration\, and the physical negotiation of form. The surface records what has been added\, removed\, and reworked\, locating meaning in the accumulation of time and process\, where images are continually translated through material change. \n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWhile the World Decays  |  2025  |  Acrylic on canvas  |  36 × 48 × 1.5 in.  |  $1\,600 \nA dark vertical stroke bisects the canvas\, splitting a bruised\, atmospheric field of lavender\, blue\, teal\, ochre\, and red into near-mirror halves. Layers of erasure and reapplication remain visible in the surrounding surface. Here\, translation emerges through paint itself — the unified image fracturing under pressure into something less resolved\, more contingent. The palette carries the weight of the title: these are not colors of resolution. \nChristopher Squier \nChristopher Squier is a New York–based visual artist who holds an MFA in Sculpture from the San Francisco Art Institute. Working across drawing\, writing\, and installation\, he explores optics and the role of light in contemporary visual culture\, framing vision as both historically shaped and politically contested. \nHis Disturbances series draws on a mid-century physics experiment visualizing light as wave interference\, using these patterns as a framework for understanding how perception is shaped by overlapping political and social forces\, including sound\, architecture\, and embodied experience. \n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nDisturbances No. 22 (Troubadours)  |  2025  |  Colored pencil on Bristol vellum  |  17 × 11 in.  |  Framed  | $1\,500 \nMade following a trip to Guanajuato\, Mexico\, this drawing layers delicate Gothic-inspired ironwork — drawn from the city’s balconies — over a central interference pattern of concentric white rings radiating across a soft blue and lavender field. Diagonal lines cut through the composition like wave trajectories; a prismatic triangle glows with spectral color; a botanical sprig curls near the surface. Here\, interference becomes grounded in lived conditions — sound moving through streets\, bodies gathering in public space\, presence insisting on itself. \n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nDisturbances No. 19 |  2023  |  Colored pencil on Bristol vellum  |  17 × 11 in.  |  Framed  |  $1\,500 \nPart of the same series\, this drawing extends Squier’s investigation of interference into the realm of sound. Inspired by time spent in Milan\, the work connects the vibration of light to sonic experience — footsteps echoing in humid air\, architectural acoustics\, and the internal mechanics of hearing itself. The composition draws from specific sites\, including the ear-shaped intercom of Casa Sola Busca and the staircase of Villa Necchi\, while staging a dialogue between interior and exterior space\, and between visual and sensory perception. \nTessellation (The Lighthouse\, Unfolded) | 2026 | Colored pencil on Bristol vellum | 19 × 24 in. | Unframed | $2\,200 \nA larger\, in-progress work\, Tessellation (The Lighthouse\, Unfolded) expands Squier’s interest in optical systems through the geometry of a deconstructed Fresnel lens translating its structure into a dense\, flattened field with a hypnotic\, tessellated structure. \nAbout The Project Space at Amos Eno \nIn Translation is on view at The Project Space\, Amos Eno’s experimental exhibition space in the cellar\, from April 30 through June 7\, 2026. \nThe gallery is open from 12 p.m. – 6 p.m. Thursdays through Sundays. Please note there is a steep staircase to access this area. \n\n\n\n\n\n  Save  
URL:https://artinamericaguide.com/event/in-translation-group-show/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20260514
DTEND;VALUE=DATE:20260621
DTSTAMP:20260507T044755
CREATED:20260506T181008Z
LAST-MODIFIED:20260506T181008Z
UID:116386-1778716800-1781999999@artinamericaguide.com
SUMMARY:Charles Ritchie: Drawings from a Room
DESCRIPTION:Kathryn Markel Fine Arts in collaboration with BravinLee Programs is pleased to announce Drawings from a Room\, an exhibition of new works on paper by Charles Ritchie. This will be his first solo exhibition with the gallery and a reception will be held on May 21st\, 6-8pm. \n\nCharles Ritchie’s intimate watercolor and ink drawings are the result of sustained attention to his immediate surroundings: details of his neighbors’ homes and yards\, and vignettes of his lived-in rooms. For more than forty years\, his suburban Maryland neighborhood has been his muse\, though light remains his essential subject. \n\n\nMany of these drawings take shape over the course of many years. Ritchie explains\,”My inspirations come in a flash and I hope to convey that initial excitement. When I begin to work\, I am often dependent on the ephemeral: a slant of light\, a certain season\, a subject in a temporary state. When the state passes\, I often put the work aside until it reappears. However\, by the time the drawing is finished\, the site may be vastly different than when I started; trees have come down\, houses have new additions\, etc. The exhibited work is an abstracted accumulation of many different experiences and events.” \n\nRitchie’s drawings move beyond what a camera can offer. His respect for detail is patient and precise. The ordinariness of the everyday becomes suffused with tenderness. Vast amounts of information is contained in these small works\, and their intimate scale invites the viewer to look closely\, to explore the details of spaces familiar and transformed. It is Ritchie’s careful attention\, and then our own\, that transforms the ordinary into something of wonder. \n\nCharles Ritchie has exhibited his watercolor and ink drawings in public and private galleries throughout the United States and Asia.  His works are in such prestigious collections as the Baltimore Museum of Art\, The Metropolitan Museum of Art\, the Boston Public Library\, the Philadelphia Museum of Art\, the New York Public Library\, and the Yale University Art Gallery.  The work is in many private collections such as the Cartin Collection and the Louis-Dreyfus Collection. https://vimeo.com/1004168821 \n  Save  
URL:https://artinamericaguide.com/event/charles-ritchie-drawings-from-a-room/
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
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260521
DTEND;VALUE=DATE:20260628
DTSTAMP:20260507T044755
CREATED:20260506T181008Z
LAST-MODIFIED:20260506T181008Z
UID:116390-1779321600-1782604799@artinamericaguide.com
SUMMARY:Mary Didoardo: Short Story
DESCRIPTION:Kathryn Markel Fine Arts is pleased to announce an upcoming exhibition of new paintings by Mary Didoardo titled Short Story.  This is her third solo exhibition with the gallery. A reception for the artist will be held on May 21st from 6-8pm. \n\nMary Didoardo builds her oil paintings on panel in accumulated layers\, then excavates them. After several painted passages\, she covers the surface with packaging tape and carries a gestural\, looping\, and often continuous line across it. The line is not a single passage but is often wiped away and redrawn until the gesture “feels right.” Only then is it cut\, slowly and deliberately\, as she follows that path with an X-Acto knife\, lifting the tape and removing the line from the surface.  The resulting channel is painted\, the surface covered again\, and the process repeated. When all of the tape is finally removed\, flakes of paint lift with it\, revealing earlier colors sealed beneath and exposing the full history of the painting. As the artist notes\, “ This process integrates and embeds the line and keeps it from being simply a design element. It draws the space. The many stages are visible and are there for the viewer to read. Consistent in most of these paintings is the underlying evidence of previous stages of “failed paintings” rising to the surface through layers built up\, scraped down\, enriching the final version.”In the resulting compositions\, fields of bold color are activated by generous\, looping lines that hover between control and release. The lines read as instinctive\, but are in fact adjusted\, erased\, and painstakingly cut into place. The work meanders at the edge of chaos\, then settles into balance. That tension between intuition and labor\, gesture and incision\, is held in the physical presence of the surface. \n\nMary Didoardo lives and works in Long Island City. She received her BFA in Art Education from Pratt Institute where she studied Sculpture and Painting. Her work has been exhibited extensively in New York\, including at the Strohl Art Gallery at Chautauqua Institution\, White Columns\, the C.G Jung Foundation\, and the Painting Center. She is a recipient of the Enrico Donati Foundation Grant and a resident at the Millay Colony. \n  Save  
URL:https://artinamericaguide.com/event/mary-didoardo-short-story/
LOCATION:529 W 20th St. 6W\, 529 W 20th St. 6W\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Kathryn Markel Fine Arts":MAILTO:markel@markelfinearts.com
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260521
DTEND;VALUE=DATE:20260628
DTSTAMP:20260507T044755
CREATED:20260506T181008Z
LAST-MODIFIED:20260506T181008Z
UID:116394-1779321600-1782604799@artinamericaguide.com
SUMMARY:D. Jack Solomon
DESCRIPTION:Kathryn Markel Fine Arts is pleased to announce an upcoming exhibition of paintings by D. Jack Solomon titled  ALL IN GOOD TIME.  This is his first solo exhibition with the gallery and a reception will be held on May 21st from 6-8pm. \nSolomon’s newest paintings are complex\, richly colored geometric abstractions with a debt to Kandinsky and the Bauhaus. His traditional constructive sensibility is infused with personality and wit. Lines and circles create rhythm and movement\, while arbitrary geometric forms such as checkered spheres\, striped ovals\, and architectural fragments  float in and out of the canvas\, creating visual depth without illusionistic space. Many of these forms seem to develop personalities\, conversing across the canvas in a geometric language all their own. \nD. Jack Solomon has shown at numerous galleries nationally and internationally including Rolf Nelson Gallery\, LA; Jefferson Place Gallery\, Washington DC; James Yu Gallery\, NYC; Pam Adler Galleries\, NYC; and at Gallerie Taksu\, KL\, Malaysia. He has also exhibited widely in the Upstate New York and Berkshire regions including at John Davis Gallery\, Hudson NY; AD-D Gallery\, Hudson NY; and Carrie Haddad Gallery\, Hudson\, NY; ThompsonGiroux\, Chatham\, NY; Carrie Chen Gallery\, Great Barrington\, MA; The Albany Center Galleries\, Albany\, NY; 68 Prince Street\, Kingston NY; and Lockwood Gallery\, Kingston NY. Solomon is the recipient of the National Endowment for the Arts Individual Artist grant and the Pollock Krasner Foundation Grant for painting. He received his MA in painting from San Francisco State University. At 92 years of age Solomon is working in the studio most days. He resides in Hudson NY with his wife\, painter\, Jeanette Fintz. \n  Save  
URL:https://artinamericaguide.com/event/d-jack-solomon/
LOCATION:529 W 20th St. 6W\, 529 W 20th St. 6W\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Kathryn Markel Fine Arts":MAILTO:markel@markelfinearts.com
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260604T180000
DTEND;TZID=America/New_York:20260718T180000
DTSTAMP:20260507T044755
CREATED:20260506T181158Z
LAST-MODIFIED:20260506T181158Z
UID:116408-1780596000-1784397600@artinamericaguide.com
SUMMARY:Entangled
DESCRIPTION:Winston Wächter Fine Art is pleased to present Entangled\, an exhibition featuring works by Carolina Ponte\, Dinorá Justice and Livia Mourao. In this group exhibition\, the artists have come together to present a kaleidoscopic perspective of the ways in which the natural systems that we live in are enmeshed.  \nCarolina Ponte works in a variety of mediums\, including painting\, watercolor\, ceramics\, and crochet. Her work is centered on the idea of ornamentation embedded in everyday life and the enduring presence of traditional handcraft practices. Fascinated by the transformation of materials\, Ponte uses yarn and clay\, transforming them into installations and sculptures that pull each material out of their everyday context\, placing them prominently in the realm of fine art. As a result\, the works suggest a sense of uncontrolled growth\, with accumulations of color and pattern that\, at first\, may appear unreadable. However\, upon closer inspection\, the viewer may begin to recognize references drawn from natural forms. \nWorking with acrylic on canvas\, Livia Mourao builds her paintings through densely layered application of color. Rather than recreating a specific place in each piece\, her goal is to evoke a sense of it—something more intuitive than descriptive. Blending imagined and remembered landscapes\, her paintings suggest fragments of forests\, though not entirely real ones\, enmeshing environments\, human experience\, and sensory impressions—each shaping and influencing the other rather than existing in isolation. These paintings are inspired by places including Rio de Janeiro\, Florianopolis and Parati\, and reflect how natural systems are deeply interconnected\, not just ecologically but through memory\, place\, and perception. \nDinorá Justice’s paintings emerge from a base layer of hand-marbled designs in organic patterns reminiscent of foliage\, veins\, and cellular structures. Figures and landscape intermingle\, outlined by textiles and plants\, in a visual language that embraces the entanglements of natural systems. Drawing from art historical references\, Justice explores the works of male artists to create connections with contemporary issues. For the works included in Entangled\, Justice was influenced by a recent residency in Vienna studying Gustav Klimt’s work. The artist finds parallels between Klimt’s decorative\, organic style and her own\, transformed into a vision of nature not as something to control or idealize but as a dynamic\, interwoven force central to our histories\, identities\, and shared future. \nIn Entangled\, Ponte\, Mourao and Justice unite to reflect on the ways in which tradition\, materiality and art history inform our presence in the world. Through different techniques and influences\, each artist transforms materials\, landscapes and figures\, emphasizing the fluidity of the human experience\, natural systems\, and how we are\, inevitably\, entangled. \n  Save  
URL:https://artinamericaguide.com/event/entangled/
LOCATION:Winston Wächter Fine Art\, 530 W 25th St\, New York\, New York\, 10001
CATEGORIES:Exhibition
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ORGANIZER;CN="Winston Wachter Fine Art":MAILTO:nygallery@winstonwachter.com
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