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DTSTART;TZID=America/Halifax:20220521T100000
DTEND;TZID=America/Halifax:20230521T170000
DTSTAMP:20260403T151206
CREATED:20220404T171850Z
LAST-MODIFIED:20220404T171850Z
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SUMMARY:Creative! Growth!
DESCRIPTION:Creative! Growth! will be the first exhibition to consider the history of Creative Growth Art Center in Oakland\, California. \nFounded in 1974 by artist Florence Ludins-Katz (1912–1990) and her psychologist husband Elias Katz (1913–2008)\, Creative Growth emerged from the larger social\, cultural\, and political narratives associated with the Bay Area in the late 1960s and early 1970s—including the women’s\, gay\, and civil rights movements. The arts and disabilities movement\, which championed the civil rights of disabled persons and fought against their marginalization in arts and culture\, flourished during this era. The Katzes were among that movement’s most farsighted and committed advocates. \nCreative! Growth! is curated by Matthew Higgs and will consider the organization’s history and legacy through the lens of the present. Now approaching its fiftieth anniversary\, Creative Growth is the preeminent center for artists with disabilities in the United States\, and has\, in turn\, become a model for similar centers nationally and internationally. At Creative Growth\, the Katzes established a unique and fiercely independent environment where disabled individuals are empowered to explore their creativity at their own pace. \nThe staff at Creative Growth\, almost exclusively practicing artists\, are not teachers in any conventional sense\, as no formal instruction takes place. Rather\, the staff members work alongside the artists with disabilities\, introducing them to new materials and processes\, offering practical and technical assistance where necessary\, and supporting their idiosyncratic approaches to self-expression. \nCreative! Growth! will consider the organization’s history and legacy through the lens of the present. There are a number of discrete solo presentations by key artists who were—or remain—affiliated with Creative Growth\, including Judith Scott (1943–2005)\, Dwight Mackintosh (1906–1999)\, William Scott\, Dan Miller\, Monica Valentine\, Tony Pedemonte\, Nicole Storm\, and John Martin. Photographer and documentary filmmaker Cheryl Dunn will present a selection from her twenty-plus-year archives documenting the artists at Creative Growth. \nhttps://www.jmkac.org/exhibition/creative-growth/ \nImage: Creative Growth studio interior. Courtesy of Creative Growth. Photo: Ben Blackwell. \nTuesday\, Wednesday\, Friday 10 a.m. to 5 p.m.\nThursday 10 a.m. to 8 p.m. extended hours\nSaturday and Sunday 10 a.m. to 4 p.m. \n  Save  
URL:https://artinamericaguide.com/event/creative-growth/
LOCATION:John Michael Kohler Arts Center\, 608 New York Avenue\, Sheboygan\, WI\, 53081\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220722T110000
DTEND;TZID=America/New_York:20240804T180000
DTSTAMP:20260403T151206
CREATED:20220622T153511Z
LAST-MODIFIED:20240229T212126Z
UID:94138-1658487600-1722794400@artinamericaguide.com
SUMMARY:Evergreen: Art from the Collection
DESCRIPTION:Evergreen: Art from the Collection celebrates SJMA’s collection as both a gift to and a product of its community. This dedicated gallery space\, which provides long-term access to the Museum’s collection\, honors the community members who rallied together to establish the Museum; the artists who trust us to care for their visions; the generous donors who helped to build the collection; the generations of students who have visited; the volunteers and staff who have contributed; and the breadth of community experiences that give ongoing meaning to the works. \nLocated in the Museum’s historic building—formerly the city’s post office and library—Evergreen highlights the Museum’s growing collection and the numerous San José stories it tells. The gallery features such works as rafa esparza’s Yosi con Abuela (2021)\, a recently acquired portrait on adobe of the East San José poet and activist Yosimar Reyes with his grandmother. Also on view are Resident Alien (1988) by Hung Liu\, the beloved Bay Area artist and longtime friend of SJMA\, and Louise Nevelson’s monumental Sky Cathedral (1957–58)\, a centerpiece of the Museum’s collection. The gallery also includes access points to the free digital collection catalog 50×50: Stories of Visionary Artists from the Collection\, which highlights the stories and impact of artists in the Museum’s collection. \n  Save  
URL:https://artinamericaguide.com/event/evergreen-art-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/Halifax:20220919T103000
DTEND;TZID=America/Halifax:20230702T170000
DTSTAMP:20260403T151206
CREATED:20220922T113428Z
LAST-MODIFIED:20220922T113428Z
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SUMMARY:Melanie A. Yazzie: Recent works
DESCRIPTION:Melanie Yazzie works a wide range of media that include printmaking\, painting\, sculpting\, and ceramics\, as well as installation art. Her art is accessible to the public on many levels and the main focus is on connecting with people and educating people about the contemporary status of one indigenous woman and hoping that people can learn from her experience. Her subject matter is significant because the serious undertones reference native post-colonial dilemmas. Her work often brings images of women from many indigenous cultures to the forefront. Thus her work references matrilineal systems and points to the possibility of female leadership. “There are many layers to the works and within the story\, many discover that our history is varied and deep. It is made clear that there are many indigenous peoples in the world and we all have different stories and it sometimes has a sad connection to mainstream society. Often misunderstood and overlooked are the ways in which we can all learn from each other and make a better world.” She has been represented by Glenn Green Galleries since 1993. \n  Save  
URL:https://artinamericaguide.com/event/melanie-a-yazzie-recent-works/
LOCATION:Glenn Green Galleries + Sculpture Garden\, 136 Tesuque Village Road\, Santa Fe (Tesuque)\, 87506\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Glenn Green Galleries + Sculpture Garden":MAILTO:info@glenngreengalleries.com
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20221014T100000
DTEND;TZID=America/Halifax:20230531T180000
DTSTAMP:20260403T151206
CREATED:20221111T202525Z
LAST-MODIFIED:20221111T202525Z
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SUMMARY:In the Realm of the Senses: Selected Paintings of Victoria Lowe
DESCRIPTION:Consistent though this body of work is a concern with energy in its many forms and the viewer’s deep emotional response to color. The paintings have their origin in the artist’s childhood experience of stargazing with a telescope\, and the feeling of sublime connectedness to things beyond the physical environment and conscious comprehension. The desire to relive that feeling inspires her to create these painted atmospheres. They are free of narrative or subject matter\, and like poetry offer the viewer a door through which they may enter to experience the depth of their own imagination. \n  Save  
URL:https://artinamericaguide.com/event/in-the-realm-of-the-senses-selected-paintings-of-victoria-lowe/
LOCATION:Steam Gallery at Sacred Heart University’s Discovery Science Center & Planetarium\, 4450 Park Avenue\, Bridgeport\, Connecticut\, 06604
CATEGORIES:Exhibition
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ORGANIZER;CN="Katharine T. Carter &amp%3B Associates":MAILTO:ktc@ktcassoc.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20221104T110000
DTEND;TZID=America/Halifax:20230709T180000
DTSTAMP:20260403T151206
CREATED:20220928T173425Z
LAST-MODIFIED:20220928T173425Z
UID:99160-1667559600-1688925600@artinamericaguide.com
SUMMARY:A Point Stretched: Views on Time
DESCRIPTION:A Point Stretched: Views on Time presents artworks that stretch\, warp\, and compact the viewer’s sense of time. By highlighting works that endeavor to conceive of time in unusual\, mutable\, and unfixed ways\, the exhibition challenges the histories we tell and the expectations we hold for the future. From Chitra Ganesh’s work blending truth and fantasy to depict the full range of a woman’s life to Maia Cruz Palileo’s kaleidoscopic representation of Filipino history and Ala Ebtekar’s epic print-based work inspired by the moon\, artists in the exhibition propose timelines without hierarchies of past\, present\, and future. \nMemories\, dreams\, and reality blend in these galleries\, as mold creeps across TV screens\, apple orchards grow among discarded solar panels\, and melting wax measures time. Generational\, ecological\, and cosmic time vibrate concurrently as long-ago ecologies and distant possible futures intertwine. Embracing scales of time from the microbiological to the interstellar\, these artworks position our human existence within broader timescales to challenge our assumptions about human history\, agency\, and possibility in relation to the world—and universe—around us. Drawing from the Museum’s permanent collection and beyond\, the exhibition also includes works by Diana Al-Hadid\, Harold Edgerton\, David Huffman\, Kahlil Robert Irving\, Ranu Mukherjee\, Patrick Nagatani\, Sam Richardson\, and Gail Wight\, among others. \n  Save  
URL:https://artinamericaguide.com/event/a-point-stretched-views-on-time/
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/Halifax:20221104T110000
DTEND;TZID=America/Halifax:20230709T180000
DTSTAMP:20260403T151206
CREATED:20221103T194011Z
LAST-MODIFIED:20230612T205936Z
UID:100238-1667559600-1688925600@artinamericaguide.com
SUMMARY:Sky Hopinka: Seeing and Seen
DESCRIPTION:The artworks of Sky Hopinka\, a member of the Ho-Chunk Nation and a descendant of the Pechanga Band of Luiseño Indians\, traverse the legacies of colonial oppression and Native resistance through meditations on the continuities between past and present. A new film by Hopinka was commissioned as part of Visualizing Abolition\, an art initiative of the Institute of the Arts and Sciences at University of California\, Santa Cruz and San José Museum of Art. \n  Save  
URL:https://artinamericaguide.com/event/sky-hopinka-seeing-and-seen/
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;VALUE=DATE:20230128
DTEND;VALUE=DATE:20231002
DTSTAMP:20260403T151206
CREATED:20230123T193027Z
LAST-MODIFIED:20230123T193027Z
UID:101496-1674864000-1696204799@artinamericaguide.com
SUMMARY:Andrea Chung: if they put an iron circle around your neck I will bite it away
DESCRIPTION:In a new multiroom installation\, artist Andrea Chung confronts the legacy and trauma of slavery from the perspective of an Afrofuturist utopia. \nFor this work\, Chung activates the possibility of a new world\, a “Black Atlantis” called Drexciya\, to subvert the horrors of the transatlantic slave trade. Drexciya is an underwater world populated by the amphibious offspring of women thrown from slave ships during the Middle Passage. It was conceived by the eponymous and enigmatic electronic music duo active in Detroit in the 1990s and early 2000s. \nChung’s installation is a meditation on the laws of Black physics. It highlights the ways Black people relate and respond to time and space in order to navigate a world full of dangerous and harmful systems. Within her evocation of this watery realm we can inhabit imagined pasts\, presents\, and futures to craft alternative realities forged by liberation\, adaptation\, resilience\, defiance\, and survival. \nImage: Andrea Chung\, Filthy Water Cannot Be Washed\, 2017; cyanotype and watercolor; 88 x 240 in. Courtesy of the artist. \n  Save  
URL:https://artinamericaguide.com/event/andrea-chung-if-they-put-an-iron-circle-around-your-neck-i-will-bite-it-away/
LOCATION:John Michael Kohler Arts Center\, 608 New York Avenue\, Sheboygan\, WI\, 53081\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230131T110000
DTEND;TZID=America/New_York:20230728T170000
DTSTAMP:20260403T151206
CREATED:20230110T165222Z
LAST-MODIFIED:20230110T165222Z
UID:101392-1675162800-1690563600@artinamericaguide.com
SUMMARY:When We All Stand
DESCRIPTION:The exhibition\, When We All Stand\, focuses on the collective power of the arts to address complex issues in society and demonstrates the ability of art and artists to chart a path for social change.  Artists often lead the charge and expose truths that may otherwise be ignored. The artists in this exhibition take a stand and call out injustices through their art and activism on issues such as immigration\, gender\, reproductive rights\, mass incarceration\, voting rights\, racial bias\, gun violence and promises unfulfilled. They take action by creating national campaigns for justice\, organizing public art protests\, connecting with their local community\, or joining forces with national organizations. Some make demands on government\, politicians\, policies\, or institutions while others make demands on society and individuals to join them in the fight for justice; still others focus on cultural development as a process that cultivates democracy and unity. They all combine the making of art with public service that has a grassroots approach in the hope of mobilizing their communities and the nation to ignite movement\, create awareness\, and inspire others to stand with them.  Artists included in the exhibition are Emma Amos\, Molly Crabapple and the Equal Justice Initiative\, For Freedoms\, Miguel Luciano\, Michele Pred\, Hank Willis Thomas\, and Sophia Victor. \nThe Hofstra University Museum of Art’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. \nAdmission is free. \nGallery Hours: \nEmily Lowe Gallery\nBehind Emily Lowe Hall\, South Campus \nTuesday-Friday\, 11 a.m.-4 p.m. • Saturday and Sunday\, noon-4 p.m. \n  Save  
URL:https://artinamericaguide.com/event/when-we-all-stand/
LOCATION:Emily Lowe Gallery at Hofstra University\, 112 Hofstra University\, Hempstead\, NY\, 11549\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Hofstra University Museum of Art":MAILTO:museum@hofstra.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230202
DTEND;VALUE=DATE:20230523
DTSTAMP:20260403T151206
CREATED:20221118T195037Z
LAST-MODIFIED:20221118T195037Z
UID:100526-1675296000-1684799999@artinamericaguide.com
SUMMARY:The Art of Food
DESCRIPTION:Featuring more than 100 works in a variety of media from the renowned collections of Jordan D. Schnitzer and His Family Foundation\, The Art of Food showcases how some of the most prominent artists of the twentieth and twenty-first centuries have considered this universal subject. Organized thematically\, this exhibition uses an artistic lens to examine food beyond its purpose as body fuel. \nIn its most prosaic sense\, food is a physical necessity for survival\, yet its overall significance transcends beyond mere sustenance. Food is integral to our communities\, relationships\, cultures and languages. People interact with food on varying levels. Some of us grow it; more of us buy it. We transform it by cutting\, cooking and dressing it with spices\, marinades and garnishes. We use food as an intermediary to connect with others through holiday meals\, business lunches\, dates and more. We fight over food. We deny food to others as a tool of suppression and cultural erasure. We fear for our health\, feeding a growing global population and the effects of climate change on food production. \n\n\nThrough the works of artists such as Enrique Chagoya\, Damien Hirst\, Hung Liu\, Analia Saban\, Lorna Simpson and Andy Warhol\, it becomes clear why food is a recurring subject in art\, ever since the spark of human creativity was ignited thousands of years ago. \n\n  Save  
URL:https://artinamericaguide.com/event/the-art-of-food-3/
LOCATION:Oklahoma Contemporary Arts Center\, 11 NW 11th Street\, Oklahoma City\, OK\, 73103\, United States
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230211
DTEND;VALUE=DATE:20230701
DTSTAMP:20260403T151206
CREATED:20221118T195037Z
LAST-MODIFIED:20230208T161324Z
UID:100528-1676073600-1688169599@artinamericaguide.com
SUMMARY:Storywork: The Prints of Marie Watt
DESCRIPTION:Marie Watt (Seneca\, b. 1967) is one of the country’s most celebrated contemporary artists whose work draws on personal experience\, indigenous traditions\, proto-feminism\, mythology and art history. Drawing on the collections of Jordan D. Schnitzer and His Family Foundation and the University of San Diego\, Marie Watt Prints will present a mid-career retrospective of Watt’s work as a printmaker\, accompanied by a fully illustrated catalogue. \nOver the course of her career\, residencies at the Crow’s Shadow Institute of the Arts\, the Sitka Center for Art and Ecology\, and the Tamarind Institute have afforded Watt the opportunity to collaborate with master printers in producing ambitious print series. Whether working in lithography\, woodcut\, or etching\, the medium of print has served for Watt as a laboratory for large-scale pieces and concepts. In each of her prints Watt demonstrates a tactile appreciation for the particular qualities of wood\, copper\, or stone\, aiming to achieve in her words a “familiarity and intimacy” with the material that adds a layer of thematic resonance to her work. \n\nImage: Marie Watt\, Skywalker/Skyscraper\n2022\, reclaimed blankets\, reclaimed cedar\, steel I-beam.\n100 x 30 x 30 inches.\nCollection of the Jordan Schnitzer Family Foundation.\nPhoto: Kevin McConnell. \n\n  Save  
URL:https://artinamericaguide.com/event/storywork-the-prints-of-marie-watt-2/
LOCATION:Johnson Museum of Art – Cornell University\, 114 Central Ave\, Ithaca\, NY\, 14853\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230211T100000
DTEND;TZID=America/Halifax:20230707T170000
DTSTAMP:20260403T151206
CREATED:20230302T190315Z
LAST-MODIFIED:20230302T190315Z
UID:102027-1676109600-1688749200@artinamericaguide.com
SUMMARY:Otis Houston Jr.: My Name is My Word (in response to Jesse Howard)
DESCRIPTION:Otis Houston Jr. (born 1954) is best known for his public performances and installation work on FDR Drive by New York’s East River\, where he has been working since 1997. His site-specific installations and performances include writing\, poetry\, singing\, found objects\, and fruit\, which are used as both props and materials. A series of spray-painted towels and canvases succinctly express Houston’s beliefs and protests. His work often addresses racism\, poverty\, and addiction\, while promoting messages of health\, love\, and self-acceptance. \n  \nClose to a half century prior\, in the 1950s\, a landowner in Fulton\, Missouri\, Jesse Howard (1885–1983)\, began filling twenty acres with hand-painted signs and objects that communicated his views. The signs\, often whitewashed\, present meticulously ruled\, lettered\, and composed biblical verse\, religious and patriotic decrees\, and social commentary. This accumulation of text-based sculptures came to be called Sorehead Hill. Over time\, countless drivers passed the site\, and it became a destination for visitors worldwide. \n  \nDespite the geographic and cultural separations\, both men prioritized free speech\, using signs to communicate their worldviews and concerns. \n  \nHouston’s life in Harlem prompts viewers to understand that their spiritual\, physical\, and emotional health is indivisible from their broader community. In stark contrast\, Howard’s mid-century rural Missouri community led him to a more individualized relationship to religion and politics. The sites chosen and methods of communication implanted by each artist demonstrate a desire to provoke the passerby. \n  \nFrom October 3–7\, 2022\, Houston was at the John Michael Kohler Arts Center\, making new work for his two-part exhibition Otis Houston Jr.: My Name is My Word. While in Sheboygan\, he spent time with Howard’s work. Houston produced several signs in direct response to the encounter\, which are on view in this second iteration of the exhibition. The first iteration of the show was presented at the Arts Center from October 3\, 2022–January 14\, 2023. \nImage: Otis Houston Jr.: My Name is My Word installation view at the Art Preserve\, 2023. \n  Save  
URL:https://artinamericaguide.com/event/otis-houston-jr-my-name-is-my-word-in-response-to-jesse-howard/
LOCATION:John Michael Kohler Arts Center\, 608 New York Avenue\, Sheboygan\, WI\, 53081\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230214T110000
DTEND;TZID=America/Halifax:20230616T170000
DTSTAMP:20260403T151206
CREATED:20230110T165222Z
LAST-MODIFIED:20230110T165222Z
UID:101396-1676372400-1686934800@artinamericaguide.com
SUMMARY:The Barack Obama Presidency: Hope and Change
DESCRIPTION:The exhibition focuses on issues and topics from the Obama administration: 2008 and 2012 elections\, Great Recession\, Health Care\, Immigration\, Wars in Afghanistan and Iraq\, Combating Terrorism\, Climate Change and the Environment\, and Race Relations. The exhibition includes photographs\, facsimile documents\, and objects on loan from the National Archives and Records Administration (NARA) and the Barack Obama Presidential Library.  Editorial cartoons by Mike Keefe\, Steve Kelley\, and Signe Wilkinson further illustrate the themes. In addition\, items related to the Presidential Debates at Hofstra University in 2008 and 2012\, on loan from the University Archives\, will be on view. \nThe Hofstra University Museum of Art’s programs are made possible by the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature. \nAdmission is free. \nGallery Hours: \nDavid Filderman Gallery\nJoan and Donald E. Axinn Library\, Ninth Floor\, South Campus \nTuesday-Friday\, 11 a.m.-4 p.m. • Saturday and Sunday\, noon-4 p.m. \n  Save  
URL:https://artinamericaguide.com/event/the-barack-obama-presidency-hope-and-change/
LOCATION:David Filderman Gallery at Hofstra University\, 112 Hofstra University\, Hempstead\, New York
CATEGORIES:Exhibition
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ORGANIZER;CN="Hofstra University Museum of Art":MAILTO:museum@hofstra.edu
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230217T100000
DTEND;TZID=America/Chicago:20230910T170000
DTSTAMP:20260403T151206
CREATED:20220708T163336Z
LAST-MODIFIED:20220708T163336Z
UID:94620-1676628000-1694365200@artinamericaguide.com
SUMMARY:Awful Bigness
DESCRIPTION:Clyfford Still spent his childhood and adolescence in the West and saw how the boundless plains could offer generous bounty in times of plenty or pitilessly starve in dust and wind. In an interview\, he referred to that experience as one that taught him to respect the “awful bigness of the land\, the men and the machines.” In subsequent years\, he worked on an enormous scale\, and each time\, he had to confront the awful bigness of the vast expanse of blank canvas. \nOrganized by the Clyfford Still Museum’s associate curator\, Bailey Placzek\, in collaboration with CSM’s director\, Joyce Tsai\, Awful Bigness fills the Museum’s largest\, skylit galleries and celebrates Still’s biggest\, most ambitious works. This installation follows a chronological display of Still’s works in CSM’s first four rooms\, which overviews Still’s groundbreaking path to abstraction. \n  Save  
URL:https://artinamericaguide.com/event/awful-bigness/
LOCATION:Clyfford Still Museum\, 1250 Bannock St.\, Denver\, CO\, 80204\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/07/1956PH-1077_1_Regester2013_MR-scaled.jpg
ORGANIZER;CN="Clyfford Still Museum":MAILTO:press@clyffordstillmuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230218
DTEND;VALUE=DATE:20230626
DTSTAMP:20260403T151206
CREATED:20230427T173837Z
LAST-MODIFIED:20230427T173837Z
UID:103102-1676678400-1687737599@artinamericaguide.com
SUMMARY:Dissent\, Discontent\, and Action: Pictures of US by Accra Shepp
DESCRIPTION:The Spencer Museum collaborates with contemporary photographer Accra Shepp to share two photographic projects\, Occupying Wall Street and The Covid Journals. Through these portrait series\, Shepp reveals a sense of community\, hope\, and resilience during an era of tremendous social\, political\, and environmental change. \nShepp began photographing the Occupy Wall Street demonstrations in New York’s Zuccotti Park on October 1\, 2011. He was drawn to the sea of individuals as a photographic subject\, based in part on his observation of the crowd’s diversity: “The press said the movement was predominantly young and white. And I kept seeing Asians\, Latinos\, Blacks. This doesn’t look so homogenous. There were people in their 60s and young children with their families. And I thought\, this is what people need to see.” Working with a 4 × 5 view camera\, Shepp made 20 to 30 exposures per week over an extended period\, continuing to photograph demonstrators at the park and its vicinity through April 2012. \nIn the early days of the Covid-19 pandemic in 2020\, Shepp again captured portraits of the people in his city. He used a medium-format camera to address\, in his words\, “what this pandemic and its shape looks like here in New York. The work also speaks to the responsibility the arts and artists have to make visible\, audible—make present important historical moments and conditions.” The series began at Elmhurst Hospital\, a few blocks from Shepp’s home\, during a moment when this hospital was filling with patients. At that time most Americans were living in isolation and views of labor and loss associated with the virus’s impact weren’t always visible. Later that year\, Shepp’s attention shifted to demonstrations and the outcry for justice after the murders of Ahmaud Arbery\, Breonna Taylor\, and George Floyd. Shepp explains\, “In spite of isolation and hunger and in spite of contagion\, and the pandemic\, people raised their voices to say\, ‘No more.’” \nIn uniting these two bodies of work\, produced almost a decade apart\, we can consider how the same issues that drove protestors to the streets in 2011 grew in relevance to our daily lives during the crisis of a global pandemic\, and continue to shape society today. \nThis exhibition is supported by the KU Student Senate and the Linda Inman Bailey Exhibitions Fund. \n  Save  
URL:https://artinamericaguide.com/event/dissent-discontent-and-action-pictures-of-us-by-accra-shepp/
LOCATION:Spencer Museum of Art\, University of Kansas\, 1301 Mississippi St.\, Lawrence\, KS\, 66045\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/04/Andrea_Covid_Journals.jpg
GEO:38.9596803;-95.244588
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Spencer Museum of Art University of Kansas 1301 Mississippi St. Lawrence KS 66045 United States;X-APPLE-RADIUS=500;X-TITLE=1301 Mississippi St.:geo:-95.244588,38.9596803
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230223
DTEND;VALUE=DATE:20230605
DTSTAMP:20260403T151206
CREATED:20220316T150520Z
LAST-MODIFIED:20230126T222814Z
UID:92956-1677110400-1685923199@artinamericaguide.com
SUMMARY:not all realisms: photography\, Africa\, and the long 1960s
DESCRIPTION:The sixties were a long time coming. The sixties keep coming back. For many parts of Africa\, to refer to the 1960s is to gesture broadly toward a time of great transformation: the postcolonial turn. That decade’s beginning marks a wave of national independence movements coming to fruition in all parts of the continent with far-reaching consequences around the globe. However\, that era of sweeping change is bound up in a chain of events long preceding that watershed decade\, with ramifications that reach potently into our present. And any discussions merely offering a colonial/postcolonial dichotomy or framed exclusively through the nation-state betray the far more complex collective and individual experiences of that time and the visual representations taking place within it. \nThis exhibition addresses photography in the context of Africa’s long 1960s—amid resistance\, revolution\, new nationalist and transnational movements\, and the stuff of daily life therein. Focusing on Ghana\, Mali\, and South Africa\, this exhibition features photographic prints\, reprints\, books\, magazines\, posters\, and other material means through which photography’s relationships to real people and events were articulated\, produced\, and circulated. And it looks to contemporary works that engage and reflect on those material histories and might prompt us to ask: did the sixties ever end? \nBridging the division often made between studio photography and reportage—even as many photographers worked across such categories in their practices—not all realisms brings studio and street together. This project explores documentary visions cultivated through international circulation of print media and transnational dialogues\, and examines the multiple lives of single images made by photographers including Ernest Cole\, Malick Sidibé\, James Barnor\, Peter Magubane\, Paul Strand\, Henri Cartier-Bresson\, and more. \nImage: Ernest Cole\, From “House of Bondage\,” 1960s\, Gelatin silver print. Smart Museum of Art\, The University of Chicago\, Gift of the Estate of Lester and Betty Guttman\, 2014.224. © Ernest Cole / Magnum Photo. \n  Save  
URL:https://artinamericaguide.com/event/not-all-realisms-photography-africa-and-the-long-1960s/
LOCATION:Smart Museum of Art\, 5550 S. Greenwood Avenue\, Chicago\, IL\, 60637\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/03/Cole_2014_0224.jpg
GEO:41.7934642;-87.6002004
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Smart Museum of Art 5550 S. Greenwood Avenue Chicago IL 60637 United States;X-APPLE-RADIUS=500;X-TITLE=5550 S. Greenwood Avenue:geo:-87.6002004,41.7934642
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230223
DTEND;VALUE=DATE:20230710
DTSTAMP:20260403T151206
CREATED:20221208T214311Z
LAST-MODIFIED:20221208T214311Z
UID:100860-1677110400-1688947199@artinamericaguide.com
SUMMARY:The Metropol Drama
DESCRIPTION:The things we call art can\, at their best\, provide a way to peek a sideways glance at the emotions behind someone else’s human experience. In this relating to others—be they friends\, family\, strangers\, or the citizens of a different time and place—facts and truth go only so far. \nThe Metropol Drama proposes another way of looking at our aesthetic\, economic\, and emotional history—one that it rooted in the contradictions of interaction that produce peoples and states that are smudged and complex\, hybrid and tragic. Having gone by many names\, today we call this social and economic amalgam “cosmopolitanism.” The term can best be thought of as a kind of shorthand for a sensibility where the exchange of capital\, ideas\, and people have provided fertile ground and vulnerabilities for ways of feeling and living. \nThis exhibition is a case study in how the things we call art speak to and embody values. It presents a terrain comprised of traditionally-defined works of art and artifacts\, as well as objects such as legal documents and currencies—forms of negotiation between peoples. The diversity of objects within the exhibition space reflects the ways in which we form the complex subjectivities of selfhood across cultures since the time of the ancients up until the present moment within ourselves. \n  Save  
URL:https://artinamericaguide.com/event/the-metropol-drama/
LOCATION:Smart Museum of Art\, 5550 S. Greenwood Avenue\, Chicago\, IL\, 60637\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/12/Metropol-web-2.jpg
GEO:41.7934642;-87.6002004
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Smart Museum of Art 5550 S. Greenwood Avenue Chicago IL 60637 United States;X-APPLE-RADIUS=500;X-TITLE=5550 S. Greenwood Avenue:geo:-87.6002004,41.7934642
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230303T100000
DTEND;TZID=America/Halifax:20230730T170000
DTSTAMP:20260403T151206
CREATED:20230302T214349Z
LAST-MODIFIED:20230302T214349Z
UID:102046-1677837600-1690736400@artinamericaguide.com
SUMMARY:From the Andes to the Caribbean: American Art from the Spanish Empire
DESCRIPTION:Visit our galleries for FREE on Sundays. Check the visit page for all free admission opportunities at the Harvard Art Museums. \nDiscover a more complete story of art from the Spanish Empire—and a broader definition of American art—through an unparalleled collection of Spanish colonial paintings. \nThe Spanish empire and its patent mercantile companies were the dominant colonial force in America from 1492 to 1832. Five years before Portugal established American settlements and nearly a century before Britain and France claimed land in the hemisphere\, wealth from America’s colonial territories (viceroyalties) of New Spain and Peru made Spain the richest nation on Earth. Though Spain is no longer an empire\, its colonial past continues to inform the art and culture of the Americas. \nFrom the Andes to the Caribbean presents 26 paintings from the Carl & Marilynn Thoma Foundation—the premier U.S. private collection of Spanish colonial paintings from South America and the Caribbean—together with works from the Harvard Art Museums. The exhibition emphasizes three key themes related to culture and empire: the political and spiritual work of Catholic icons\, the ways in which empire begets hybrid cultural identities\, and the relationship between labor\, wealth\, and luxury. Oil paintings from present-day Bolivia\, Ecuador\, Peru\, Puerto Rico\, and Venezuela are presented alongside works on paper and design objects made with Cuban and Honduran mahogany\, Mexican cochineal\, and Peruvian silver\, underlining the great diversity of works of art broadly referred to as either “Viceregal\,” “Spanish colonial\,” or simply “American.” \n  Save  
URL:https://artinamericaguide.com/event/from-the-andes-to-the-caribbean-american-art-from-the-spanish-empire-2/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2023/03/Andes-Hero_1200_1200.png
ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230303T100000
DTEND;TZID=America/Halifax:20230730T170000
DTSTAMP:20260403T151206
CREATED:20230302T214349Z
LAST-MODIFIED:20230302T214349Z
UID:102048-1677837600-1690736400@artinamericaguide.com
SUMMARY:From the Andes to the Caribbean: American Art from the Spanish Empire
DESCRIPTION:Visit our galleries for FREE on Sundays. Check the visit page for all free admission opportunities at the Harvard Art Museums. \nDiscover a more complete story of art from the Spanish Empire—and a broader definition of American art—through an unparalleled collection of Spanish colonial paintings. \nThe Spanish empire and its patent mercantile companies were the dominant colonial force in America from 1492 to 1832. Five years before Portugal established American settlements and nearly a century before Britain and France claimed land in the hemisphere\, wealth from America’s colonial territories (viceroyalties) of New Spain and Peru made Spain the richest nation on Earth. Though Spain is no longer an empire\, its colonial past continues to inform the art and culture of the Americas. \nFrom the Andes to the Caribbean presents 26 paintings from the Carl & Marilynn Thoma Foundation—the premier U.S. private collection of Spanish colonial paintings from South America and the Caribbean—together with works from the Harvard Art Museums. The exhibition emphasizes three key themes related to culture and empire: the political and spiritual work of Catholic icons\, the ways in which empire begets hybrid cultural identities\, and the relationship between labor\, wealth\, and luxury. Oil paintings from present-day Bolivia\, Ecuador\, Peru\, Puerto Rico\, and Venezuela are presented alongside works on paper and design objects made with Cuban and Honduran mahogany\, Mexican cochineal\, and Peruvian silver\, underlining the great diversity of works of art broadly referred to as either “Viceregal\,” “Spanish colonial\,” or simply “American.” \n  Save  
URL:https://artinamericaguide.com/event/from-the-andes-to-the-caribbean-american-art-from-the-spanish-empire/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2023/03/Andes-Hero_1200_1200-1.png
ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230307T080000
DTEND;TZID=America/Halifax:20230716T160000
DTSTAMP:20260403T151206
CREATED:20230302T190315Z
LAST-MODIFIED:20230302T190315Z
UID:102031-1678176000-1689523200@artinamericaguide.com
SUMMARY:Morehshin Allahyari: ماه طلعت Moon-faced
DESCRIPTION:In ancient Persian literature\, the adjective ماه طلعت (moon-faced) was used to describe the beauty of an individual\, regardless of their gender identity. Today\, the word refers to the beauty of women only. \nA similar shift in gender representation occurred in Persian visual culture—as evidenced in portrait paintings of Iran’s Qajar dynasty (1786–1925)—when Western modernization\, European realistic painting\, and camera technology were introduced. These elements overshadowed and ended the queer representation of genders that historically characterized these paintings\, largely known for their fluid depiction of gender. \nIn her video work\, ماه طلعت Moon-faced\, artist Morehshin Allahyari collaborated with an artificial intelligence program to repair such cultural and artistic changes that brought an end to the queer representation in Iranian portraiture. Using a carefully researched set of keywords and digital images of Qajar dynasty portrait paintings\, a series of videos was generated featuring new genderless portraits. In doing so\, the machine program and Allahyari intervene within the history of Westernization to undo conditions that ended nonbinary gender representation in Persian visual culture. \nA musical score by Iranian designer and musician Mani Nilchiani\, whom Allahyari commissioned\, accompanies this video work. His work combines Iranian classical music with glitch-like interludes to establish an immersive and contemplative viewing experience. \nImage: Morehshin Allahyari\, ماه طلعت Moon-faced\, 2021–present; video\, color\, and sound; 2 minutes 5 seconds. Courtesy of the artist. \n  Save  
URL:https://artinamericaguide.com/event/morehshin-allahyari-%d9%85%d8%a7%d9%87-%d8%b7%d9%84%d8%b9%d8%aa-moon-faced/
LOCATION:John Michael Kohler Arts Center\, 608 New York Avenue\, Sheboygan\, WI\, 53081\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2023/03/ex.all_.2023.5003.png
ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230309
DTEND;VALUE=DATE:20230612
DTSTAMP:20260403T151206
CREATED:20221118T195037Z
LAST-MODIFIED:20221118T195037Z
UID:100530-1678320000-1686527999@artinamericaguide.com
SUMMARY:Kara Walker: Cut to the Quick
DESCRIPTION:A leading artist of her generation\, Kara Walker (b. 1969) works in a range of mediums\, including prints\, drawings\, paintings\, sculpture\, film\, and the large-scale silhouette cutouts for which she is perhaps most recognized. In Kara Walker: Cut to the Quick\, her powerful and provocative images employ contradictions to critique the painful legacies of slavery\, sexism\, violence\, imperialism\, and other power structures\, including those in the history and hierarchies of art and contemporary culture. \nThis exhibition offers a broad overview of her career through more than 80 works from the collections of Jordan D. Schnitzer and the Jordan Schnitzer Family Foundation\, premier collectors of works on paper in the United States. Some highlights of the exhibition are the complete Emancipation Approximation series and images from the Porgy & Bess series. Walker’s process involves extensive research in history\, literature\, art history\, and popular culture. Intentionally unsentimental and ambiguous\, the works can be disturbing yet also humorous\, always exploring the irreconcilable inconsistencies that mirror the human condition. This is Walker’s first solo exhibition at the Frist Art Museum; her work Camptown Ladies appeared in our presentation of 30 Americans in 2013–14. \n\n\nCo-curated by Frist Art Museum executive director and CEO Dr. Susan H. Edwards and Nashville poet Ciona Rouse. \n\n  Save  
URL:https://artinamericaguide.com/event/kara-walker-cut-to-the-quick-2/
LOCATION:Virginia Museum of Contemporary Art\, 2200 Parks Avenue\, Virginia Beach\, VA\, 23451\, United States
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230310
DTEND;VALUE=DATE:20230626
DTSTAMP:20260403T151206
CREATED:20221118T195037Z
LAST-MODIFIED:20221118T195037Z
UID:100532-1678406400-1687737599@artinamericaguide.com
SUMMARY:Global Asias: Contemporary Asian & Asian American Art
DESCRIPTION:Global Asias examines the cosmopolitan\, playful\, and subtly subversive characteristics of contemporary Asian and Asian American art. The exhibition highlights the work of fifteen artists of Asian heritage who draw on a rich array of motifs\, techniques\, and cultural motivations to construct diverse “Asias” in a modern global context. \nOrganized by the Palmer Museum of Art in conjunction with the Jordan Schnitzer Family Foundation\, the exhibition is divided into three thematic sections. “Exuberant Forms” features work that has the potential to reshape conventional views of abstract art—its composition\, palette\, materiality as well as its cultural implications\, expanding and complicating the canonical narrative of abstraction. “Moving Stories” brings together powerful prints and mixed-media works that reflect on the experiences of migration\, both within Asia and beyond. The artists in this section map their own diasporic trajectories\, literally and metaphorically\, and the art compels the viewer to move and to respond to the shifting socio-political realities of time and place. “Asias Reinvented” highlights two- and three-dimensional works that transform styles and techniques of traditional Asian arts in alignment with the vibes of the contemporary and the cosmopolitan. Combined\, the works in Global Asias suggest the plurality and fluidity of “Asia” as cultural construct and creative practice. The exhibition is guest curated by Chang Tan\, Assistant Professor of Art History and Asian Studies at Penn State. The exhibition will go on a national tour after premiering at the Palmer Museum of Art. \n\n\nList of Artists in Global Asias \nKwang Young Chun\nJacob Hashimoto\nManabu Ikeda\nJun Kaneko\nDinh Q. Lê\nHung Liu\nMariko Mori\nHiroki Morinoue\nTakashi Murakami\nRoger Shimomura\nDo Ho Suh\nAkio Takamori\nBarbara Takenaga\nRirkrit Tiravanija\nPatti Warashina \n\n  Save  
URL:https://artinamericaguide.com/event/global-asias-contemporary-asian-asian-american-art/
LOCATION:USC Pacific Asia Museum\, 46 N Los Robles Ave.\, Pasadena\, CA\, 91101\, United States
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230310T110000
DTEND;TZID=America/New_York:20231015T180000
DTSTAMP:20260403T151206
CREATED:20230612T205617Z
LAST-MODIFIED:20230612T211124Z
UID:103918-1678446000-1697392800@artinamericaguide.com
SUMMARY:Sadie Barnette: Family Business
DESCRIPTION:Sadie Barnette’s multimedia practice explores her own family history as it mirrors a collective history of repression and resistance in the United States. In a new commission for the ongoing Visualizing Abolition collaboration with the Institute of the Arts and Sciences at University of California\, Santa Cruz\, Barnette proposes an alternate history of Black America\, one shaped by state-sanctioned terror but also by love\, support\, celebration\, and the fullness of human relationships. \n  Save  
URL:https://artinamericaguide.com/event/sadie-barnette-family-business/
LOCATION:San Jose Museum of Art\, 110 S. Market Street\, San Jose\, CA\, 95113\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/06/SJMA_SBarnette_Glen-Cheriton-Impart-Photography_20.jpg
GEO:37.3327419;-121.8905201
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=San Jose Museum of Art 110 S. Market Street San Jose CA 95113 United States;X-APPLE-RADIUS=500;X-TITLE=110 S. Market Street:geo:-121.8905201,37.3327419
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230310T180000
DTEND;TZID=America/Halifax:20230813T170000
DTSTAMP:20260403T151206
CREATED:20220823T191418Z
LAST-MODIFIED:20220823T191418Z
UID:97002-1678471200-1691946000@artinamericaguide.com
SUMMARY:Jacolby Satterwhite: Spirits Roaming on the Earth
DESCRIPTION:This exhibition maps conceptual artist Jacolby Satterwhite’s extraordinary creative trajectory across multiple materials\, genres\, and modes of thinking. Drawing on a broad set of real and fantastical references and diverse influences that include modernism\, video gaming\, queer theory\, mythology\, and Black culture\, Satterwhite creates digital worlds of resilience\, reinvention\, and celebration. His intricately detailed animations and live action films of real and imagined worlds—populated by the avatars of Satterwhite and his friends—serve as the stage for the artist’s surreal and poetic world-building. \nIn the first major survey of his work\, CAM will present a wide range of Satterwhite’s media in the form of 3D-animated films\, immersive audio and video installations\, sculptures\, and new media works. The exhibition will be accompanied by the published monograph Jacolby Satterwhite: How lovly is me being as I am\, edited by Elizabeth Chodos and Andrew Durbin with narration by Sasha Bonét; essays by Malik Gaines\, Jane Ursula Harris\, and Legacy Russell; an interview with the artist by Kimberly Drew; and book design by Sonia Yoon. \nJacolby Satterwhite (b. 1986\, Columbia\, South Carolina; lives and works in Brooklyn) received his BFA from the Maryland Institute College of Arts\, Baltimore\, and his MFA from the University of Pennsylvania\, Philadelphia. Satterwhite’s work has been presented in numerous exhibitions and festivals internationally\, including most recently at the Miller Institute for Contemporary Art at Carnegie Mellon University (2021); Haus der Kunst\, Munich (2021); the Gwangju Biennale\, Gwangju (2021); the Wexner Center for the Arts\, Columbus\, Ohio (2021); The Fabric Workshop and Museum\, Philadelphia (2019); Pioneer Works\, New York (2019); the Whitechapel Gallery\, London (2019); the Museum of Modern Art\, New York (2019); the Minneapolis Institute of Art (2019); the Museum of Contemporary Art\, Chicago (2018); La Fondation Louis Vuitton\, Paris (2018); the New Museum\, New York (2017); the Public Art Fund\, New York (2017); the San Francisco Museum of Art (2017); and the Institute of Contemporary Art\, Philadelphia (2017). He was awarded the United States Artist Francie Bishop Good & David Horvitz Fellowship in 2016. His work is included in the collections of the Museum of Contemporary Art Kiasma\, Helsinki; the Museum of Modern Art\, New York; the Studio Museum in Harlem\, New York; and the Whitney Museum of American Art\, New York\, among others. In 2019\, Satterwhite collaborated with Solange Knowles on her visual album\, When I Get Home. \nJacolby Satterwhite: Spirits Roaming on the Earth is organized by the Miller Institute for Contemporary Art at Carnegie Mellon University and curated by Elizabeth Chodos\, Director. The Contemporary Art Museum St. Louis exhibition is organized by Wassan Al-Khudhairi\, Chief Curator. \nThe exhibition is generously supported in part by the Whitaker Foundation. \nImage: Jacolby Satterwhite\, We Are In Hell When We Hurt Each Other\, 2020. Video still from HD digital video. Courtesy the artist and Mitchell-Innes & Nash\, New York. \n  Save  
URL:https://artinamericaguide.com/event/jacolby-satterwhite-spirits-roaming-on-the-earth/
LOCATION:Contemporary Art Museum St. Louis\, 3750 Washington Boulevard\, St. Louis\, MO\, 63108\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/08/Jacolby-Satterwhite_We-Are-In-Hell-When-We-Hurt-Each-Other_2020_1-scaled.jpg
ORGANIZER;CN="Contemporary Art Museum St. Louis":MAILTO:info@camstl.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230311T100000
DTEND;TZID=America/Halifax:20230917T160000
DTSTAMP:20260403T151206
CREATED:20230302T190314Z
LAST-MODIFIED:20230302T190314Z
UID:102033-1678528800-1694966400@artinamericaguide.com
SUMMARY:Moisés Salazar Tlatenchi:  A Quién le Importa
DESCRIPTION:A nonbinary artist and first-generation Mexican American raised by undocumented parents\, Moisés Salazar Tlatenchi infuses their work with their lived experience. \n  \nSalazar’s art frequently addresses the lack of agency and freedom the marginalized face in physical and theoretical spaces\, and the trauma and barriers specific to queer and immigrant bodies. They create works using materials and techniques—such as faux fur\, glitter\, and sequins\, crochet\, and tufting—that honor Salazar’s familial cultural heritage and speak to the legacy of queer craft. \n  \nFor A Quién le Importa\, Salazar reimagines the gallery as a sanctuary of inclusivity and acceptance\, filling it with mixed-media paintings and soft sculptures exploring alternative forms of identity\, belonging\, and community through the lens of queer kinship. The exhibition’s title is taken from a pop anthem beloved by the world’s Spanish-speaking LGBTQ community that celebrates self-affirmation and openness about one’s sexuality. Drawing from the song’s fierce spirit of pride\, self-respect\, and liberation\, Salazar’s glittering\, jewel-like portraits of their queer kin extol the joy that comes from the mutual support and love provided by friends and chosen family. \n\nImage: Moises Salazar\, Angel\, 2022; faux fur\, glitter on board\, and sequin applique; 36 x 24 in. Courtesy of the artist and Mindy Solomon Gallery. \n  Save  
URL:https://artinamericaguide.com/event/moises-salazar-tlatenchi-a-quien-le-importa/
LOCATION:John Michael Kohler Arts Center\, 608 New York Avenue\, Sheboygan\, WI\, 53081\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2023/03/ex.sal_.2023.5002.png
ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230318T100000
DTEND;TZID=America/Halifax:20240609T170000
DTSTAMP:20260403T151206
CREATED:20230316T154058Z
LAST-MODIFIED:20230316T154058Z
UID:102487-1679133600-1717952400@artinamericaguide.com
SUMMARY:Bosco Sodi: Origen
DESCRIPTION:Visit our galleries for FREE on Sundays. Check the visit page for all free admission opportunities at the Harvard Art Museums. \nA new installation of sculptures by Mexican-born artist Bosco Sodi (b. 1970) places 14 of the artist’s handmade clay spheres at the Harvard Art Museums and marks the first-ever presentation of art on the museums’ outdoor Broadway terrace. Sodi’s practice explores the earth’s elements\, marrying age-old traditions of sculpting clay with a contemporary vision of creating simple universal forms that prompt reflection. Drawing on centuries-old techniques passed through the Zapotec culture\, Sodi works with Oaxacan artisans\, using local clay to sculpt each sphere\, drying it outside for up to eight months\, and then firing it in a kiln built upon a beach. The resulting terracotta forms reveal the effects of nature’s forces—the sun\, sea air\, and fire—as demonstrated by the cracks\, chips\, and blackened and crusty patches that distinguish each sphere. In a first for a U.S. installation of the artist’s work\, Sodi will also unveil three gold-glazed spheres as part of his site-specific arrangement. Moving from outside to inside the museums\, these gold spheres connect to and engage with the meditative atmosphere evoked by the installation of Buddhist figures in Gallery 1610. \n  Save  
URL:https://artinamericaguide.com/event/bosco-sodi-origen/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/03/Bosco-Sodi.jpg
ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230318T100000
DTEND;TZID=America/Halifax:20240609T170000
DTSTAMP:20260403T151206
CREATED:20230320T150548Z
LAST-MODIFIED:20230320T150548Z
UID:102492-1679133600-1717952400@artinamericaguide.com
SUMMARY:Bosco Sodi: Origen
DESCRIPTION:Visit our galleries for FREE on Sundays. Check the visit page for all free admission opportunities at the Harvard Art Museums. \nA new installation of sculptures by Mexican-born artist Bosco Sodi (b. 1970) places 14 of the artist’s handmade clay spheres at the Harvard Art Museums and marks the first-ever presentation of art on the museums’ outdoor Broadway terrace. Sodi’s practice explores the earth’s elements\, marrying age-old traditions of sculpting clay with a contemporary vision of creating simple universal forms that prompt reflection. Drawing on centuries-old techniques passed through the Zapotec culture\, Sodi works with Oaxacan artisans\, using local clay to sculpt each sphere\, drying it outside for up to eight months\, and then firing it in a kiln built upon a beach. The resulting terracotta forms reveal the effects of nature’s forces—the sun\, sea air\, and fire—as demonstrated by the cracks\, chips\, and blackened and crusty patches that distinguish each sphere. In a first for a U.S. installation of the artist’s work\, Sodi will also unveil three gold-glazed spheres as part of his site-specific arrangement. Moving from outside to inside the museums\, these gold spheres connect to and engage with the meditative atmosphere evoked by the installation of Buddhist figures in Gallery 1610. \n  Save  
URL:https://artinamericaguide.com/event/bosco-sodi-origen-2/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/03/Bosco-Sodi-1.jpg
ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230321
DTEND;VALUE=DATE:20240205
DTSTAMP:20260403T151206
CREATED:20221208T214310Z
LAST-MODIFIED:20221208T214310Z
UID:100862-1679356800-1707091199@artinamericaguide.com
SUMMARY:Calling on the Past: Selections from the Collection
DESCRIPTION:Calling on the Past invites visitors to experience the Smart Museum’s collection anew\, through a sensory exploration of color\, texture\, and form. \nIn lieu of customary chronological or geographical divisions\, such as those that have often guided the display of the collection in the past\, this installation draws on the breadth and depth of the Museum’s holdings to situate key works side by side across centuries. From antiquities to contemporary painting and sculpture\, the cross-historical selection of objects speaks to the varied materials\, ideas\, and questions artists continue to explore\, while emphasizing the editing of history. \nCalling on the Past is inspired in part by art historian George Kubler’s seminal text The Shape of Time: Remarks on the History of Things (1962)\, which argues the art of the past is in constant conversation with the present. Kubler replaces the notion of art historical styles with the understanding that time is both linear and looped\, and artists have been revisiting the same sets of questions across the ages. Rather than emphasizing objects’ original context\, this exhibition inserts them into imaginative groupings\, unraveling historical hierarchies and encouraging us to see the collection with fresh eyes. \n  Save  
URL:https://artinamericaguide.com/event/calling-on-the-past-selections-from-the-collection/
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;VALUE=DATE:20230321
DTEND;VALUE=DATE:20230529
DTSTAMP:20260403T151206
CREATED:20230320T145938Z
LAST-MODIFIED:20230320T145938Z
UID:102571-1679356800-1685318399@artinamericaguide.com
SUMMARY:GROUP SEVEN
DESCRIPTION:Woodward Gallery presents GROUP SEVEN\, an exhibition focusing on seven artists and their varied techniques of painting. Though AI and NFT art production has captured quite a bit of public speculation\, we are taking a closer look at more traditional\, yet compelling techniques for making tangible art. Specifically\, Woodward Gallery’s current exhibition\, GROUP SEVEN\, features the painted work of Jose Aurelio Baez\, Deborah Claxton\, Cosbe\, RH DOAZ\, Mark Mastroianni\, Daniel Rosenbaum\, and Francesco Tumbiolo and their varied methods. \nTogether\, these artists modernize the traditional artistic mediums of painting with exciting\, contemporary twists. Jose Aurelio Baez collages advertisements and wallpaper to create urban-styled paintings. Deborah Claxton’s hand-cuts numerous bits of tiny pieces of paper under a magnifying glass to construct her almost photographic image. Cosbe harnesses his raw emotions onto found objects to create striking works of art. RH DOAZ is a known street\, public\, and mural Artist who contemplates humanity and the natural world in his work. Similarly\, Mark Mastroianni has mastered Casein paint to achieve a smooth surface with natu- ral shapes and patterns found in stone\, granite\, and ice. Abstract painter Daniel Rosenbaum imagines an unnatural environment conjuring a new reality. Francesco Tumbiolo paints ambiguous gestural figures in primary colors\, inviting the viewer to participate. Each Artist in GROUP SEVEN presents their own style of painting technique in contrast to the absurd notion that tangible art has lost its relevancy. \n\n\n\n\nGROUP SEVEN is on view in Woodward Gallery’s street-level windows from March to May 2023. Please plan to visit in person 24/7 from our street level exhibition windows\, and by private appointment.  It is available with a full color catalogue on our website and also online on Artsy.net. \n  Save  
URL:https://artinamericaguide.com/event/group-seven/
LOCATION:Woodward Gallery\, 132A Eldridge Street\, New York City\, NY\, 10002\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/03/JoseBaez_ThinkingAboutDying_KissTheIdeas-2023_framed-scaled.jpg
ORGANIZER;CN="Woodward Gallery":MAILTO:art@woodwardgallery.net
GEO:40.7188679;-73.9915203
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Woodward Gallery 132A Eldridge Street New York City NY 10002 United States;X-APPLE-RADIUS=500;X-TITLE=132A Eldridge Street:geo:-73.9915203,40.7188679
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230324
DTEND;VALUE=DATE:20231204
DTSTAMP:20260403T151206
CREATED:20230109T180703Z
LAST-MODIFIED:20230213T154532Z
UID:101317-1679616000-1701647999@artinamericaguide.com
SUMMARY:In a New Light: Paintings from the Yale Center for British Art
DESCRIPTION:In a New Light: Paintings from the Yale Center for British Art presents a selection of YCBA artworks in the Yale University Art Gallery’s Louis Kahn building while the YCBA’s own iconic Kahn building is closed for its next phase of conservation. The nearly sixty works on view span four centuries of British landscape and portraiture traditions. Highlights include Joseph Mallord William Turner’s Dort or Dordrecht: The Dort Packet-Boat from Rotterdam Becalmed (1818); several of John Constable’s atmospheric Cloud Studies (1821–25); James McNeill Whistler’s Nocturne in Blue and Silver (1872–78); and Francis Bacon’s Study of a Head (1952). The exhibition offers a rare opportunity to see these and other artworks from the YCBA’s collection in a new setting\, yet one that—like the YCBA itself—displays the notable elements of Kahn’s simple but elegant museum architecture: basic geometric forms\, natural materials in muted palettes\, and galler­ies filled with diffuse daylight. \n  Save  
URL:https://artinamericaguide.com/event/crafting-worldviews-art-and-science-in-europe-1500-1800/
LOCATION:Yale University Art Gallery\, 1111 Chapel St\, New Haven\, CT\, 06510\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Yale University Art Gallery":MAILTO:artgalleryinfo@yale.edu
GEO:41.30839;-72.930958
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Yale University Art Gallery 1111 Chapel St New Haven CT 06510 United States;X-APPLE-RADIUS=500;X-TITLE=1111 Chapel St:geo:-72.930958,41.30839
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230325
DTEND;VALUE=DATE:20230821
DTSTAMP:20260403T151206
CREATED:20230323T210804Z
LAST-MODIFIED:20230327T175724Z
UID:102670-1679702400-1692575999@artinamericaguide.com
SUMMARY:Strange Weather: From the Collections of Jordan D. Schnitzer and His Family Foundation
DESCRIPTION:Strange Weather: From the Collections of Jordan D. Schnitzer and His Family Foundation features 89 exceptional artworks spanning five decades\, from 1977 to 2021\, that have been drawn together for how they creatively call attention to the impact and history of forced migrations\, industrialization\, global capitalism\, and trauma on humans and the contemporary landscape. This intergenerational exhibition brings some of the most influential contemporary artists together for the first time\, resulting in a show that should not be missed! \nThe artists in the exhibition utilize a range of aesthetic strategies\, including abstraction\, portraiture\, figurative painting\, landscape\, and installation\, to explore the current atmospheric strangeness. Exhibition highlights include a large-scale painting by world renowned Kehinde Wiley that monumentalizes issues of identity and nature\, a suite of three prints by Julie Mehretu that were created in 2005 in response to the aftermath of Hurricane Katrina\, a large-scale installation by Nicola López that show startlingly dystopian urban landscapes\, and a photographic series by Wendy Red Star that link weather patterns to the consumption and commodification of Native American culture. Additional highlights include important paintings and prints by Terry Winters and a massive 40-foot sculpture by Leonardo Drew that uses abstraction to explore a visual erosion of time and the cyclical nature of life. Together\, these and other works make the body and the land legible as paired sites of contestation\, offering profound insights about the connections between aesthetics\, history\, and our tempestuous climate. \n  Save  
URL:https://artinamericaguide.com/event/strange-weather-from-the-collections-of-jordan-d-schnitzer-and-his-family-foundation/
LOCATION:Bellevue Arts Museum\, 510 Bellevue Way NE\, Bellevue\, WA\, 98004\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/03/Wiley.jpg
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END:VCALENDAR