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BEGIN:VEVENT
DTSTART;VALUE=DATE:20231208
DTEND;VALUE=DATE:20261207
DTSTAMP:20260821T193836
CREATED:20240522T193731Z
LAST-MODIFIED:20240522T193731Z
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SUMMARY:Isaac Julien: Lessons of the Hour — Frederick Douglass
DESCRIPTION:Sir Isaac Julien’s moving image installation Lessons of the Hour (2019) interweaves period reenactments across five screens to create a vivid picture of nineteenth-century activist\, writer\, orator\, and philosopher Frederick Douglass. Through critical research\, fictional reconstruction\, and a marriage of poetic image and sound\, Julien asserts Douglass’ enduring lessons of justice\, abolition\, and freedom that remain just as relevant today. \nLessons of the Hour features passages from Douglass’ key speeches\, including the titular “Lessons of the Hour\,” “What to the Slave Is the Fourth of July?” and “Lecture on Pictures.” \nJulien weaves together reenacted scenes from Douglass’ life and lectures\, filming at his historic home in Washington\, DC\, and a restaged studio of famed Black photographer J.P. Ball (1825–1904) as he makes a portrait of Douglass. Images of contemporary Baltimore—the city where Douglass was enslaved and escaped from bondage in 1838—including footage of fireworks and protests in 2015 following the death of Freddie Gray\, Jr. while in police custody\, are interspersed as the struggle to make good on America’s promise of equality continues. \nLessons of the Hour was jointly acquired by SAAM and the National Portrait Gallery in 2023. The 28-minute work debuted for Washington audiences December 8\, 2023\, and remains on public view through the 250th anniversary of the founding of the United States in 2026. \n  Save  
URL:https://artinamericaguide.com/event/isaac-julien-lessons-of-the-hour-frederick-douglass/
LOCATION:Smithsonian American Art Museum\, 750 9th St. N.W.\, Washington\, DC\, 20001\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Smithsonian American Art Museum":MAILTO:americanartpressoffice@si.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240924
DTEND;VALUE=DATE:20250728
DTSTAMP:20260821T193836
CREATED:20240628T154332Z
LAST-MODIFIED:20241112T212527Z
UID:109156-1727136000-1753660799@artinamericaguide.com
SUMMARY:Robert Earl Paige: Give the Drummer Some!
DESCRIPTION:For the Smart’s 50th anniversary\, South Side artist Robert Earl Paige creates a multi-part pattern-based installation and sprawling public art project that invites communities into a collective experience of space. \n  Save  
URL:https://artinamericaguide.com/event/robert-earl-paige-give-the-drummer-some/
LOCATION:Smart Museum of Art\, 5550 S. Greenwood Avenue\, Chicago\, IL\, 60637\, United States
CATEGORIES:Exhibition
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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/New_York:20241115T080000
DTEND;TZID=America/New_York:20250817T170000
DTSTAMP:20260821T193836
CREATED:20240522T193730Z
LAST-MODIFIED:20240522T193730Z
UID:108583-1731657600-1755450000@artinamericaguide.com
SUMMARY:Pictures of Belonging: Miki Hayakawa\, Hisako Hibi\, and Miné Okubo
DESCRIPTION:Pictures of Belonging is an unprecedented examination of these three trailblazing figures.  By tracing their artistic development before\, during\, and after the mass incarceration and displacement of Japanese Americans during World War II\, the exhibition offers a nuanced view of how these women continued to explore and experiment with new artistic expression throughout their lives. Created during tumultuous decades in modern U.S. history\, their paintings\, along with their stories of resilience\, remind us of art’s power in the face of adversity and challenge. \nThe exhibition includes works by Hisako Hibi and Miné Okubo recently acquired for SAAM’s collection\, part of a multi-year initiative to expand and enrich the representation of Asian American experiences\, perspectives\, and artistic accomplishment in public displays and new scholarship. \n  Save  
URL:https://artinamericaguide.com/event/pictures-of-belonging-miki-hayakawa-hisako-hibi-and-mine-okubo/
LOCATION:Smithsonian American Art Museum\, 750 9th St. N.W.\, Washington\, DC\, 20001\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/05/Pictures-Belonging-scaled.jpg
ORGANIZER;CN="Smithsonian American Art Museum":MAILTO:americanartpressoffice@si.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20250125T100000
DTEND;TZID=America/Denver:20250914T170000
DTSTAMP:20260821T193836
CREATED:20250123T201026Z
LAST-MODIFIED:20250123T201026Z
UID:111741-1737799200-1757869200@artinamericaguide.com
SUMMARY:Held Impermanence (Artists Select: Katherine Simóne Reynolds)
DESCRIPTION:The Clyfford Still Museum’s guest-curated exhibition\, Held Impermanence (Artists Select: Katherine Simóne Reynolds)\, illuminates multiple competing desires held in constant tension within the Museum. Organized by award-winning filmmaker\, artist\, and curator Katherine Simóne Reynolds\, the exhibition draws deeply on CSM’s collections. The exhibition runs from January 25–September 14\, 2025. \nAccording to Reynolds\, the collection testifies to Still’s ambitious attempt to keep his entire corpus intact. The commitment to the integrity of that body of work allows viewers to see not only the acclaimed masterpieces but also paintings made in painful transitions and others that bear the scars of time. Artworks change over time; their materials carry the stain of what conservators describe as inherent vice. Viewers see paintings that need to rest and heal\, bearing marks that suggest\, through their surfaces\, condition\, and textures\, metaphors of viscera\, bile\, and wounds. \nIn the Museum’s six largest galleries\, Reynolds’s exhibition asks viewers how they view healing over time\, respond with their bodies to this corpus\, and how they might approach Still’s achievements from a perspective that contends with his and their own senses of mortality—and with it\, a shared desire to hold impermanence. \nKatherine Simóne Reynolds is an artist\, scholar\, and curator who investigates emotional dialects and psychogeographies of Blackness within the Black Midwestern landscape. Her art physicalizes emotions and experiences through photo-based works\, film\, choreography\, sculpture\, and anxious writing practice. She has exhibited in national and international group and solo shows. \n  \nReynolds chose several paintings with condition issues to highlight the impact of conservation throughout the exhibition. She also selected a collection of archival photographs\, letters\, and notes to demonstrate the themes and emotions throughout the exhibition and two original archival objects. The Museum expands on exhibition content and Reynolds’ curatorial process in its free mobile guide on Bloomberg Connects. CSM also offers visitors two takeaway resources in the exhibition’s first gallery\, including Essays on Held Impermanence\, a companion booklet to the exhibition\, and Exploring Feelings and Art: A Family Guide. \nHeld Impermanence follows a chronological display of Still’s works in the Museum’s first three galleries. \n  Save  
URL:https://artinamericaguide.com/event/held-impermanence-artists-select-katherine-simone-reynolds/
LOCATION:Clyfford Still Museum\, 1250 Bannock St.\, Denver\, CO\, 80204\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Clyfford Still Museum":MAILTO:press@clyffordstillmuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250307T100000
DTEND;TZID=America/New_York:20250727T170000
DTSTAMP:20260821T193836
CREATED:20241211T193211Z
LAST-MODIFIED:20241227T204216Z
UID:110914-1741341600-1753635600@artinamericaguide.com
SUMMARY:Edvard Munch: Technically Speaking
DESCRIPTION:Discover the experimental methods of Edvard Munch\, who creatively explored materials and techniques across media. \nA dynamic collaboration between curatorial and conservation experts at the Harvard Art Museums\, Edvard Munch: Technically Speaking offers rare insight into the Norwegian artist’s innovative techniques and the recurring themes across his paintings\, woodcuts\, lithographs\, etchings\, and combination prints. The Harvard Art Museums house one of the largest and most significant collections of artwork by Munch in the United States\, and the exhibition showcases roughly 70 works\, including key loans from Munchmuseet\, Oslo. \nVisitors are invited to explore Munch’s artistic process\, uncovering his playful approach and fascination with materiality. He returned to some themes repeatedly during his lifetime\, carrying motifs across printmaking and painting and demonstrating how a single idea can evoke different responses through shifts in color and orientation. In the exhibition\, prints are displayed alongside the original copper plates\, woodblocks\, and lithography stones used to create them\, providing further access into Munch’s experimental practice. Edvard Munch: Technically Speaking also features groundbreaking research that sheds new light on the artist’s techniques and processes. \nCurated by Elizabeth M. Rudy\, Carl A. Weyerhaeuser Curator of Prints\, and Lynette Roth\, Daimler Curator of the Busch-Reisinger Museum; with Peter Murphy\, Stefan Engelhorn Curatorial Fellow in the Busch-Reisinger Museum. \nResearch in collaboration with Ellen Davis\, Associate Paintings Conservator\, Penley Knipe\, Philip and Lynn Straus Senior Conservator of Works on Paper and Head of the Paper Lab\, Abby Schleicher\, Assistant Paper Conservator\, and Kate Smith\, Senior Conservator of Paintings and Head of the Paintings Lab\, all in the Straus Center for Conservation and Technical Studies; and with contributions from Cambra Sklarz\, Diane and Michael Maher Curatorial Fellow of American Art\, and Kacper Kolęda and Tai Mitsuji\, Ph.D. candidates in the Department of History of Art and Architecture at Harvard University. \n  Save  
URL:https://artinamericaguide.com/event/edvard-munch-technically-speaking/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/12/Choumali-1.jpeg
ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250307T110000
DTEND;TZID=America/New_York:20271231T180000
DTSTAMP:20260821T193836
CREATED:20250224T180514Z
LAST-MODIFIED:20250224T180514Z
UID:112255-1741345200-1830276000@artinamericaguide.com
SUMMARY:Tending and Dreaming: Stories from the Collection
DESCRIPTION:Tending and Dreaming: Stories from the Collection launches the first dedicated collection galleries at the Museum. Providing unprecedented access to core works in San José’s only publicly held art collection\, SJMA’s collection galleries position artists as storytellers to imagine the Museum as a space where culture and meaning are actively made and always in process.  \nOrganized into thematic groupings\, Tending and Dreaming offers poetic starting points for engaging with ideas woven through the works of almost fifty artists from the Bay Area and beyond\, including  Ruth Asawa\, Martha Atienza\, Shilpa Gupta\, Yolanda López\, and Elias Sime\, among many others.  \n  Save  
URL:https://artinamericaguide.com/event/tending-and-dreaming-stories-from-the-collection/
LOCATION:San Jose Museum of Art\, 110 S. Market Street\, San Jose\, CA\, 95113\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/02/2004.16_valdezpatssi_theimaginarygarden_FV_2.jpg
GEO:37.3327419;-121.8905201
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250411T110000
DTEND;TZID=America/New_York:20250816T160000
DTSTAMP:20260821T193836
CREATED:20250319T152251Z
LAST-MODIFIED:20250523T151929Z
UID:112567-1744369200-1755360000@artinamericaguide.com
SUMMARY:An Gorta Mór: Selections from Ireland’s Great Hunger Museum
DESCRIPTION:About the Exhibition: This exhibition presents highlights from the collection of Ireland’s Great Hunger Museum\, which explores the impact of the Irish Famine of 1845-1852 through artwork produced by eminent Irish and Irish-American artists of the past 170 years. The works on view in the exhibition will include paintings by late 19th- and early 20th‐century artists like James Brenan\, Daniel Macdonald\, James Arthur O’Connor and Jack B. Yeats\, as well as sculptures\, paintings\, and works on paper by contemporary artists including John Behan\, Rowan Gillespie\, Brian Maguire\, and Hughie O’Donoghue. The exhibition is presented by Quinnipiac University and the Ireland’s Great Hunger Museum of Fairfield Exhibition. \nImage: James Arthur O’Connor\, Scene in Connemara\, 1828\, oil on canvas. Courtesy of Quinnipiac University and the Ireland’s Great Hunger Museum of Fairfield Exhibition. \n  Save  
URL:https://artinamericaguide.com/event/an-gorta-mor-selections-from-irelands-great-hunger-museum/2025-04-11/
LOCATION:Quick Center for the Arts\, Walsh Gallery\, 1073 North Benson Road\, Fairfield\, CT\, 06824\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/03/OConnor-Connemara-Scene-1-2-scaled.jpg
ORGANIZER;CN="Fairfield University Art Museum":MAILTO:museum@fairfield.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250412T110000
DTEND;TZID=America/New_York:20250817T160000
DTSTAMP:20260821T193836
CREATED:20250319T152251Z
LAST-MODIFIED:20250319T152251Z
UID:113420-1744455600-1755446400@artinamericaguide.com
SUMMARY:An Gorta Mór: Selections from Ireland’s Great Hunger Museum
DESCRIPTION:About the Exhibition: This exhibition presents highlights from the collection of Ireland’s Great Hunger Museum\, which explores the impact of the Irish Famine of 1845-1852 through artwork produced by eminent Irish and Irish-American artists of the past 170 years. The works on view in the exhibition will include paintings by late 19th- and early 20th‐century artists like James Brenan\, Daniel Macdonald\, James Arthur O’Connor and Jack B. Yeats\, as well as sculptures\, paintings\, and works on paper by contemporary artists including John Behan\, Rowan Gillespie\, Brian Maguire\, and Hughie O’Donoghue. The exhibition is presented by Quinnipiac University and the Ireland’s Great Hunger Museum of Fairfield Exhibition. \nImage: James Arthur O’Connor\, Scene in Connemara\, 1828\, oil on canvas. Courtesy of Quinnipiac University and the Ireland’s Great Hunger Museum of Fairfield Exhibition. \n  Save  
URL:https://artinamericaguide.com/event/an-gorta-mor-selections-from-irelands-great-hunger-museum/2025-04-12/
LOCATION:Quick Center for the Arts\, Walsh Gallery\, 1073 North Benson Road\, Fairfield\, CT\, 06824\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/03/OConnor-Connemara-Scene-1-2-scaled.jpg
ORGANIZER;CN="Fairfield University Art Museum":MAILTO:museum@fairfield.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250415T110000
DTEND;TZID=America/New_York:20250820T160000
DTSTAMP:20260821T193836
CREATED:20250319T152251Z
LAST-MODIFIED:20250319T152251Z
UID:113421-1744714800-1755705600@artinamericaguide.com
SUMMARY:An Gorta Mór: Selections from Ireland’s Great Hunger Museum
DESCRIPTION:About the Exhibition: This exhibition presents highlights from the collection of Ireland’s Great Hunger Museum\, which explores the impact of the Irish Famine of 1845-1852 through artwork produced by eminent Irish and Irish-American artists of the past 170 years. The works on view in the exhibition will include paintings by late 19th- and early 20th‐century artists like James Brenan\, Daniel Macdonald\, James Arthur O’Connor and Jack B. Yeats\, as well as sculptures\, paintings\, and works on paper by contemporary artists including John Behan\, Rowan Gillespie\, Brian Maguire\, and Hughie O’Donoghue. The exhibition is presented by Quinnipiac University and the Ireland’s Great Hunger Museum of Fairfield Exhibition. \nImage: James Arthur O’Connor\, Scene in Connemara\, 1828\, oil on canvas. Courtesy of Quinnipiac University and the Ireland’s Great Hunger Museum of Fairfield Exhibition. \n  Save  
URL:https://artinamericaguide.com/event/an-gorta-mor-selections-from-irelands-great-hunger-museum/2025-04-15/
LOCATION:Quick Center for the Arts\, Walsh Gallery\, 1073 North Benson Road\, Fairfield\, CT\, 06824\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/03/OConnor-Connemara-Scene-1-2-scaled.jpg
ORGANIZER;CN="Fairfield University Art Museum":MAILTO:museum@fairfield.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250416T110000
DTEND;TZID=America/New_York:20250821T160000
DTSTAMP:20260821T193836
CREATED:20250319T152251Z
LAST-MODIFIED:20250319T152251Z
UID:113422-1744801200-1755792000@artinamericaguide.com
SUMMARY:An Gorta Mór: Selections from Ireland’s Great Hunger Museum
DESCRIPTION:About the Exhibition: This exhibition presents highlights from the collection of Ireland’s Great Hunger Museum\, which explores the impact of the Irish Famine of 1845-1852 through artwork produced by eminent Irish and Irish-American artists of the past 170 years. The works on view in the exhibition will include paintings by late 19th- and early 20th‐century artists like James Brenan\, Daniel Macdonald\, James Arthur O’Connor and Jack B. Yeats\, as well as sculptures\, paintings\, and works on paper by contemporary artists including John Behan\, Rowan Gillespie\, Brian Maguire\, and Hughie O’Donoghue. The exhibition is presented by Quinnipiac University and the Ireland’s Great Hunger Museum of Fairfield Exhibition. \nImage: James Arthur O’Connor\, Scene in Connemara\, 1828\, oil on canvas. Courtesy of Quinnipiac University and the Ireland’s Great Hunger Museum of Fairfield Exhibition. \n  Save  
URL:https://artinamericaguide.com/event/an-gorta-mor-selections-from-irelands-great-hunger-museum/2025-04-16/
LOCATION:Quick Center for the Arts\, Walsh Gallery\, 1073 North Benson Road\, Fairfield\, CT\, 06824\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/03/OConnor-Connemara-Scene-1-2-scaled.jpg
ORGANIZER;CN="Fairfield University Art Museum":MAILTO:museum@fairfield.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250416T110000
DTEND;TZID=America/New_York:20251005T170000
DTSTAMP:20260821T193836
CREATED:20250403T185846Z
LAST-MODIFIED:20250403T185846Z
UID:112826-1744801200-1759683600@artinamericaguide.com
SUMMARY:Boren Banner Series: Tarrah Krajnak
DESCRIPTION:The Frye is proud to debut an all-new body of work from the internationally recognized artist Tarrah Krajnak. Known for work that blends photography\, performance\, and poetry\, Krajnak uses her body to reimagine and respond to iconic moments in photographic history and to challenge traditions of Western art history. With a keen instinct for the lyric as well as the political potential of image making\, Krajnak reshapes the boundaries of contemporary photography. \n  Save  
URL:https://artinamericaguide.com/event/boren-banner-series-tarrah-krajnak/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/04/BodyConfigurationsLima_01.jpg
ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250417T110000
DTEND;TZID=America/New_York:20250822T160000
DTSTAMP:20260821T193836
CREATED:20250319T152251Z
LAST-MODIFIED:20250319T152251Z
UID:113423-1744887600-1755878400@artinamericaguide.com
SUMMARY:An Gorta Mór: Selections from Ireland’s Great Hunger Museum
DESCRIPTION:About the Exhibition: This exhibition presents highlights from the collection of Ireland’s Great Hunger Museum\, which explores the impact of the Irish Famine of 1845-1852 through artwork produced by eminent Irish and Irish-American artists of the past 170 years. The works on view in the exhibition will include paintings by late 19th- and early 20th‐century artists like James Brenan\, Daniel Macdonald\, James Arthur O’Connor and Jack B. Yeats\, as well as sculptures\, paintings\, and works on paper by contemporary artists including John Behan\, Rowan Gillespie\, Brian Maguire\, and Hughie O’Donoghue. The exhibition is presented by Quinnipiac University and the Ireland’s Great Hunger Museum of Fairfield Exhibition. \nImage: James Arthur O’Connor\, Scene in Connemara\, 1828\, oil on canvas. Courtesy of Quinnipiac University and the Ireland’s Great Hunger Museum of Fairfield Exhibition. \n  Save  
URL:https://artinamericaguide.com/event/an-gorta-mor-selections-from-irelands-great-hunger-museum/2025-04-17/
LOCATION:Quick Center for the Arts\, Walsh Gallery\, 1073 North Benson Road\, Fairfield\, CT\, 06824\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/03/OConnor-Connemara-Scene-1-2-scaled.jpg
ORGANIZER;CN="Fairfield University Art Museum":MAILTO:museum@fairfield.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250419T110000
DTEND;TZID=America/New_York:20250824T160000
DTSTAMP:20260821T193836
CREATED:20250319T152251Z
LAST-MODIFIED:20250319T152251Z
UID:113424-1745060400-1756051200@artinamericaguide.com
SUMMARY:An Gorta Mór: Selections from Ireland’s Great Hunger Museum
DESCRIPTION:About the Exhibition: This exhibition presents highlights from the collection of Ireland’s Great Hunger Museum\, which explores the impact of the Irish Famine of 1845-1852 through artwork produced by eminent Irish and Irish-American artists of the past 170 years. The works on view in the exhibition will include paintings by late 19th- and early 20th‐century artists like James Brenan\, Daniel Macdonald\, James Arthur O’Connor and Jack B. Yeats\, as well as sculptures\, paintings\, and works on paper by contemporary artists including John Behan\, Rowan Gillespie\, Brian Maguire\, and Hughie O’Donoghue. The exhibition is presented by Quinnipiac University and the Ireland’s Great Hunger Museum of Fairfield Exhibition. \nImage: James Arthur O’Connor\, Scene in Connemara\, 1828\, oil on canvas. Courtesy of Quinnipiac University and the Ireland’s Great Hunger Museum of Fairfield Exhibition. \n  Save  
URL:https://artinamericaguide.com/event/an-gorta-mor-selections-from-irelands-great-hunger-museum/2025-04-19/
LOCATION:Quick Center for the Arts\, Walsh Gallery\, 1073 North Benson Road\, Fairfield\, CT\, 06824\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/03/OConnor-Connemara-Scene-1-2-scaled.jpg
ORGANIZER;CN="Fairfield University Art Museum":MAILTO:museum@fairfield.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250422T110000
DTEND;TZID=America/New_York:20250827T160000
DTSTAMP:20260821T193836
CREATED:20250319T152251Z
LAST-MODIFIED:20250319T152251Z
UID:113425-1745319600-1756310400@artinamericaguide.com
SUMMARY:An Gorta Mór: Selections from Ireland’s Great Hunger Museum
DESCRIPTION:About the Exhibition: This exhibition presents highlights from the collection of Ireland’s Great Hunger Museum\, which explores the impact of the Irish Famine of 1845-1852 through artwork produced by eminent Irish and Irish-American artists of the past 170 years. The works on view in the exhibition will include paintings by late 19th- and early 20th‐century artists like James Brenan\, Daniel Macdonald\, James Arthur O’Connor and Jack B. Yeats\, as well as sculptures\, paintings\, and works on paper by contemporary artists including John Behan\, Rowan Gillespie\, Brian Maguire\, and Hughie O’Donoghue. The exhibition is presented by Quinnipiac University and the Ireland’s Great Hunger Museum of Fairfield Exhibition. \nImage: James Arthur O’Connor\, Scene in Connemara\, 1828\, oil on canvas. Courtesy of Quinnipiac University and the Ireland’s Great Hunger Museum of Fairfield Exhibition. \n  Save  
URL:https://artinamericaguide.com/event/an-gorta-mor-selections-from-irelands-great-hunger-museum/2025-04-22/
LOCATION:Quick Center for the Arts\, Walsh Gallery\, 1073 North Benson Road\, Fairfield\, CT\, 06824\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/03/OConnor-Connemara-Scene-1-2-scaled.jpg
ORGANIZER;CN="Fairfield University Art Museum":MAILTO:museum@fairfield.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250423T110000
DTEND;TZID=America/New_York:20250828T160000
DTSTAMP:20260821T193836
CREATED:20250319T152251Z
LAST-MODIFIED:20250319T152251Z
UID:113426-1745406000-1756396800@artinamericaguide.com
SUMMARY:An Gorta Mór: Selections from Ireland’s Great Hunger Museum
DESCRIPTION:About the Exhibition: This exhibition presents highlights from the collection of Ireland’s Great Hunger Museum\, which explores the impact of the Irish Famine of 1845-1852 through artwork produced by eminent Irish and Irish-American artists of the past 170 years. The works on view in the exhibition will include paintings by late 19th- and early 20th‐century artists like James Brenan\, Daniel Macdonald\, James Arthur O’Connor and Jack B. Yeats\, as well as sculptures\, paintings\, and works on paper by contemporary artists including John Behan\, Rowan Gillespie\, Brian Maguire\, and Hughie O’Donoghue. The exhibition is presented by Quinnipiac University and the Ireland’s Great Hunger Museum of Fairfield Exhibition. \nImage: James Arthur O’Connor\, Scene in Connemara\, 1828\, oil on canvas. Courtesy of Quinnipiac University and the Ireland’s Great Hunger Museum of Fairfield Exhibition. \n  Save  
URL:https://artinamericaguide.com/event/an-gorta-mor-selections-from-irelands-great-hunger-museum/2025-04-23/
LOCATION:Quick Center for the Arts\, Walsh Gallery\, 1073 North Benson Road\, Fairfield\, CT\, 06824\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/03/OConnor-Connemara-Scene-1-2-scaled.jpg
ORGANIZER;CN="Fairfield University Art Museum":MAILTO:museum@fairfield.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250424T110000
DTEND;TZID=America/New_York:20250829T160000
DTSTAMP:20260821T193836
CREATED:20250319T152251Z
LAST-MODIFIED:20250319T152251Z
UID:113427-1745492400-1756483200@artinamericaguide.com
SUMMARY:An Gorta Mór: Selections from Ireland’s Great Hunger Museum
DESCRIPTION:About the Exhibition: This exhibition presents highlights from the collection of Ireland’s Great Hunger Museum\, which explores the impact of the Irish Famine of 1845-1852 through artwork produced by eminent Irish and Irish-American artists of the past 170 years. The works on view in the exhibition will include paintings by late 19th- and early 20th‐century artists like James Brenan\, Daniel Macdonald\, James Arthur O’Connor and Jack B. Yeats\, as well as sculptures\, paintings\, and works on paper by contemporary artists including John Behan\, Rowan Gillespie\, Brian Maguire\, and Hughie O’Donoghue. The exhibition is presented by Quinnipiac University and the Ireland’s Great Hunger Museum of Fairfield Exhibition. \nImage: James Arthur O’Connor\, Scene in Connemara\, 1828\, oil on canvas. Courtesy of Quinnipiac University and the Ireland’s Great Hunger Museum of Fairfield Exhibition. \n  Save  
URL:https://artinamericaguide.com/event/an-gorta-mor-selections-from-irelands-great-hunger-museum/2025-04-24/
LOCATION:Quick Center for the Arts\, Walsh Gallery\, 1073 North Benson Road\, Fairfield\, CT\, 06824\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/03/OConnor-Connemara-Scene-1-2-scaled.jpg
ORGANIZER;CN="Fairfield University Art Museum":MAILTO:museum@fairfield.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250426T110000
DTEND;TZID=America/New_York:20250831T160000
DTSTAMP:20260821T193836
CREATED:20250319T152251Z
LAST-MODIFIED:20250319T152251Z
UID:113428-1745665200-1756656000@artinamericaguide.com
SUMMARY:An Gorta Mór: Selections from Ireland’s Great Hunger Museum
DESCRIPTION:About the Exhibition: This exhibition presents highlights from the collection of Ireland’s Great Hunger Museum\, which explores the impact of the Irish Famine of 1845-1852 through artwork produced by eminent Irish and Irish-American artists of the past 170 years. The works on view in the exhibition will include paintings by late 19th- and early 20th‐century artists like James Brenan\, Daniel Macdonald\, James Arthur O’Connor and Jack B. Yeats\, as well as sculptures\, paintings\, and works on paper by contemporary artists including John Behan\, Rowan Gillespie\, Brian Maguire\, and Hughie O’Donoghue. The exhibition is presented by Quinnipiac University and the Ireland’s Great Hunger Museum of Fairfield Exhibition. \nImage: James Arthur O’Connor\, Scene in Connemara\, 1828\, oil on canvas. Courtesy of Quinnipiac University and the Ireland’s Great Hunger Museum of Fairfield Exhibition. \n  Save  
URL:https://artinamericaguide.com/event/an-gorta-mor-selections-from-irelands-great-hunger-museum/2025-04-26/
LOCATION:Quick Center for the Arts\, Walsh Gallery\, 1073 North Benson Road\, Fairfield\, CT\, 06824\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/03/OConnor-Connemara-Scene-1-2-scaled.jpg
ORGANIZER;CN="Fairfield University Art Museum":MAILTO:museum@fairfield.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250429T110000
DTEND;TZID=America/New_York:20250903T160000
DTSTAMP:20260821T193836
CREATED:20250319T152251Z
LAST-MODIFIED:20250319T152251Z
UID:113429-1745924400-1756915200@artinamericaguide.com
SUMMARY:An Gorta Mór: Selections from Ireland’s Great Hunger Museum
DESCRIPTION:About the Exhibition: This exhibition presents highlights from the collection of Ireland’s Great Hunger Museum\, which explores the impact of the Irish Famine of 1845-1852 through artwork produced by eminent Irish and Irish-American artists of the past 170 years. The works on view in the exhibition will include paintings by late 19th- and early 20th‐century artists like James Brenan\, Daniel Macdonald\, James Arthur O’Connor and Jack B. Yeats\, as well as sculptures\, paintings\, and works on paper by contemporary artists including John Behan\, Rowan Gillespie\, Brian Maguire\, and Hughie O’Donoghue. The exhibition is presented by Quinnipiac University and the Ireland’s Great Hunger Museum of Fairfield Exhibition. \nImage: James Arthur O’Connor\, Scene in Connemara\, 1828\, oil on canvas. Courtesy of Quinnipiac University and the Ireland’s Great Hunger Museum of Fairfield Exhibition. \n  Save  
URL:https://artinamericaguide.com/event/an-gorta-mor-selections-from-irelands-great-hunger-museum/2025-04-29/
LOCATION:Quick Center for the Arts\, Walsh Gallery\, 1073 North Benson Road\, Fairfield\, CT\, 06824\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/03/OConnor-Connemara-Scene-1-2-scaled.jpg
ORGANIZER;CN="Fairfield University Art Museum":MAILTO:museum@fairfield.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250510
DTEND;VALUE=DATE:20250726
DTSTAMP:20260821T193836
CREATED:20250515T161306Z
LAST-MODIFIED:20250725T131635Z
UID:113334-1746835200-1753487999@artinamericaguide.com
SUMMARY:Bienvenue: African American Artists in France
DESCRIPTION:Bienvenue: African American Artists in France\nMay 10–July 25\, 2025  \n“There is a breadth\, a generosity\, an obsolete cosmopolitanism about her [France] recognition of the fine arts\, which bars no nationality\, no race\, no school\, or variation of artistic method. All she asks is that the art shall be true\, in other words that it shall set forth life.”—Henry Ossawa Tanner\, 1908 [1] \n“Life in Paris offers me the anonymity and objectivity to release long-stored memories of sorrow\, and the beauty of the difficult effort to release and orchestrate in form and color a personal design. Being in France gives time for reflection. One never leaves home if one was never there.”—Beauford Delaney\, 1966 [2] \nMichael Rosenfeld Gallery is proud to present Bienvenue: African American Artists in France\, a historical survey of seventeen Black American artists who lived and worked in France from the late nineteenth century through the present. Complementing the landmark exhibition Paris Noir: Artistic circulations and anti-colonial resistance\, 1950–2000\, on view at the Centre Pompidou through June 30th\, Bienvenue offers an expanded look into the presence of Black American artists in France\, many of whom were seeking respite from the systemic racism that limited their opportunities for education and the recognition of their work in the United States. Where Paris Noir encompasses artists of the larger African diaspora working in the second half of the twentieth century\, Bienvenue: African American Artists in France focuses specifically on American artists\, and spans nearly eight decades in its chronological scope\, beginning with a 1912 painting by Henry Ossawa Tanner (1859–1937) and ending with a 1989 sculpture by Barbara Chase-Riboud (b.1934). \nBienvenue: African American Artists in France features works by Richmond Barthé*(1901–1989)\, Barbara Chase-Riboud* (b.1934)\, Ed Clark (1926–2019)\, Robert Colescott (1925–2009)\, Harold Cousins* (1916–1992)\, Beauford Delaney* (1901–1979)\, Herbert Gentry (1919–2003)\, Sam Gilliam (1933–2022)\, Palmer Hayden (1890–1973)\, Richard Hunt (1935–2023) William H. Johnson* (1901–1970)\, Augusta Savage (1892–1962)\, William Edouard Scott (1884–1964)\, Albert Alexander Smith (1896–1940)\, Henry Ossawa Tanner* (1859–1937)\, Bob Thompson* (1937–1966) and Hale Woodruff (1900–1980).[3] \nWidely regarded as the patriarch of Black American artists\, Henry Ossawa Tanner remains a foremost painter of the nineteenth and early twentieth centuries and the first Black American artist to achieve international fame. His relocation from Philadelphia to Paris in 1891 set a precedent that would inspire future generations of Black American artists to train\, reside\, or sojourn in France\, including Harlem Renaissance master William Edouard Scott\, who studied under Tanner from 1910–13. Likewise\, Palmer Hayden\, Augusta Savage\, and Hale Woodruff each sought an audience with the elder master during their time in France in the 1920s and 1930s. In addition to invaluable advice on navigating the mores of French society\, Tanner also provided guidance on painting techniques and openly shared his understanding of art. In a 1970 issue of The Crisis\, Woodruff recalled his formative encounter with Tanner in 1928. Traveling to the small town in Picardy where Tanner lived in semi-retirement\, Woodruff introduced himself to “a remarkable man of profound intelligence and scholarship\,” who welcomed the young artist into his home. Upon asking who had most inspired him in the Parisian museums\, Woodruff recalled Tanner’s nomination of Claude Monet and Paul Cézanne as the most important painters of the modern age\, elaborating: \n“Remember that light can be many things: light for illuminating an object or for creating a mood; for purposes of dramatization as in a theatrical production. For myself\, I see light chiefly as a means of achieving a luminosity\, a luminosity not consisting of various light-colors but luminosity within a limited color range\, say\, a blue or blue-green. There should be a glow which indeed consumes the theme or subject. Still\, a light-glow which rises and falls in intensity as it moves through the painting. It isn’t simple to put into words.”[4] \nThough the country was not free of racism\, France generally afforded Black artists and intellectuals greater respect and more opportunities than the United States during the late nineteenth and twentieth centuries. Such was the environment that prompted James Baldwin to make Paris his home in 1948\, and he spent the ensuing years encouraging his good friend Beauford Delaney to join him. Delaney eventually agreed\, moving from his Greene Street loft in Greenwich Village to Montparnasse in 1953. Delaney would remain in the vicinity of Paris for the remainder of his life\, composing a singular body of gestural\, chromatically nuanced abstractions and a celebrated series of portraits that reflect the creative and spiritual inspiration he felt in the European capital. “I left New York for Paris in 1953\, and I have painted with greater freedom ever since\,” Delaney wrote some ten years after leaving the United States. “I tried to paint light\, different kinds of light\, and my painting has been associated with ‘abstraction.’ But there are no precise limits for me between ‘abstract’ and ‘figurative’ paintings and I have always continued to paint portraits of friends.”[5] Delaney is a particularly strong presence in Paris Noir\, which features twelve paintings by the artist\, eight of which are on loan from Michael Rosenfeld Gallery. \nWhile Paris has always been a cultural hub for creatives and intellectuals\, many artists featured in Bienvenue traveled to the countryside or coast to paint\, following the tradition of the Impressionist and modernist masters that inspired them. The exhibition offers key examples of this tradition\, including maritime paintings by Palmer Hayden and a coastal scene by Tanner executed along the coast of Brittany; a seminal painting by William H. Johnson depicting the idyllic coastal town of Cagnes-Sur-Mer; a landscape portraying the island of Port-Cros off the French Riviera by Delaney; and a scene of the Eure river by Woodruff executed in Chartres. \nThe cosmopolitan hub of Paris was a natural attraction for Black American artists\, who found the city’s architecture\, social spaces\, and creative circles to be rich sources of inspiration. Several works in the exhibition feature distinctly Parisian subjects\, including Richmond Barthé’s iconic sculpture of Senegalese cabaret dancer Feral Benga; William Edouard Scott’s transcendent portrayal of Notre Dame; and a classic rendition of the Pont Neuf by Woodruff. Parisian nightlife is likewise a recurring theme of the exhibition; in addition to Barthé’s bronze portrait of Benga\, drawings by Robert Colescott and Albert Alexander Smith depicting cabaret performances are also on view. \nOpportunities for education and art training were another primary draw for many artists\, particularly in the postwar era. The exhibition features two abstract paintings by Ed Clark\, who enrolled at L’académie de la Grande Chaumière in 1952; major sculptures by Harold Cousins\, who studied at Ossip Zadkine’s studio in 1949; and a quintessential abstract painting by Herbert Gentry\, who likewise studied under Zadkine and at L’académie de la Grande Chaumière in the late 1940s. Four paintings by Bob Thompson will also be on view; executed during his first trip to Europe in 1961–62\, these works testify to the hours Thompson spent at the Louvre and Paris’ many other museums\, soaking up the compositional devices of the Old Masters and translating them into thoroughly contemporary paintings using his own unique expressionist voice. \nMichael Rosenfeld Gallery is recognized for modern and contemporary art. Since its founding in 1989\, the gallery has been committed to expanding the canon of American art by championing artists who have made vital contributions to surrealism\, social realism\, abstract expressionism\, figurative expressionism\, and geometric abstraction. Michael Rosenfeld Gallery’s dedication to presenting the work of nineteenth and twentieth century Black American masters is as longstanding as the gallery itself; in addition to dozens of solo exhibitions focused on Black American artists\, the gallery organized the renowned annual exhibition series African-American Art: 20th Century Masterworks from 1993–2003. \n1. Henry Ossawa Tanner quoted in Dewey F. Mosby\, Across continents and cultures: The Art and Life of Henry Ossawa Tanner(Nelson-Atkins Museum of Art\, 1995)\, 7–8\n2. Beauford Delaney quoted in John Ashbery\, “American Sanctuary in Paris\,” ARTnews Annual vol. 31 (1966): 146\n3. Names with asterisks indicate that Michael Rosenfeld Gallery has presented solo exhibitions for these artists\n4. Tanner quoted in Hale Woodruff\, “My Meeting with Henry O. Tanner\,” The Crisis (June 1970)\, reprinted in Explorations in the City of Light: African-American Artists in Paris\, 1945-1965\, exh. cat. (New York: The Studio Museum in Harlem\, 1996)\, 11\n5. Beauford Delaney\, artist statement\, “Beauford Delaney – Career as a Creative Artist\,” c.1963\, Beauford Delaney collection\, Sc MG 59\, Schomburg Center for Research in Black Culture\, Manuscripts\, Archives and Rare Books Division\, The New York Public Library\, New York\, NY \n  Save  
URL:https://artinamericaguide.com/event/bienvenue-african-american-artists-in-france/
LOCATION:NY
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/05/10-Bienvenue-2025-Install-View-6.jpg
ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250523T110000
DTEND;TZID=America/New_York:20250726T160000
DTSTAMP:20260821T193836
CREATED:20250527T180930Z
LAST-MODIFIED:20250527T180930Z
UID:113406-1747998000-1753545600@artinamericaguide.com
SUMMARY:Famous & Family: Through the Lens of Trude Fleischmann
DESCRIPTION:About the Exhibition: Austrian-born Trude Fleischmann (1895-1990) was one of the most accomplished female photographers of the 20th century. After great success in Vienna in the 20s photographing artists\, models\, and performers\, she fled the Anschluss in 1938\, first to Paris and then New York. She opened a studio on Fifth Avenue in 1940 and photographed many of the artists and intellectuals of the day\, including Eleanor Roosevelt and Albert Einstein. This exhibition will include loans from the Wien Museum in Vienna\, Austria\, the New York Public Library\, private collections\, and as well as never-before-exhibited works from family collections. \n  Save  
URL:https://artinamericaguide.com/event/famous-family-through-the-lens-of-trude-fleischmann/
LOCATION:Bellarmine Hall Galleries\, 1073 North Benson Road\, Fairfield\, CT\, 06824\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/05/Fleischmann_15-1-scaled.jpg
ORGANIZER;CN="Fairfield University Art Museum":MAILTO:museum@fairfield.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250524
DTEND;VALUE=DATE:20250907
DTSTAMP:20260821T193836
CREATED:20250530T145022Z
LAST-MODIFIED:20250613T201808Z
UID:113518-1748044800-1757203199@artinamericaguide.com
SUMMARY:JHB Gallery at Jetsam Studio
DESCRIPTION:JHB Gallery and Jetsam Studio are delighted to launch their summer 2025 season of art and design in Southampton\, New York\, with a new installation of contemporary artwork with modern and mid-century furniture\, lighting\, and ceramics. \nWe are excited to continue our partnership over the last five summers—and to be putting in place our program for 2025. We will be highlighting large-scale works including: Water Glasses and photographic abstracts by Amanda Means; Scott Morgan’s shimmering light-etched Surygrams; Mia Pearlman’s intricate and effervescent wall works in cut paper; Ellen Carey’s color-saturated experimental darkroom photography; classic gestural abstract painting by Mark Saltz; as well as remarkable contemporary jacquard tapestry works by Annette Cords. The artwork will be on view alongside contemporary furniture and design classics by the likes of Pierre Jeanneret\, René Gabriel and Charlotte Perriand. \nIn the summer of 2020\, the Jayne H. Baum Gallery started a unique partnership with designer Quinn Pofahl to exhibit the work of our gallery artists at his new 2\,000 square feet studio in the heart of Southampton Village on the East End of Long Island. During that first summer\, pandemic-deprived of shared cultural spaces\, the new venture provided a welcome site of intersection between art\, design\, and architecture. \nSituated at 58 Jobs Lane\, in Southampton\, Jetsam Studio is open Thursday through Monday—and by appointment. \n  \nPress Inquiries\nJHB Gallery / Jayne H. Baum \n26 Grove Street\, Suite 4C \nNew York\, NY 10014\nT: 212 255 9286 \nE: info@jhbgallery.com \n  \nJetsam Studio \n58 Jobs Lane\, Southampton\, NY 11968\nMonday\, and Thursday–Saturday 11am–5pm\nSunday 12–5pm \nAnd by appointment\nT: 631 488 4005 \nE: info@jetsamstudio.com \n  Save  
URL:https://artinamericaguide.com/event/jhb-gallery/
LOCATION:Jetsam Studio\, 58 Jobs Lane\, SOUTHAMPTON\, NY\, 11968\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/05/AC001_Annette_Cords_In_Other_Words_silver_DETAIL.jpg
ORGANIZER;CN="JHB Gallery":MAILTO:info@jhbgallery.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250524T100000
DTEND;TZID=America/New_York:20250817T170000
DTSTAMP:20260821T193836
CREATED:20250505T202436Z
LAST-MODIFIED:20250505T202436Z
UID:113136-1748080800-1755450000@artinamericaguide.com
SUMMARY:The Solomon Collection: Dürer to Degas and Beyond
DESCRIPTION:Explore a remarkable collection of artworks that span the centuries and discover how it was assembled over seven decades. \nThe Solomon Collection: Dürer to Degas and Beyond celebrates a significant recent bequest to the Harvard Art Museums from passionate collectors Arthur K. and Mariot F. Solomon. The exhibition spotlights over 135 works\, including paintings\, sculptures\, drawings\, and prints by some of the most significant artists from the Renaissance to the 20th century\, and offers visitors an intimate view into the highly personal yet inherently collaborative nature of art collecting. \nThe artists featured span six centuries and include virtuoso printmakers\, from the pioneers of engraving such as Hans Sebald Beham\, Martin Schongauer\, and Albrecht Dürer to inventive painter-etchers like Salvator Rosa\, Giovanni Battista Tiepolo\, and Francisco José de Goya y Lucientes; provocateurs of 19th-century painting such as Eugène Delacroix\, Théodore Géricault\, Gustave Courbet\, Claude Monet\, Edgar Degas\, and Paul Cézanne; groundbreaking sculptors like Jean-Baptiste Carpeaux\, Henry Moore\, Wilhelm Lehmbruck\, David Smith\, and Anthony Caro; trailblazers of abstraction like Kenneth Noland\, Jules Olitski\, and Larry Poons; and stalwart Boston artists Marjorie Minkin and Peter Lipsitt. \nAn accompanying print catalogue highlights works in the Solomon Collection with entries written by curators\, former and current postdoctoral fellows\, and Harvard faculty and graduate students. The volume also includes a history of the couple’s lifelong engagement with art and the dealers\, professors\, and curators who helped inform their collecting. \n  Save  
URL:https://artinamericaguide.com/event/the-solomon-collection-durer-to-degas-and-beyond/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
CATEGORIES:Event,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/04/Solomon_Black-Form-in-Sky.jpeg
ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250529T100000
DTEND;TZID=America/New_York:20250809T170000
DTSTAMP:20260821T193836
CREATED:20250515T161307Z
LAST-MODIFIED:20250515T161307Z
UID:113318-1748512800-1754758800@artinamericaguide.com
SUMMARY:Richard Learoyd
DESCRIPTION:Fraenkel Gallery is pleased to present an exhibition of new and recent photographs by Richard Learoyd. Exploring classical subjects using exacting photographic techniques\, Learoyd creates hyper-detailed works with enigmatic depths. Highlights include new studies of ancient trees printed on gessoed canvas and largescale views of the Grand Canyon. The show also features new still lifes\, and marks the debut of photographs Learoyd made in collaboration with renowned ceramicist Frances Palmer. For the exhibition\, Palmer created vessels based on drawings made by Learoyd\, who in turn photographed the ceramics in his studio\, overflowing with flowers in a reconsideration of Rococo styles. A public reception with Learoyd and Palmer will take place on Saturday\, May 31\, from 2-4pm\, with a conversation between the artists at 2:30pm. During the opening\, Palmer’s ceramic vases will feature arrangements by floral artist Morvarid Mossavar of La Lavande Floral Studio. \n  Save  
URL:https://artinamericaguide.com/event/richard-learoyd/2025-05-29/
LOCATION:Fraenkel Gallery\, 49 Geary Street\, San Francisco\, CA\, 94108\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/05/RL-0751-Framed.jpg
ORGANIZER;CN="Fraenkel Gallery":MAILTO:mail@fraenkelgallery.com
GEO:37.7876041;-122.4042781
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Fraenkel Gallery 49 Geary Street San Francisco CA 94108 United States;X-APPLE-RADIUS=500;X-TITLE=49 Geary Street:geo:-122.4042781,37.7876041
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250612T180000
DTEND;TZID=America/New_York:20250803T180000
DTSTAMP:20260821T193836
CREATED:20250530T145022Z
LAST-MODIFIED:20250530T145022Z
UID:113523-1749751200-1754244000@artinamericaguide.com
SUMMARY:2024 Mercedes Matter Awards Exhibition
DESCRIPTION:The New York Studio School is delighted to host the 2024 Mercedes Matter Award WinnersExhibition. Selected by jurors Samira Abbassy and Jason Stopa from the 2024 Alumni Exhibition\, these artists were honored for the exceptional quality of their work—chosen from six decades of NYSS history—and presented with the Mercedes Matter Prize\, named in tribute to the School’s founder\, Mercedes Matter. The Exhibition is on view in the main gallery from June 12th\, 2025 to August 3rd\, 2025\, with an opening reception on June 12th from 6-8 PM. \n  Save  
URL:https://artinamericaguide.com/event/2024-mercedes-matter-awards-exhibition/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/05/Allen-Jamie_EPROMO.jpg
ORGANIZER;CN="new york studio school":MAILTO:rrickert@nyss.org
GEO:40.7329524;-73.998005
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=New York Studio School of Drawing Painting & Sculpture 8 West 8th Street New York NY 10011 United States;X-APPLE-RADIUS=500;X-TITLE=8 West 8th Street:geo:-73.998005,40.7329524
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250613T150000
DTEND;TZID=America/New_York:20250721T170000
DTSTAMP:20260821T193836
CREATED:20250520T183809Z
LAST-MODIFIED:20250604T001617Z
UID:113386-1749826800-1753117200@artinamericaguide.com
SUMMARY:FOREST BATHING | A Group Exhibition about Nature
DESCRIPTION:FOREST BATHING |  A Group Exhibition about Nature \nCurated by Jen Dragon \nJune 13 – July 21\, 2025 \nGallery Hours: Friday – Monday: 10:00 – 5:00 PM \nExhibition Reception: June 15\, 3:00 – 5:00 PM \nEXHIBITION WEBPAGE \n(Saugerties\, NY)—Opus 40 Gallery presents Forest Bathing\, a group exhibition that explores the profound connection between art and the healing power of the natural world. Opening with a reception for the artists on Sunday\, June 15th\, from 3:00 to 5:00 PM\, this exhibition offers a much-needed breath of fresh air for the soul. \nInspired by the Japanese concept of Shinrin-Yoku\, or “Forest Bathing\,” this exhibition delves into mindfully immersing ourselves in the woodlands’ sights\, sounds\, smells\, and textures. Originating in the 1980s as a gentle antidote to the increasing pace of technological life\, Forest Bathing is prescribed by Japanese physicians as a way to calm stressed nerves\, ease pain\, and nurture the spirit. \n“In a world that often feels overwhelming and disconnected\, the simple act of being in nature can be incredibly restorative\,” says exhibition curator\, Jen Dragon. “This exhibition on the grounds of Opus 40 celebrates that connection\, showcasing how six contemporary artists independently find inspiration and solace in the woodlands.” \nThis group exhibition features the work of Katie DeGroot\, Gabriella Kirby\, Anne Leith\, Robin McClintock\, Laura Von Rosk\, Martin Weinstein and Dion Yannatos. While their approaches vary\, the woodlands serve as a powerful touchstone\, resulting in a diverse and compelling collection of paintings that resonate with the beauty and complexity of nature. A version of this show premiered in Venice\, Italy\, during the 60th Venice Biennale in 2024. \nForest Bathing opens with a reception for the artists on Sunday\, June 15th\, from 3:00 – 5:00 PM. The exhibition will be on view through Monday\, July 21st\, 2025. \n  Save  
URL:https://artinamericaguide.com/event/forest-bathing-a-group-exhibition-about-nature/
LOCATION:Opus 40\, 356 George Sickle Road\, Saugerties\, NY\, 12477\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Cross Contemporary Art Projects":MAILTO:crosscontemporaryprojects@gmail.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250619
DTEND;VALUE=DATE:20250729
DTSTAMP:20260821T193836
CREATED:20250520T183810Z
LAST-MODIFIED:20250615T173722Z
UID:113347-1750291200-1753747199@artinamericaguide.com
SUMMARY:Julianne Nash: Flora non Grata
DESCRIPTION:Amos Eno Gallery\, a non-profit\, artist-run gallery\, is pleased to present Flora non Grata\, the inaugural solo exhibition by artist Julianne Nash. The exhibition will be on view from June 19 to July 27\, 2025\, with an opening reception on Friday\, June 20th\, from 6 to 8 p.m. at the gallery at 191 Henry St. on New York’s Lower East Side. Works will also be available to view online via Artsy. \nCoinciding with the release of her first monograph by the same name (Snap Collective\, 2025)\, Flora non Grata encompasses nearly ten years of the artist’s photographic explorations into personal and ecological grief. Grappling with the conventions of vanitas and isolation\, Nash creates images that are in a constant state of evolution – akin to the fragile ecosystems she seeks to memorialize. Blurring the boundaries between documentary\, artifice\, and perception\, Nash constructs mutable landscapes where nothing is certain. Images explode with vivid color or collapse into near monochrome as they rest uneasily in a moment of instability on the edge of collapse. Individual elements—rocks\, leaves\, blades of grass—are rendered with sharp clarity\, full of crisp lines and delineation while others blur into abstraction\, alive with mystery. Nash’s landscapes are composed through agglomerated digital processes—stacked images\, layered focuses\, color distortions\, digital compression. Her methods are both precise\, yet unpredictable. Moving pieces of landscape around the digital plane\, the artist allows for elements of serendipitous discovery to occur between layers\, each building upon the last.  \nThe heart of the exhibition is a 12-foot dye sublimation print on celtic cloth\, Juniper and Sagebrush (22 Images). The hostile aridity of the desert envelops viewers through the combination of infrared photographs and digitally painted golden hues. Desert landscapes are deeply vulnerable to subtle changes as all species vie for limited resources—a sobering reminder amid the accelerating spread of desertification. The juniper tree\, twisting on a cellular level in response to hardship\, becomes a metaphor for both ecological adaptation and human resilience. This desert is not empty but charged with silent struggle; a vanishing place marked by its refusal to remain still.  \nIn parallel to this sits a triptych\, Artemisia Tridentata\, that focuses on sagebrush at various times of day. As a sacred plant for many Indigenous peoples of North America\, the sagebrush’s history is fraught\, a constant tension written into the bones of the desert landscape. The job of the sagebrush is regeneration: a keystone species growing out of the erosion-carved\, cracked earth\, made brittle from poor alkaline soils where few other species can survive while providing water to those that do with its tendril-like roots. Its vast range can be deceiving—the loss of sagebrush habitat is accelerating\, and thus the species it provides habitat for. As cheatgrass and other non-native species increase\, warmer conditions spark more fires with more frequency and the ecosystem becomes ever-more unstable. While we\, much like the sagebrush\, may have roots strong enough to endure crisis and regrow\, the frequency and intensity of our changing systems make both our future and the future of the ‘sagebrush sea’ precarious. \nThe exhibition also presents earlier work by Nash\, including lenticular prints that render image-stacked layers on shifting focal planes. In Grandpa’s Flowers Post Mortem  (Focus Stack\, 74 Images\, Re-stacked 5 Times Upon Itself)\, Nash compresses the life cycle of funerary flowers down to a chaotic yet orderly frame indecipherable to logic. “[A] bouquet of errors\,” Lyle Rexer writes of Julianne’s floral arrangements in his book Fifteen Pictures to Understand Photography\, later saying: \n“These make for an image that is both static and unstable\, superficially perspicuous and incoherent. […] Wedded to a lens-based viewpoint\, audiences find that viewpoint undercut by Nash’s flowers\, and with it the dual sense of the subject – the subject being looked at and the subject doing the looking. The experience eludes description\, like going blind. Something is there to be seen\, but what it is and how it is done cannot be grasped visually.”  \nA selection of Nash’s most somber series Ennuipocalypse fills the gallery’s back room with a desaturated void of darkened landscapes.  These works present stark realities—seemingly healthy wetlands\, disappearing glaciers\, dead forests—all in an act of vanishing\, both epidemiologically and visually. A cold\, unflinching examination of landscapes under threat\, the artist contemplates extinction on both micro and geologic scales. Nash questions our collective emotional dissonance of climate collapse\, inspired by David Wallace-Wells’s “climate’s kaleidoscope” from The Uninhabitable Earth: \n“This is climate’s kaleidoscope: we can be mesmerized by the threat directly in front of us without ever perceiving it clearly. Climate devastation is everywhere you look\, and yet nowhere in focus\, as though we are displacing our anxieties about global warming by restaging them in theaters of our own design and control.” \nThe exhibition concludes with Nash’s most recent piece: Drill\, Baby\, Drill a dye-sublimation print on satin\, created in response to the current administration’s rollback of climate protections. Land\, sea and sky collapse in on themselves into a swirling\, flooded frame\, shimmering with the movement of gallery visitors as the satin fabric moves gently with the air. The surface effect evokes a water-like shine to the already flooded frame\, underscoring the precariousness of our present ecological moment. Climate change has become an environmental uncanny—everywhere and nowhere\, omnipresent yet out of focus. Nash’s images don’t offer certainty\, but ask you to sit with ambiguity\, to feel into the multiplicity of the fragile living world and\, perhaps\, to reattune your senses to its rhythms\, suggesting that to perceive is to care. \nAbout the Artist \nJulianne Nash received her MFA in Photography Video and Related Media from the School of Visual Arts (2018) and her BFA in Photography from Massachusetts College of Art and Design (2013). Julianne’s work has been exhibited widely in galleries such as: The Wassaic Project\, Griffin Museum of Photography\, Robert Klein Gallery\, et al.; and has been published in magazines such as Create!\, Dear Dave\, Meregoat Magazine\, and more. Most notably\, Julianne’s work was published in Lyle Rexer’s acclaimed book\, The Critical Eye: Fifteen Pictures to Understand Photography (Intellect Press 2019).  Julianne’s work has lead her to participate in multiple climate-focused events such as: “Lost in the Woods: Grief and the Ennuipocalypse”\, a Death Cafe she hosted with the Greenwood Cemetery; and the Creative Climate Awards 2024 at the Human Impacts Institute\, which included a CCA Arts & Action Chat: “From Climate Anxiety & Grief to Action”.  Julianne has participated in residencies at The Montello Foundation (NV)\, The Eastern Frontier Society’s Norton Island Residency (ME)\, and SEAR: Searsport Eco-Art Residency with Parsonage Gallery (ME). \nImage: Juniper and Sagebrush (22 Images)\, 2024. Dye sublimation print on celtic cloth\, 100 x 142 inches. \n  Save  
URL:https://artinamericaguide.com/event/julianne-nash-flora-non-grata/
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
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Amos Eno Gallery 191 Henry Street New York NY 10002 United States;X-APPLE-RADIUS=500;X-TITLE=191 Henry Street:geo:-73.9331373,40.7057864
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250619
DTEND;VALUE=DATE:20250728
DTSTAMP:20260821T193836
CREATED:20250520T183810Z
LAST-MODIFIED:20250522T172752Z
UID:113355-1750291200-1753660799@artinamericaguide.com
SUMMARY:Adam Cable: Domestic Techtonics
DESCRIPTION:Amos Eno Gallery\, a non-profit artist collective in the Lower East Side\, Manhattan\, is pleased to present Domestic Tectonics\, a solo exhibition in the gallery’s Project Space by Adam Cable. An opening reception is scheduled for Friday\, June 20\, at 191 Henry St\, New York\, NY; The Project Space will be open on Saturdays from noon to 6 p.m. and by request during the gallery’s regular hours.​ \nCable’s energizing collages transform and remix depictions of home environments\, blending physical and emotional associations with the observable world. Through his use of found digital images—ranging from snapshots to commercial textures—and arrangements into perspective-based scenes\, these layered works function like a visual puzzle. The image fragments form pictorial metaphors and narratives that conform to or push against the contours of domestic settings\, relaying the artist’s feelings of incompatibility within everyday spaces. As these layers slip in and out of their expected places\, sometimes frictions burn bright. Other times\, unexpected moments of harmony emerge from the image pairings. Domestic Tectonics visualizes how internalized forces define and shape the terrain of awareness\, even within seemingly neutral\, intimate settings such as the American home.  \n​The ten works on view include State of Emergency (Crash)\, where a test car explodes in a freeze-frame impact\, bursting within the outline of an oversized plant against a windowed wall comprised of asphalt\, seatbelts\, and traffic cone orange. A companion piece\, State of Emergency (Collide)\, encapsulates a maelstrom of grief amidst one’s continued existence in a suddenly remade world. Its similar leafy form now vibrates with barely contained energy\, hosting a black-and-white image of lightning bolts as the backdrop reveals a burnt-down neighborhood through the granite-curtained window. In Holding My Breath (Known Conclusions)\, Cable employs a personal narrative to express the tension between external expectations and internal pressures. A ‘pillow’ form contains a lit match photograph atop an oil-slick-patterned bedspread. Partially enclosed by a bed frame made of timber\, the scene plays out against a color-inverted backdrop of an open Christian bible\, illustrative of the artist’s self-realization of homosexuality within an evangelical upbringing and its resulting fallout. \nInfluenced by the spatial reorganization of early 20th-century Crystal Cubism and crisply outlined paintings of interiors by Brazilian artist Wanda Pimentel\, Cable breaks apart and reconstructs pictures to create reimaged spaces that navigate cultural and social values\, relationships\, experiences\, and the built environment. Building on years of using images as malleable raw material\, he remaps the familiar through visceral\, emotive compositions\, delving into how these private—yet publicly influenced—sites engage with and influence the inner lives of their inhabitants. Cable’s work articulates ‘queer domesticity\,’ a multifaceted concept about how the home can be both a place of belonging and exclusion\, defined by subjectivity and experiences.  \nAuthor Stephen Vider\, in The Queerness of Home\, notes that “For LGBTQ people\, home was the critical site of contact with the conventions of the American family and the gender\, sexual\, racial\, and class norms they consolidated.” We relate to communities and ourselves through the lens of the home. Yet\, these connections are often fraught with tension between cultural ideals and the realities of being.  \n​Domestic Tectonics portrays perception as constantly shifting ground underfoot. Sometimes\, its transitions go unnoticed; at others\, the topography transforms abruptly. Nothing is truly static. \n​About the Artist\nAdam Cable (b. 1989) creates vignettes of American domestic life using found digital images. His work entwines perception and narratives into the reconstruction of these environments\, highlighting ways that impressions and expectations inform experiences of space. Cable has shown in several group and solo exhibitions\, including at The Painting Center\, NYC; University of North Carolina\, Asheville; PULSE Art Fair\, Miami; Local Project\, NYC; and The Plaxall Gallery\, NYC. He co-curated Annus Horribilis with Float Magazine in 2020\, a group exhibition of work created that globally significant year\, and in 2021\, The Wassaic Project included his work in the book Secrets of the Friendly Woods. Cable holds an MFA from the School of Visual Arts (2017) and a BFA from the University of North Carolina\, Asheville (2013). He lives and works in Brooklyn NY. \nImage: State of Emergency (Crash)\, 2021. Archival inkjet print\, 24 x 18 inches. \n  Save  
URL:https://artinamericaguide.com/event/adam-cable-domestic-techtonics/
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:20250626
DTEND;VALUE=DATE:20250816
DTSTAMP:20260821T193836
CREATED:20250612T211424Z
LAST-MODIFIED:20250612T211424Z
UID:113687-1750896000-1755302399@artinamericaguide.com
SUMMARY:Victory Over the Sun
DESCRIPTION:CFGNY\, Phil Chang\, Barnett Cohen\, Bethany Collins\, Liz Deschenes\, Kota Ezawa\, Corinne Jones\, Gina Osterloh\, Stephanie Syjuco\, Stewart Uoo\, and Anicka Yi \nRYAN LEE Gallery is pleased to present Victory Over the Sun\, inspired by the 1913 Futurist opera Victory Over the Sun in which Kazimir Malevich’s Black Square debuted. The black square represented a repudiation of all past images in order to start anew to forge a utopian vision and society. In a time when we have become enslaved to images fed to us via the digital infrastructures that dictate how and what we consume visually\, this exhibition celebrates contemporary works that rebel against the generation of images created to serve the endless demand for content. It will feature a selection of work in a variety of mediums by contemporary artists exploring ideas of negation\, interpretation\, voids\, spirituality\, physicality\, and impermanence\, all of which refuse to be captured as an image. \nThe absurdist opera depicted allegorical strongmen\, bolstered by new technologies like airplanes\, who fought a battle with the sun to repudiate old values and make a new world. Malevich wrote\, “The black square is the antithesis of the sun\, the anti-sun. It swallows the light\, but it seems to be charged with energy.” \nThroughout history\, artists have often sought to create new forms of expression as a way to challenge the society in which they lived. In the early twentieth century\, we saw the birth of Dadaism\, Suprematism\, Constructivism and then conceptual practices in the 1960s\, such as Minimalism\, land art\, institutional critique and later on\, relational aesthetics\, all of which addressed the inadequacies of the dominant art forms at the time. Lucy Lippard wrote that conceptual artists used “the power of imagination” to “escape from cultural confinement.” Each of these moments were times of unrest that pushed artists to think of new ways to express their desire for social change. \nToday\, our contemporary capitalist society has been overpowered with digital technology bombarding our every second of existence with images\, whether advertisements\, TV shows\, video content\, photos of everything imaginable available on our phones\, tablets\, and monitors. This exhibition proposes that we step back and think about how to harness our humanity and our capacity to imagine as well as engage our physical human presence and attention. The works on view refuse to contend with the onslaught of images we are faced with\, and cannot be easily reproduced via social media. We invite viewers to experience the work in person\, to slow down and contemplate new possibilities. \n  Save  
URL:https://artinamericaguide.com/event/victory-over-the-sun/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="RYAN LEE":MAILTO:info@ryanleegallery.com
GEO:40.7500935;-74.0036112
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=RYAN LEE 515 W 26th St 3rd Fl New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=515 W 26th St\, 3rd Fl:geo:-74.0036112,40.7500935
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250626
DTEND;VALUE=DATE:20250802
DTSTAMP:20260821T193836
CREATED:20250616T142734Z
LAST-MODIFIED:20250616T142734Z
UID:113701-1750896000-1754092799@artinamericaguide.com
SUMMARY:Marilla Palmer: Ecstatic Earth
DESCRIPTION:Kathryn Markel Fine Arts is pleased to announce Ecstatic Earth\, featuring new paintings by Marilla Palmer. This will be her sixth solo exhibition with the gallery. A reception will be held on June 26th from 6-8pm. \nPalmer’s mixed-media works immortalize the temporality of nature. In all her work\, but particularly the newest works on panel\, nature is exalted in shimmering details that shift with light and movement. This is the first exhibition of her botanical paintings on panel\, and also the first to include an underwater scene. \nHer deceptively serious still lifes become playful\, fantastical tableaus upon closer inspection. Delicate watercolor brushstrokes are accompanied by plastic sequins\, dried petals\, sumptuous fabrics\, gold leaf\, and more. This juxtaposition is both humorous and lovely\, theatrical and erudite. Palmer cultivates her own garden that she observes for both inspiration and material. She explains\, “Working so directly with nature makes it feel like I’m collaborating\, but with an unpredictable partner. Who knows what will appear in my studio garden? How will the petals change when pressed or if the wet watercolor\, interference paint or sequins will capture the ecstasy of what I see?” \nGlittering collage elements and iridescent backgrounds add movement and lively energy to the static depictions and signify the growth and life associated with the imagery. In the work\, insects\, flowers\, and leaves are frozen in time\, their impending end suggested in the dried petals and leaves the artist incorporates. Tendrils stretch across the surface as if reaching for the sun. In her statement\, when contemplating mother nature\, the artist quotes Goethe\, “We live in her midst and know her not. She is incessantly speaking to us\, but betrays not her secret.” Palmer preserves the ephemeral and depicts exuberant abundance all at once. \nMarilla Palmer lives and works in Brooklyn\, NY and Connecticut.  Her work has been exhibited at the Brooklyn Museum\, Brooklyn Academy of Music\, Carlsbad Museum and Art Center\, MoMA PS1\, and extensively among other galleries and institutions throughout the United States.. She received her B.F.A from the Philadelphia College of Art. \n  Save  
URL:https://artinamericaguide.com/event/marilla-palmer-ecstatic-earth/
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:20250626
DTEND;VALUE=DATE:20250802
DTSTAMP:20260821T193836
CREATED:20250616T142734Z
LAST-MODIFIED:20250616T142734Z
UID:113705-1750896000-1754092799@artinamericaguide.com
SUMMARY:Stanley Bielen: A Modest Arrangement
DESCRIPTION:Kathryn Markel Fine Arts is pleased to announce an upcoming exhibition of new paintings by Stanley Bielen.  This is his fifth exhibition with the gallery and features his intimate still life paintings. An artist reception will be held June 26th from 6-8pm. \nBielen’s process begins outside of the studio with planting the flowers he will later paint. He brings the clippings he cultivates to his studio and renders them in voluminous\, rich brushwork. The blooms are typically painted at scale in one session\, immortalizing them in that moment. Reveling in the paint itself\, Bielen depicts the objects with a sense of immediacy\, as if glimpsed and remembered in an instant. \nFlowers\, fruits\, and vessels are modeled with gestural\, loaded brushstrokes. The forms take on a dimensional\, tactile quality as Bielen sculpts shadow\, builds up dense backgrounds\, or lays down generous daubs of paint to portray petals. Irregular\, impasto shapes define structure\, light\, and shadow\, making the work at once abstract and recognizable. Lush colors emerge vividly against stark black or white grounds. \nIn subject and medium the paintings are traditional\, echoing still-life conventions\, but Bielen’s lavish paint handling and pared-down settings feel decidedly contemporary. His work draws on the dramatic chiaroscuro of the Baroque\, channeling its theatrical lighting and deep tonal contrasts to intensify the physicality of each painting. \nStanley Bielen was born in the Podkarpackie region of Poland.  He studied at the Pennsylvania Academy of Fine Art and is influenced by the long regional realist tradition called the Philadelphia School.  He exhibits nationally and is represented in public and private collections including the Hirschhorn Museum and Sculpture Garden and the Pennsylvania Academy of Fine Art.  Stanley lives and works in Philadelphia\, Pennsylvania and Bridgton\, Maine. \n  Save  
URL:https://artinamericaguide.com/event/stanley-bielen-a-modest-arrangement/
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
END:VEVENT
END:VCALENDAR