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DTSTART;VALUE=DATE:20211015
DTEND;VALUE=DATE:20230502
DTSTAMP:20260406T084120
CREATED:20210830T210225Z
LAST-MODIFIED:20221026T173030Z
UID:86151-1634256000-1682985599@artinamericaguide.com
SUMMARY:Debut
DESCRIPTION:Opening in fall of 2021\, Debut will feature artwork from the Spencer Museum’s collection that has never been exhibited in our building since it opened in 1978. The eclectic artwork assembled is explored through seven broad thematic sections. Debut will remain on view for the duration of Phase II renovation and the complete reinstall of our fourth-floor collection galleries. As we undergo these transformative changes\, Debut presents previously unseen works in conversation with more familiar art from the collection that is frequently used for teaching and research. This exhibition is supported by Friends of the Art Museum\, KU Student Senate\, and the Linda Inman Bailey Exhibitions Fund. \n  Save  
URL:https://artinamericaguide.com/event/debut/
LOCATION:Spencer Museum of Art\, University of Kansas\, 1301 Mississippi St.\, Lawrence\, KS\, 66045\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Spencer Museum of Art%2C University of Kansas":MAILTO:spencerart@ku.edu
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220521T100000
DTEND;TZID=America/Halifax:20230521T170000
DTSTAMP:20260406T084120
CREATED:20220404T171850Z
LAST-MODIFIED:20220404T171850Z
UID:93177-1653127200-1684688400@artinamericaguide.com
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:20260406T084120
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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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220903T110000
DTEND;TZID=America/Halifax:20230423T180000
DTSTAMP:20260406T084120
CREATED:20220511T143406Z
LAST-MODIFIED:20220511T143406Z
UID:93529-1662202800-1682272800@artinamericaguide.com
SUMMARY:Kelly Akashi: Formations
DESCRIPTION:Kelly Akashi is known for her materially hybrid works that are compelling both formally and conceptually. Originally trained in analog photography\, the artist is drawn to fluid\, impressionable materials and old-world craft techniques\, such as glass blowing and casting\, candle making\, bronze and silicone casting\, and rope making. Encompassing a selection of artworks made over the past decade\, Kelly Akashi: Formations is the first major exhibition of the artist’s work\, and will feature a newly commissioned series in which Akashi explores the inherited impact of her family’s imprisonment in a Japanese American incarceration camp during World War II. \nThrough evocative combinations that seem both familiar and strange\, Akashi cultivates relationships among a variety of things to investigate how they can actively convey their histories and potential for change. She often pairs hand-blown glass or wax forms with unique and temporally specific bronze casts of her own hand\, each a unique record of the slow-changing human body. Akashi’s interest in time—embedded in the materiality of many of her processes—has led her to study fossils and botany\, locating humankind within a longer geological timeline. \nKelly Akashi: Formations is the first major exhibition and catalog of Akashi’s work. The exhibition will be on view from September 3\, 2022—April 23\, 2023 in San Jose before touring nationally. \n  Save  
URL:https://artinamericaguide.com/event/kelly-akashi-formations/
LOCATION:San Jose Museum of Art\, 110 S. Market Street\, San Jose\, CA\, 95113\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220919T103000
DTEND;TZID=America/Halifax:20230702T170000
DTSTAMP:20260406T084120
CREATED:20220922T113428Z
LAST-MODIFIED:20220922T113428Z
UID:98698-1663583400-1688317200@artinamericaguide.com
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20221014T100000
DTEND;TZID=America/Halifax:20230531T180000
DTSTAMP:20260406T084120
CREATED:20221111T202525Z
LAST-MODIFIED:20221111T202525Z
UID:100404-1665741600-1685556000@artinamericaguide.com
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:20260406T084120
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:20260406T084120
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;TZID=America/Halifax:20230117T100000
DTEND;TZID=America/Halifax:20230426T170000
DTSTAMP:20260406T084120
CREATED:20221214T203438Z
LAST-MODIFIED:20221214T203548Z
UID:100929-1673949600-1682528400@artinamericaguide.com
SUMMARY:A Masterpiece in the Making: Joaquín Sorolla’s Gouaches for the Vision of Spain
DESCRIPTION:The National Arts Club is proud to partner with the Hispanic Society Museum and Library in presenting this landmark exhibition commemorating the Valencian master Joaquín Sorolla y Bastida. The exhibition\, which opens during Master Drawings Week\, features the work of the Valencian master Joaquín Sorolla y Bastida—the preeminent artist in Spain at the turn of the 20th century—on the occasion of of the centennial year of his death. On view are Sorolla’s rarely seen preparatory sketches for the paintings in the HSM&L’s Sorolla Gallery\, Vision of Spain.  This is the first time the works are being exhibited in the U.S. \n(Image: Courtesy of The Hispanic Society of America\, New York. Joaquín Sorolla y Bastida\, Sketch for the Provinces of Spain. Sevilla. The Bullfighters\, ca. 1912-1913\, Gouache on paper) \n  Save  
URL:https://artinamericaguide.com/event/a-masterpiece-in-the-making-joaquin-sorollas-gouaches-for-the-vision-of-spain/
LOCATION:The National Arts Club\, 15 Gramercy Park South\, New York\, 10003\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="The National Arts Club":MAILTO:info@thenationalartsclub.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230128
DTEND;VALUE=DATE:20231002
DTSTAMP:20260406T084120
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:20260406T084120
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:20260406T084120
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:20230203
DTEND;VALUE=DATE:20230515
DTSTAMP:20260406T084120
CREATED:20230228T161135Z
LAST-MODIFIED:20230228T161135Z
UID:101992-1675382400-1684108799@artinamericaguide.com
SUMMARY:Positive Fragmentation: From the Collections of Jordan D. Schnitzer and His Family Foundation
DESCRIPTION:For many artists\, the act of creation begins with one of destruction as they dissect shape\, color\, perspective\, text\, idea\, or stereotype. For some\, the result is enough: pulling apart and fragmenting images and ideas exposes what lies beneath or heralds the inherent value of each part. Other artists assemble fragments to create a new whole defined by its different parts. This exhibition explores the impulses that drive these creative approaches in the work of contemporary artists. \nPositive Fragmentation: From the Collections of Jordan D. Schnitzer and His Family Foundation includes over 180 prints drawn from the Collections of Jordan D. Schnitzer and His Family Foundation\, each a work by a contemporary artist who employs fragmentation in different ways. \n  Save  
URL:https://artinamericaguide.com/event/positive-fragmentation-from-the-collections-of-jordan-d-schnitzer-and-his-family-foundation/
LOCATION:Taubman Museum of Art\, 110 Salem Avenue SE\, Roanoke\, VA\, 24011\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230211
DTEND;VALUE=DATE:20230701
DTSTAMP:20260406T084120
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
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/11/Watt-Skywalker.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230211T100000
DTEND;TZID=America/Halifax:20230707T170000
DTSTAMP:20260406T084120
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
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2023/03/ap.hou_.2023.0004.png
ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230211T120000
DTEND;TZID=America/Halifax:20230507T170000
DTSTAMP:20260406T084120
CREATED:20230123T193426Z
LAST-MODIFIED:20230127T160739Z
UID:101523-1676116800-1683478800@artinamericaguide.com
SUMMARY:PRISCILLA HEINE: Buoyant Abandon
DESCRIPTION:Priscilla Heine: Buoyant Abandon opens Saturday February 11\, 2023 at the Southern Vermont Arts Center in Manchester\, Vermont and runs through Sunday May 7\, 2023. \nBending the corners of space with vibrant pigments and tumultuous brushwork\, Priscilla Heine defines the world of memories and shifting dimensions. The power of the whole becomes apparent in the same way that the melody of a single flower embodies the fulsome magic of a botanical orchestra. The sense of blossoming is palpable in Heine’s work and this gradual unspiraling of peace and pleasure evokes a comforting embrace\, a warm meal\, and at times\, an excitement for what is found and a tranquil acceptance for what is gone. \nMore about the artist: www.priscillaheine.com \n  Save  
URL:https://artinamericaguide.com/event/priscilla-heine-buoyant-abandon/
LOCATION:Elizabeth de C. Wilson Museum Southern Vermont Arts Center\, 860 Southern Vermont Arts Center Dr\, Manchester\, VT\, 05255\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/01/Priscila-Heine-2022.jpg
ORGANIZER;CN="Cross Contemporary Art Projects":MAILTO:crosscontemporaryprojects@gmail.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230214T110000
DTEND;TZID=America/Halifax:20230616T170000
DTSTAMP:20260406T084120
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
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2023/01/Barack-Obama-Presidency-Flyer-2.14.23-6.16.23-2.png
ORGANIZER;CN="Hofstra University Museum of Art":MAILTO:museum@hofstra.edu
GEO:40.7133721;-73.6015642
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=David Filderman Gallery at Hofstra University 112 Hofstra University Hempstead New York;X-APPLE-RADIUS=500;X-TITLE=112 Hofstra University:geo:-73.6015642,40.7133721
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230217T100000
DTEND;TZID=America/Chicago:20230910T170000
DTSTAMP:20260406T084120
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:20260406T084120
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;TZID=America/Halifax:20230218T100000
DTEND;TZID=America/Halifax:20230514T170000
DTSTAMP:20260406T084120
CREATED:20220927T165643Z
LAST-MODIFIED:20220928T175531Z
UID:99205-1676714400-1684083600@artinamericaguide.com
SUMMARY:Isabelle de Borchgrave: Fashioning Art from Paper
DESCRIPTION:Centuries of fashion are explored in the breathtaking paper sculptures of contemporary artist Isabelle de Borchgrave. Working in collaboration with leading costume historians and emerging fashion designers\, de Borchgrave crafts a world of splendor from the simplest rag paper. From replicas of Renaissance Italian gowns to recreations of the fantastical modernist costumes of the Ballet Russes\, de Borchgrave’s work is meticulously crafted and astonishingly beautiful. Her paper costumes have been featured in major exhibitions around the world from Venice to San Francisco—and soon in Wichita. \nThe exhibition has been organized by Dixon Gallery and Gardens\, Memphis\, in cooperation with Isabelle de Borchgrave Studio. \nImage: Isabelle de Borchgrave\, Maria-Maddalena d’Austria\, 2007. Paper and acrylic\, 74 x 47 1/2 x 48 inches. Collection of the artist \n \n\n\n\n  Save  
URL:https://artinamericaguide.com/event/isabelle-de-borchgrave-fashioning-art-from-paper/
LOCATION:Wichita Art Museum\, 1400 West Museum Boulevard\, Wichita\, KS\, 67203\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/09/7901-Maria-Maddalena-dAustria-scaled.jpg
ORGANIZER;CN="Wichita Art Museum":MAILTO:pr@wichitaartmuseum.org
GEO:37.6949375;-97.3561859
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Wichita Art Museum 1400 West Museum Boulevard Wichita KS 67203 United States;X-APPLE-RADIUS=500;X-TITLE=1400 West Museum Boulevard:geo:-97.3561859,37.6949375
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230223
DTEND;VALUE=DATE:20230605
DTSTAMP:20260406T084120
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:20260406T084120
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:20230302T000000
DTEND;TZID=America/Halifax:20230429T000000
DTSTAMP:20260406T084120
CREATED:20230210T205856Z
LAST-MODIFIED:20230210T205856Z
UID:101825-1677715200-1682726400@artinamericaguide.com
SUMMARY:Nan Goldin
DESCRIPTION:Fraenkel Gallery is pleased to present Nan Goldin’s fifth exhibition with the gallery since 1994. Memory Lost\, the exhibition’s centerpiece\, is a slideshow in which Goldin explores the darkness of drug addiction through images and recordings from her extensive archive. The exhibition also features dreamlike photographs from Memory Lost\, along with a recent series of intimate portraits made at home during the pandemic. The gallery will host a public event with the artist on a date to be announced. \n  Save  
URL:https://artinamericaguide.com/event/nan-goldin/
LOCATION:Fraenkel Gallery\, 49 Geary Street\, San Francisco\, CA\, 94108\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/02/4.-GOLDIN_Thora-at-my-vanity-Brooklyn-NY-2021-2.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/Halifax:20230303T100000
DTEND;TZID=America/Halifax:20230730T170000
DTSTAMP:20260406T084120
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:20260406T084120
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:20260406T084120
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:20260406T084120
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
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DTSTART;TZID=America/Halifax:20230309T100000
DTEND;TZID=America/Halifax:20230422T180000
DTSTAMP:20260406T084120
CREATED:20230209T215239Z
LAST-MODIFIED:20230209T215239Z
UID:101815-1678356000-1682186400@artinamericaguide.com
SUMMARY:Matt Gagnon | Feeling Color
DESCRIPTION:Winston Wächter Fine Art\, New York is pleased to announce Feeling Color\, an exhibition of light sculptures by Los Angeles based artist\, Matt Gagnon. This is the artist’s first solo exhibition with the New York gallery. Trained as an architect\, Gagnon is deeply interested in the physicality of materials and their ability to conjure feelings along with memories. These works dig to unearth emotional frequencies of color\, material\, and texture by combining glass\, metal\, stone\, wood\, and concrete. The transformative light of the pieces\, built by elements of surface and tone\, invite the viewer into their glow. \n  Save  
URL:https://artinamericaguide.com/event/matt-gagnon-feeling-color/
LOCATION:Winston Wächter Fine Art\, 530 W 25th St\, New York\, New York\, 10001
CATEGORIES:Event,Exhibition
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ORGANIZER;CN="Winston Wachter Fine Art":MAILTO:nygallery@winstonwachter.com
GEO:40.7493621;-74.0047021
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Winston Wächter Fine Art 530 W 25th St New York New York 10001;X-APPLE-RADIUS=500;X-TITLE=530 W 25th St:geo:-74.0047021,40.7493621
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20230310
DTEND;VALUE=DATE:20230626
DTSTAMP:20260406T084120
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
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DTSTART;TZID=America/Halifax:20230310T100000
DTEND;TZID=America/Halifax:20230422T180000
DTSTAMP:20260406T084120
CREATED:20230222T232916Z
LAST-MODIFIED:20230222T232916Z
UID:101944-1678442400-1682186400@artinamericaguide.com
SUMMARY:(Barely) Tempered: Concepts in Tension
DESCRIPTION:(Barely) Tempered: Concepts in Tension\nCurated by Richard Lombard \nMarch 10 – April 22\, 2023 \nJane Lombard Gallery is pleased to present the group show (Barely) Tempered: Concepts in Tension\, organized by Richard Lombard\, independent curator of design. This cross-disciplinary show comprises works in glass that blur the boundaries of art and design\, featuring objects by an international assemblage of artists\, designers\, and makers. Coming from a wide range of backgrounds\, these practitioners take this fragile\, multidimensional material and form fluid expressions across a range of concepts. From optically clear to fully opaque\, razor-sharp edges to organic forms\, dense to diaphanous\, and every color of the rainbow – glass is the chameleon of materials\, giving tremendous range to discourses on environmental changes\, material interactions\, and the immense potential in all organisms. Featured will be gallery artists James Clar\, Kristin McIver\, and Lucy + Jorge Orta\, as well as Tomoko Amaki Abe\, Lukas Milanak\, Thomas Modeen\, Malin Pierre\, Rui Sasaki\, Silo Studio\, and Cristina Vezzini and Stan Chen. (Barely) Tempered: Concepts in Tension will be on view March 10 – April 22\, 2023\, with an opening reception held on March 10 from 6-8 PM. \n\n\n\n\n\n\n\n\nGlass is the unifying material for the objects in the exhibition; while often overlooked due to its own ubiquity from window panes to drinking vessels\, glass is one of the most multifaceted materials to work with\, irrespective of discipline. Throughout (Barely) Tempered\, the selected works explore a critical element of the shared material\, and of life: tension. The control of internal stresses in the material\, known as annealing\, is essential to the successful execution of works in glass. “Tempering” is a type of annealing process that forces the surface of the material into the core. Done incorrectly\, the material could explode from the slightest input. \nRui Sasaki brings the most extreme amount of tension into her work. Coming from the Hokuriku region of Japan\, which has the most snowfall of any inhabited area in the world\, the artist blows her phosphorescent glass directly onto the snow. When the 1\,200°C molten material comes in contact with the snow\, the violent reaction causes the glass to pit and crater as the water vaporizes instantly. These floor-based pieces are combined in an immersive installation with Sasaki’s equally-luminous suspended works. \nReferencing the technique of “cage-blown glass”\, two practitioners imbue the practice with new meaning. Tom Modeen brings a technological tension into play\, adding a 21st-century twist to the age-old process by 3D printing his cages from steel. Although not truly “caged\,” the work of Attua Aparacio and Oscar Lesso\, the makers behind Silo Studio\, further explores this type of restrained glassblowing. Using textile molds made from aramid fibers (similar to carbon fiber) – as opposed to the usual wood\, metal\, or other rigid materials – these vessels express a decidedly tenuous nature that belies the fact that they are just as rigid\, durable\, and practical as their stiffer-appearing brethren. \nThe work of Malin Pierre has a literal connection to\, and physical separation from\, the constraints placed on the material. Creating plaster molds from pillow-like fabric objects\, Pierre captures incredible levels of flowing detail in a mold that is (barely) durable enough to transfer them onto blown glass. When the mold is broken off of the cooled material\, the billowing\, pleated forms that are revealed feel both organic and constructed\, ephemeral and eternal. \nTomoko Abe and Lucy + Jorge Orta work with mixed materials like steel\, found wood\, and glass to express potential – a different kind of tension – found in humans and in nature. In her Blood to Milk\, Abe expresses the ability of a mother to nourish her child from conception to viable\, independent organism. In a complementary fashion\, the Ortas take on totipotent cells\, the most powerful stem cells in the body\, giving form to their expansive and transformative potential. Their works burst from their armatures in a blood-red eruption of possibility. \nSimilarly\, Cristina Vezzini (porcelain) and Stan Chen (glass) illuminate and give life to the seemingly infinite potential found in seeds. Their work Close Up resembles a seed pod crossed with an incubator. One can viscerally envision the piece bubbling and straining as the forces within struggle to explode into their ultimate form. \n\n\n\n\n\n\n\n\nThe process of making glass is highlighted by Lukas Milanak’s performative piece\, Mobile Alchemy Research Station (M.A.R.S.). Milanak has assembled common appliances like a microwave and a propane torch that combine forces to achieve the temperature needed to melt glass. The artist conducts trials\, adding elements to cullet glass and melting them together. The resulting collection of objects present as though “born” not “made.” \nWorking in neon glass\, Kristin McIver’s Wave Piece explores the relentless rise of sea levels and the ever-increasing tension in the relationship between humans and their environment\, while James Clar provides a bit of much-needed tension release with his whimsical\, onomonopiatic Wheeeeeeeeeeeee!. \nAbout the Curator\nRichard Lombard is a Brooklyn-based materials specialist\, writer\, and curator working at the intersection of commercial\, academic\, and creative production. He worked at Sotheby’s before landing at Material ConneXion\, an industry leader and one of the only dedicated materials resources at the time of its founding\, where he was in charge of global design conferences\, the quarterly publication MATTER\, and forging relationships with top art and design schools worldwide. Lombard established the first academic materials library in the Middle East in Doha\, Qatar\, and concurrently taught materials and fabrication technologies\, as well as design strategies and business ethics\, in the MFA.DESIGN program at Virginia Commonwealth University in Qatar. He continues to lecture\, write\, and curate around the topic of materials and their applications\, while advising designers\, architects\, and schools in this focus. \nAbout Jane Lombard GalleryJane Lombard Gallery has an established reputation for bringing to the forefront artists who work within a global perspective/aesthetic relevant to the social and political climate of today. The gallery seeks to promote both emerging and mid-career artists in a variety of media – painting\, sculpture\, installation\, and film – in the US\, Europe\, and Asia. Founded in 1995 in Soho as Lombard Freid projects\, the gallery later moved to Chelsea\, first to 26th Street\, and later to 19th Street in 2010. The gallery is now located in Tribeca at 58 White St. \nFor sale inquiries\, contact Lisa Carlson: lisa@janelombardgallery.com\nFor press inquiries\, contact Lainya Magaña: lainya@aopublic.com \n\n\n\n\n  Save  
URL:https://artinamericaguide.com/event/barely-tempered-concepts-in-tension/
LOCATION:New York
CATEGORIES:Exhibition
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