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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220722T110000
DTEND;TZID=America/New_York:20240804T180000
DTSTAMP:20260403T153338
CREATED:20220622T153511Z
LAST-MODIFIED:20240229T212126Z
UID:94138-1658487600-1722794400@artinamericaguide.com
SUMMARY:Evergreen: Art from the Collection
DESCRIPTION:Evergreen: Art from the Collection celebrates SJMA’s collection as both a gift to and a product of its community. This dedicated gallery space\, which provides long-term access to the Museum’s collection\, honors the community members who rallied together to establish the Museum; the artists who trust us to care for their visions; the generous donors who helped to build the collection; the generations of students who have visited; the volunteers and staff who have contributed; and the breadth of community experiences that give ongoing meaning to the works. \nLocated in the Museum’s historic building—formerly the city’s post office and library—Evergreen highlights the Museum’s growing collection and the numerous San José stories it tells. The gallery features such works as rafa esparza’s Yosi con Abuela (2021)\, a recently acquired portrait on adobe of the East San José poet and activist Yosimar Reyes with his grandmother. Also on view are Resident Alien (1988) by Hung Liu\, the beloved Bay Area artist and longtime friend of SJMA\, and Louise Nevelson’s monumental Sky Cathedral (1957–58)\, a centerpiece of the Museum’s collection. The gallery also includes access points to the free digital collection catalog 50×50: Stories of Visionary Artists from the Collection\, which highlights the stories and impact of artists in the Museum’s collection. \n  Save  
URL:https://artinamericaguide.com/event/evergreen-art-from-the-collection/
LOCATION:San Jose Museum of Art\, 110 S. Market Street\, San Jose\, CA\, 95113\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230318T100000
DTEND;TZID=America/Halifax:20240609T170000
DTSTAMP:20260403T153338
CREATED:20230316T154058Z
LAST-MODIFIED:20230316T154058Z
UID:102487-1679133600-1717952400@artinamericaguide.com
SUMMARY:Bosco Sodi: Origen
DESCRIPTION:Visit our galleries for FREE on Sundays. Check the visit page for all free admission opportunities at the Harvard Art Museums. \nA new installation of sculptures by Mexican-born artist Bosco Sodi (b. 1970) places 14 of the artist’s handmade clay spheres at the Harvard Art Museums and marks the first-ever presentation of art on the museums’ outdoor Broadway terrace. Sodi’s practice explores the earth’s elements\, marrying age-old traditions of sculpting clay with a contemporary vision of creating simple universal forms that prompt reflection. Drawing on centuries-old techniques passed through the Zapotec culture\, Sodi works with Oaxacan artisans\, using local clay to sculpt each sphere\, drying it outside for up to eight months\, and then firing it in a kiln built upon a beach. The resulting terracotta forms reveal the effects of nature’s forces—the sun\, sea air\, and fire—as demonstrated by the cracks\, chips\, and blackened and crusty patches that distinguish each sphere. In a first for a U.S. installation of the artist’s work\, Sodi will also unveil three gold-glazed spheres as part of his site-specific arrangement. Moving from outside to inside the museums\, these gold spheres connect to and engage with the meditative atmosphere evoked by the installation of Buddhist figures in Gallery 1610. \n  Save  
URL:https://artinamericaguide.com/event/bosco-sodi-origen/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/03/Bosco-Sodi.jpg
ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230318T100000
DTEND;TZID=America/Halifax:20240609T170000
DTSTAMP:20260403T153338
CREATED:20230320T150548Z
LAST-MODIFIED:20230320T150548Z
UID:102492-1679133600-1717952400@artinamericaguide.com
SUMMARY:Bosco Sodi: Origen
DESCRIPTION:Visit our galleries for FREE on Sundays. Check the visit page for all free admission opportunities at the Harvard Art Museums. \nA new installation of sculptures by Mexican-born artist Bosco Sodi (b. 1970) places 14 of the artist’s handmade clay spheres at the Harvard Art Museums and marks the first-ever presentation of art on the museums’ outdoor Broadway terrace. Sodi’s practice explores the earth’s elements\, marrying age-old traditions of sculpting clay with a contemporary vision of creating simple universal forms that prompt reflection. Drawing on centuries-old techniques passed through the Zapotec culture\, Sodi works with Oaxacan artisans\, using local clay to sculpt each sphere\, drying it outside for up to eight months\, and then firing it in a kiln built upon a beach. The resulting terracotta forms reveal the effects of nature’s forces—the sun\, sea air\, and fire—as demonstrated by the cracks\, chips\, and blackened and crusty patches that distinguish each sphere. In a first for a U.S. installation of the artist’s work\, Sodi will also unveil three gold-glazed spheres as part of his site-specific arrangement. Moving from outside to inside the museums\, these gold spheres connect to and engage with the meditative atmosphere evoked by the installation of Buddhist figures in Gallery 1610. \n  Save  
URL:https://artinamericaguide.com/event/bosco-sodi-origen-2/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/03/Bosco-Sodi-1.jpg
ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230520T100000
DTEND;TZID=America/Halifax:20240421T160000
DTSTAMP:20260403T153338
CREATED:20230502T182207Z
LAST-MODIFIED:20230502T182207Z
UID:103170-1684576800-1713715200@artinamericaguide.com
SUMMARY:Sharing The Same Breath
DESCRIPTION:In her 2021 essay “A Family Reunion Near the End of the World\,” botanist Robin Wall Kimmerer contemplates our kinship with nature and proposes a road map for deepening our care and respect for all living things. \n“Being a relative\,” she writes\, “is more than shared blood from a common past. Real kinship arises when we realize that we have a common future\, that our fates are linked.” She goes on to suggest\, “Real kinship comes when you live it. It’s not a noun\, but a verb\, it’s not a thing\, it’s what you do.” \nThe cultivation of kinship with the living world is the foundation for Sharing the Same Breath. The exhibition brings together nine artists who consider the world’s complex web of relations through artworks that emphasize human\, nonhuman\, and interspecies forms of kinship and connectivity. These relationships are explored through a wide range of mediums including sculpture\, photography\, drawing\, video\, film\, and installation. Together the works form a kincentric viewpoint that challenges narratives of human exceptionalism and encourages us to regard our symbiotic relationship and shared fate with our more-than-human family with greater attention and care. \nArtists in the exhibition include Juan William Chávez\, David Freid\, Lindsey French\, Emilie Louise Gossiaux\, Nina Katchadourian\, Cannupa Hanska Luger\, Marie Watt\, William Wegman\, and Dyani White Hawk. \nImage: Emilie L. Gossiaux\, True Love Will Find You in the End\, 2021; polystyrene foam\, aluminum pipes\, papier-mâché\, epoxy resin\, and acrylic matte medium. Courtesy of the artist and Mother Gallery. Photo: Ronald Amstutz. \n  Save  
URL:https://artinamericaguide.com/event/sharing-the-same-breath/
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;VALUE=DATE:20230822
DTEND;VALUE=DATE:20240310
DTSTAMP:20260403T153338
CREATED:20230726T223546Z
LAST-MODIFIED:20230726T223546Z
UID:104559-1692662400-1710028799@artinamericaguide.com
SUMMARY:Jeffrey Gibson: They Teach Love\, From the Collections of Jordan D. Schnitzer and His Family Foundation
DESCRIPTION:Jeffrey Gibson asks us to co-envision a future and to move toward it. Ceaselessly prioritizing collective imagination as a tool toward manifestation and realization\, the artist has stated\, “Don’t accept the circumstances you are in; acknowledge that you are in them and then find a future.” \n\n\nThis major exhibition is devoted to one of today’s foremost artists\, whose vibrant interdisciplinary practice combines sculpture and painting\, beadwork and video\, words and images\, incorporating rawhide\, tipi poles\, sterling silver\, wool blankets\, jingles\, fringe\, and sinew—materials that refer to American Indian cultures toward the adornment of quotidian objects such as punching bags\, flags\, banners\, and illuminated signs. Gibson\, who is of Mississippi Choctaw and Cherokee heritage\, combines aspects of Indigenous art and culture with modernist traditions\, navigating and disrupting the expectations placed upon Native artists working within the contemporary art world. At the root of his enterprise lies a core value—objects\, and people alike\, carry the potential for radical transformation. \nExclusively curated from the collections of Jordan D. Schnitzer and His Family Foundation\, They Teach Love presents a sweeping survey of over 35 objects across a span of fifteen years. Beginning with examples of the artist’s earliest engagements with printmaking\, our exhibition proceeds to include photography\, painting\, and sculpture\, as well as recent forms that express his foray into performance\, installation\, and video\, as well as contemporary adornment in fashion. The latter direction is reflective of intertribal powwows as well as the dance clubs where Gibson found safe spaces as a teenager. \nThe exhibition’s centerpiece is an expansive and immersive work titled To Name An Other which is comprised of 51 screen printed elk hide drums and 50 wearable garments. Originally commissioned as a performance by the Smithsonian’s National Portrait Gallery\, in 2019\, To Name An Other marks a turning point in the artist’s career whereby Gibson has increasingly sought out collective-based projects and performances to activate the communities he works within. This idea is especially appropriate when considering Jeffrey Gibson’s work\, as he pushes to create affinity—collaboration is at the heart of his recent social practice. Working and learning together may aid to decolonize our minds and institutions\, revealing a future we wish to inhabit. \n\n  Save  
URL:https://artinamericaguide.com/event/jeffrey-gibson-they-teach-love-from-the-collections-of-jordan-d-schnitzer-and-his-family-foundation/
LOCATION:Jordan Schnitzer Museum of Art WSU\, 1535 Wilson Rd\, Pullman\, WA\, 99164\, United States
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230915
DTEND;VALUE=DATE:20240805
DTSTAMP:20260403T153338
CREATED:20240522T193730Z
LAST-MODIFIED:20240522T193730Z
UID:108579-1694736000-1722815999@artinamericaguide.com
SUMMARY:Composing Color: Paintings by Alma Thomas
DESCRIPTION:The Smithsonian American Art Museum has the largest public collection of works by Alma Thomas in the world. Thomas’s art first entered SAAM’s collection in 1970. The museum acquired more than a dozen works during the artist’s lifetime\, and thirteen that were bequeathed to the museum by Thomas after her death. Composing Color: Paintings by Alma Thomas draws on these extensive holdings to offer an intimate view of Thomas’s evolving practice during her most prolific period\, 1959 to 1978. \nIn her work\, color can be symbolic and multisensory\, evoking sound\, motion\, temperature\, even scent. Her abiding source of inspiration was nature—whether seen through her kitchen window or from outer space. Organized around the artist’s favored themes of Space\, Earth\, and Music\, this show invites you to see the world through Alma Thomas’s eyes. She often assigned titles to her own paintings that connect natural phenomena\, like flowers or a sunset\, with song. In her art\, nature and music are treated as twin expressions of a fundamental life force or spirit. \nConsciously oriented toward the future\, she embraced the technological and social changes of the twentieth century. Her artistic evolution from academic painting to abstraction reflected this forward-facing attitude—her belief in the need for “a new art representing a new era.” \n\n  Save  
URL:https://artinamericaguide.com/event/composing-color-paintings-by-alma-thomas/
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/eclipse-scaled.jpg
ORGANIZER;CN="Smithsonian American Art Museum":MAILTO:americanartpressoffice@si.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230922T080000
DTEND;TZID=America/New_York:20240704T170000
DTSTAMP:20260403T153338
CREATED:20240522T193731Z
LAST-MODIFIED:20240522T193731Z
UID:108577-1695369600-1720112400@artinamericaguide.com
SUMMARY:Carrie Mae Weems: Looking Forward\, Looking Back
DESCRIPTION:This focused exhibition pairs two projects by Carrie Mae Weems—a major multimedia installation\, Lincoln\, Lonnie\, and Me – A Story in 5 Parts\, and eight photographs from the series Constructing History—that explore the relationship of memory to history and of memory as it is mediated through performance\, photography\, or video. \nWeems invites others to step back in time. Lincoln\, Lonnie\, and Me–A Story in 5 Parts (2012) is a multimedia installation that transforms the gallery into a nineteenth-century illusionistic theater. This complex work brings to life episodes from the American Civil War to the present\, accompanied by a soundtrack that evokes the constitutional promise of equality\, along with projections of recurring racial and gender difference that make achieving it so elusive. It is accompanied by eight photographs from her series Constructing History (2008). Weems worked with college students to restage iconic photographs from World War II to the civil rights era and beyond. Taking on these poses\, a new generation simultaneously enacts and witnesses past moments of strength\, pain\, and progress in the present. \n  Save  
URL:https://artinamericaguide.com/event/carrie-mae-weems-looking-forward-looking-back/
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/Weems-scaled.jpg
ORGANIZER;CN="Smithsonian American Art Museum":MAILTO:americanartpressoffice@si.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230929
DTEND;VALUE=DATE:20240311
DTSTAMP:20260403T153338
CREATED:20230726T223546Z
LAST-MODIFIED:20230726T223546Z
UID:104566-1695945600-1710115199@artinamericaguide.com
SUMMARY:Positive Fragmentation: From the Collections of Jordan D. Schnitzer and His Family Foundation
DESCRIPTION:Positive Fragmentation: From the Collections of the Jordan D. Schnitzer and His Family Foundation will feature more than 180 prints by contemporary women artists who employ a strategy of fragmentation in their artistic process. \n\n\nSome of the works focus their attention on the human body\, as in Louise Bourgeois’s Anatomy series (1990) or Wangechi Mutu’s Histology of the Different Classes of Uterine Tumors (2006). The later combines glossy fashion magazine photographs with medical illustrations to reimagine patriarchal stereotypes as powerful female avatars who stare back at oppressive social norms. Other artists like Nicola López and Sarah Morris leverage their experiences of the contemporary city to rearrange elements of the urban landscape to better capture the vibrancy of daily life. With a highly conceptual approach\, Jenny Holzer’s Inflammatory Essays (1979–82) isolates fragments of bold and sometimes confrontational statements to subvert the rigid ideologies from which they borrow. \nA notable strength of the exhibition is its focus on women artists of color who have been underrepresented in the museum’s permanent collections and in its exhibition program. Artists like Mickalene Thomas challenge historical narratives by creating compositions that echo those of nineteenth-century European painters but through wholly novel techniques and media\, combining woodblock\, screen-printing\, and digital photography. Wendy Red Star\, an indigenous American artist of the Crow Nation\, creates colorful\, often playful prints that nonetheless convey the struggles of indigenous marginalization and the legacy of European colonization on the continent by combining appropriated indigenous motifs with images of everyday life on the reservation. Ethiopian-born Julie Mehretu creates large-scale abstract compositions that speak to the traditions of European and American abstraction while compounding these histories with contemporary global concerns regarding climate change and migration. \nDerived from the Collections of Jordan D. Schnitzer and His Family Foundation—one of the largest private print collections in the world—the exhibition is presented by the National Museum of Women in the Arts (NWMA) in partnership with the American University Art Museum. It was originally curated by Virginia Treanor\, Associate Curator\, and Kathryn Wat\, Deputy Director for Art\, Programs\, and Public Engagement and Chief Curator at the NWMA. A fully illustrated catalogue will accompany the exhibition. \n\n  Save  
URL:https://artinamericaguide.com/event/positive-fragmentation-from-the-collections-of-jordan-d-schnitzer-and-his-family-foundation-2/
LOCATION:Bellevue Arts Museum\, 510 Bellevue Way NE\, Bellevue\, WA\, 98004\, United States
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231014
DTEND;VALUE=DATE:20240408
DTSTAMP:20260403T153338
CREATED:20230726T223547Z
LAST-MODIFIED:20230726T223547Z
UID:104557-1697241600-1712534399@artinamericaguide.com
SUMMARY:Strange Weather: From the Collections of Jordan D. Schnitzer and His Family Foundation
DESCRIPTION:Strange Weather: From the Collections of Jordan D. Schnitzer and His Family Foundation features contemporary art works which illuminate and reframe the boundaries of bodies and the environment. \n\n\n“By and by all trace is gone\, and what is forgotten is not only the footprints but the water too and what is down there. The rest is weather. Not the breath of the disremembered and unaccounted for\, but wind in the eaves\, or spring ice thawing too quickly. Just weather.” -Toni Morrison \nStrange Weather: From the Collections of Jordan D. Schnitzer and His Family Foundation features contemporary art works which illuminate and reframe the boundaries of bodies and the environment. The artworks included in the exhibition span five decades\, from 1970-2020\, and are drawn together for how they creatively call attention to the impact and history of forced migrations\, industrialization\, global capitalism\, and trauma on humans and the contemporary landscape. \nWeather can refer to both subtle and violent atmospheric conditions in a given place and time. The influential artists in the exhibition utilize a range of aesthetic strategies\, including abstraction\, portraiture\, figurative painting\, landscape\, and installation\, to explore the current atmospheric strangeness. Julie Mehretu’s three prints created as a response to the aftermath of Hurricane Katrina in 2005 render abstract an intricate cartography of a rapidly changing climate. Kehinde Wiley’s large-scale painting\, The World Stage: Marechal Floriano Peixoto II\, 2009 monumentalizes issues of identity and nature. Nicola Lopez’s constructed collage monoprints show startlingly dystopian urban landscapes\, with iron structures and vibrant colors. Wendy Red Star’s photographic series\, “Four Seasons\,” links weather patterns to the consumption and commodification of Native American culture. Together\, these and other works make the body and the land legible as paired sites of contestation\, offering profound insights about the connections between aesthetics\, history and our tempestuous climate. \nArtists include Carlos Almarez\, Carlos Amorales\, Leonardo Drew\, Joe Feddersen\, Hock E Aye Vi Edgar Heap of Birds\, James Lavadour\, Nicola Lopez\, Hung Liu\, Julie Mehretu\, Wendy Red Star\, Alison Saar\, Lorna Simpson\, Kiki Smith\, Charles Wilbert White\, Kehinde Wiley\, and Terry Winters. Concurrent with Strange Weather\, a capsule exhibition of the works of Glenn Ligon from the Collections of Jordan D. Schnitzer and His Family Foundation will be on view. \nStrange Weather is curated by Dr. Rachel Nelson\, director\, Institute of the Arts and Sciences\, UC Santa Cruz in collaboration with Professor Jennifer González\, History of Art and Visual Culture\, UC Santa Cruz. \n\n  Save  
URL:https://artinamericaguide.com/event/strange-weather-from-the-collections-of-jordan-d-schnitzer-and-his-family-foundation-2/
LOCATION:Jordan Schnitzer Museum of Art – University of Oregon\, 1430 Johnson Lane\, Eugene\, OR\, 97403\, United States
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231111T110000
DTEND;TZID=America/New_York:20240310T170000
DTSTAMP:20260403T153338
CREATED:20230823T152458Z
LAST-MODIFIED:20230823T152458Z
UID:104956-1699700400-1710090000@artinamericaguide.com
SUMMARY:Antonio M. Gómez: LINEAJES
DESCRIPTION:The work of Tacoma percussionist\, producer\, and educator Antonio M. Gómez (born 1971\, Brownsville\, Texas) pursues the interwoven histories of world music. Relating his practice to the experience of mestizaje—a mixed identity formed at the intersection of cultures—Gómez explores musical ties between the Americas\, the Mediterranean\, West Africa\, and the Silk Road through his ensemble performances and teaching. LINEAJES interrupts the gilded display of oil paintings in the Frye Salon exhibition with a visual and sonic presentation of his work\, foregrounding an intercultural artistic heritage long obscured by the Western canon. \nThe exhibition features a custom-built tarima—a traditional Mexican percussive platform that amplifies the sounds of dancers’ feet—and a global array of instruments drawn from Gómez’s extensive collection. Live performances by the artist’s Trio Guadalevin and other invited ensembles supplement recorded soundscapes playing continuously within the exhibition space. Specially invited by Gómez\, street artist Angelina “179” Villalobos creates a mural of vines twisting behind and beyond the paintings in Frye Salon\, evoking the proliferation of the cultural lineages that crisscrossed the globe to give rise to modern art and music. \nFrom the Middle Eastern ancestry of the modern guitar to the influence of the West African conga in the Americas\, the history of music revealed in LINEAJES challenges simplified notions of Western Civilization and offers a beautifully complex narrative. \n  Save  
URL:https://artinamericaguide.com/event/antonio-m-gomez-lineajes/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/08/TG-Requena-Drum-credit-G-Davidson-Gomez-scaled.jpg
ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231111T110000
DTEND;TZID=America/New_York:20241027T170000
DTSTAMP:20260403T153338
CREATED:20230823T152458Z
LAST-MODIFIED:20230823T152458Z
UID:104954-1699700400-1730048400@artinamericaguide.com
SUMMARY:Frye Salon
DESCRIPTION:Frye Salon features over one-hundred paintings from the Frye Art Museum’s Founding Collection hung floor to ceiling—a display mode referred to as a salon-style hang. The installation approximates the dramatic viewing experience enjoyed by visitors to Charles and Emma Frye’s Seattle home in the first decades of the twentieth century. \nThe Fryes developed their passion for art at the World’s Columbian Exposition\, a world’s fair held in Chicago in 1893. The experience greatly influenced the painterly subjects and artists the young couple collected for years to come. Over the next four decades\, they purchased canvases by an international roster of artists from Europe and the United States. As children of German immigrants\, the Fryes focused particularly on works by German artists. \nThe couple displayed the collection in private living quarters and a purpose-built gallery attached to their home in First Hill. Major philanthropic supporters of music\, the Fryes also hosted concerts and charitable events in their gallery. Concurrent exhibition LINEAJES pays homage to this model of cross-disciplinary engagement\, inviting local percussionist Antonio M. Gómez to activate the space with musical interventions and a mural painted on the walls behind the Salon works. \n  Save  
URL:https://artinamericaguide.com/event/frye-salon/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/08/4994-1.jpg
ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231116
DTEND;VALUE=DATE:20240311
DTSTAMP:20260403T153338
CREATED:20230726T223546Z
LAST-MODIFIED:20231201T182117Z
UID:104567-1700092800-1710115199@artinamericaguide.com
SUMMARY:David Hockney: Perspective Should be Reversed\, Prints from the Collections of Jordan D. Schnitzer and His Family Foundation
DESCRIPTION:David Hockney: Perspective Should be Reversed\, Prints from the Collections of Jordan D. Schnitzer and His Family Foundation reflects Hockney’s exploration of visual perception\, through historical modes of representation\, technology\, and multiples (printmaking). Hockney’s innovative and whimsical approaches to perspective offer viewers a lens to deeply engage in an ever-changing world and think about new ways of seeing. \n\n\nDrawn from the  collections of Jordan D. Schnitzer and  His  Family Foundation\,  Perspective Should be Reversed is a major exhibition surveying the groundbreaking prints of acclaimed British artist David Hockney (b. 1937).  These selections reflect Hockney’s career-long exploration into new ways of thinking about art\, perception\, and the visual world\, and offers viewers a thoughtful new look at one of the most influential and popular artists of the past several decades. With over 140 colorful prints\, collages\, photographic\, and  iPad drawings in a variety of media and dimensions from over six decades of the artist’s production (1954–2022)\, this is the largest North American retrospective exhibition of David Hockney’s career in print. \n\n\nInstallation image courtesy of the Honolulu Museum of Art and the Jordan Schnitzer Family Foundation.  \n  Save  
URL:https://artinamericaguide.com/event/david-hockney-perspective-should-be-reversed/
LOCATION:Honolulu Museum of Art\, 900 South Beretania Street\, Honolulu\, HI\, 96814\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/07/HoMA_David-Hockney_Perspectives-Should-Be-Reversed_Exhibition-Photography_Nov_16_23-46.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231118
DTEND;VALUE=DATE:20240311
DTSTAMP:20260403T153338
CREATED:20230726T223546Z
LAST-MODIFIED:20230726T223546Z
UID:104569-1700265600-1710115199@artinamericaguide.com
SUMMARY:The Art of Food: From the Collections of Jordan D. Schnitzer and His Family Foundation
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: From the Collections of Jordan D. Schnitzer and His Family Foundation 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. \n\n\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. \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-from-the-collections-of-jordan-d-schnitzer-and-his-family-foundation/
LOCATION:The Baker Museum\, 5833 Pelican Bay Blvd\, Naples\, FL\, 34108\, United States
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231118T100000
DTEND;TZID=America/New_York:20240616T170000
DTSTAMP:20260403T153338
CREATED:20231116T171127Z
LAST-MODIFIED:20231116T171127Z
UID:105967-1700301600-1718557200@artinamericaguide.com
SUMMARY:Cloth as Land: HMong Indigeneity
DESCRIPTION:On view November 18–June 16\, 2024 \nIndigeneity—a state of being Indigenous and originating from a specific place; encompassing displaced minorities whose ancestral homelands have been lost due to colonialism\, yet preserved in the continuity of cultures\, identities\, and kinship. \nHMong Indigeneity lives in textiles: vibrant\, breathing pieces of cloth shaped by HMong hands to illustrate ancestral landmarks and homelands. Here\, lines converge to form patterns and an aesthetic of kin that replace teb chaws—land\, country\, and place—as pathways for Indigeneity to reside. \nCentering the voices of three HMong-American artists\, Cloth as Land investigates a place for HMong Indigeneity within contemporary HMong art. Curated by Pachia Lucy Vang\, the exhibition features textiles from JMKAC’s collection and newly commissioned works by artists Ger Xiong/Ntxawg Xyooj\, Pao Houa Her\, and Tshab Her. \n  Save  
URL:https://artinamericaguide.com/event/cloth-as-land-hmong-indigeneity/
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;VALUE=DATE:20231203
DTEND;VALUE=DATE:20240325
DTSTAMP:20260403T153338
CREATED:20231204T195923Z
LAST-MODIFIED:20231204T195923Z
UID:106113-1701561600-1711324799@artinamericaguide.com
SUMMARY:Helen Frankenthaler: Works from the Collections of Jordan D. Schnitzer and His Family Foundation
DESCRIPTION:Helen Frankenthaler: Works from the Collections of Jordan D. Schnitzer and His Family Foundation presents a curated selection of the work of Helen Frankenthaler drawn completely from the collection of the Jordan Schnitzer Family Foundation. \n\n\nA towering figure in American painting of the 20th century\, Helen Frankenthaler (1928-2011) was one of first major abstract expressionist painters to develop a unique technique of painting that married a fluid paint process with the warp and weft of the canvas so that they became one and the same\, fusing color and movement into an emotional whole. Her lyrical abstractions of sensuous color\, light\, and space both enlighten and enrich the viewer’s sensibilities with their unity and immediacy of effect. \nWhen Frankenthaler turned to printmaking in 1963\, she brought the same independence of spirit and challenging of convention to the process-bound world of the print atelier – as her stain and poured technique had been to painting – in order to create new methodologies of production to capture the act of spontaneous expression. Curated by Bruce Guenther\, the exhibition presents a cross section of her work in the four major print media – woodcuts\, intaglio\, lithographs\, and screenprints – that showcases her innovation and original contribution to printmaking. Drawn from the collections of Jordan D. Schnitzer and His Family Foundation\, the exhibition is especially rich in woodcuts\, which was the last of the four print media picked up by Frankenthaler and the one in which she virtually reinvented the process to incorporate the vital energy and flux of her signature paintings. The woodblocks are considered her most original contribution to printmaking and some of the most beautiful prints made. \n\n  Save  
URL:https://artinamericaguide.com/event/helen-frankenthaler-works-from-the-collections-of-jordan-d-schnitzer-and-his-family-foundation/
LOCATION:Oregon Jewish Museum and Center for Holocaust Education\, 724 NW Davis St.\, Portland\, OR\, 97209\, United States
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231207
DTEND;VALUE=DATE:20240401
DTSTAMP:20260403T153338
CREATED:20231206T223052Z
LAST-MODIFIED:20240328T181308Z
UID:106151-1701907200-1711929599@artinamericaguide.com
SUMMARY:Margaret Morrison Objects of Desire
DESCRIPTION:Woodward Gallery celebrates this Winter Season with Margaret Morrison’s newest one-woman exhibition\, Objects of Desire\, marking the gallery’s return to its secondary location and launching its 30th Anniversary year! Oil paintings\, some previously exhibited in museums around the world\, are gathered for this solo exhibition\, together for the very first time. \nTuscany is Margaret Morrison’s second home and place of great inspiration. Nearly every summer\, Morrison wanders through the antique markets of Arezzo\, Cortona\, and Lucca\, Italy searching for inspiration. She often finds tables laden with sumptuous offerings of silver\, crystal\, and collectibles. Morrison explains that there are tables piled high with forgotten trinkets and discarded items that fascinate her with their accidental beauty. Monumental paintings from her Antiques series inspired by these observations will premiere in Objects of Desire. \nMargaret Morrison’s oil paintings are so realistic that they appear to be photographs. Her large-scale works are chock full of detail to behold. Shiny treasures reflect within one another or glisten with sugary lusciousness in her unique table settings. \nConsidering life from a child’s point of view\, Morrison believes that life becomes mysterious and magical all over again. Previously featured at the Art in Embassy program\, in Tel Aviv\, Israel\, and at the NYU Kimmel Vitrines in Manhattan\, New York\, larger-than-life marbles from her joyous Playtime series will be presented as part of Objects of Desire. \nMorrison’s decadent sweet treats have been featured at the Imperial Centre Museum\, in Rocky Mount\, North Carolina. Lightheartedly\, Margaret Morrison blames her father for her sweet tooth. She recalls her youth time family visits to the drive-in movie theater including ritual stops at the local drug store where her father would purchase several bags of candy. She vividly remembers the shiny wrappers\, the seductive packaging\, and the incalculable thrill of sweet pleasure. Indulge in delights from this Candy series\, premiering in New York City for Objects of Desire. \n  Save  
URL:https://artinamericaguide.com/event/margaret-morrison-objects-of-desire/2023-12-07/
LOCATION:Woodward Gallery at Downtown Association\, 60 Pine Street\, NYC\, 60 Pine Street\, 3rd Floor\, New York\,\, NY\, 10005\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Woodward Gallery":MAILTO:art@woodwardgallery.net
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231208
DTEND;VALUE=DATE:20261207
DTSTAMP:20260403T153338
CREATED:20240522T193731Z
LAST-MODIFIED:20240522T193731Z
UID:108575-1701993600-1796601599@artinamericaguide.com
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:20231209
DTEND;VALUE=DATE:20240410
DTSTAMP:20260403T153338
CREATED:20231009T142251Z
LAST-MODIFIED:20231129T200221Z
UID:105479-1702080000-1712707199@artinamericaguide.com
SUMMARY:Andy Warhol's Endangered Species\, From the Collections of Jordan D. Schnitzer and His Family Foundation
DESCRIPTION:Andy Warhol’s Endangered Species is the first exhibit in the year-long series of three exhibitions hosted by the High Desert Museum. Drawn entirely from the Collections of Jordan D. Schnitzer and His Family Foundation\, the exhibit will include the complete portfolio of Warhol’s Endangered Species (1983) alongside selected highlights from his Marilyn series (1967) and Skull series (1976). A household name and pop icon\, Andy Warhol is best known for examining contemporary culture through images of commodification\, mortality\, and celebrity. \nSeen beside Warhol’s most celebrated images of Marilyn Monroe and the ubiquitous symbol of mortality\, Skulls\, Andy Warhol’s Endangered Species asks visitors to reflect on our need for actionable conservation. The megafauna portrayed in the Endangered Species series finds multiple commonalities with the Marilyn series\, asking visitors to examine ideas of posthumous idolization and our own responsibility to the most threatened species. \n  Save  
URL:https://artinamericaguide.com/event/andy-warhols-endangered-species-from-the-collections-of-jordan-d-schnitzer-and-his-family-foundation/
LOCATION:High Desert Museum\, 59800 US-97\, Bend\, OR\, 97702\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2023/10/warholwebbanner_inside-1024x576-1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Seoul:20231212T100000
DTEND;TZID=Asia/Seoul:20240310T180000
DTSTAMP:20260403T153338
CREATED:20240108T181109Z
LAST-MODIFIED:20240108T181203Z
UID:106445-1702375200-1710093600@artinamericaguide.com
SUMMARY:Koo Bohnchang’s Voyages
DESCRIPTION:Seoul Museum of Art (SeMA; General Director Choi Eunju) proudly presents Koo Bohnchang’s Voyages\, a retrospective by a key representative of contemporary Korean art\, Koo Bohnchang (b. 1953). \nKoo has played a crucial role in the foundation and development of contemporary Korean photography from the 1980s to the present. The artist stirred a sensation in the Korean photography and art world with his new concept and form of “making photo” in works presented in The New Wave of Photography (May 16 –June 17\, 1988\, Walkerhill Museum of Art\, Seoul)\, an exhibition he organized as a curator and showed in as one of the artists. The idea of photography taking off from its traditional role of recording or documenting\, to becoming an art form charged with subjective expressions that reflect attributes of various mediums like painting\, sculpture and print\, penetrates Koo’s entire oeuvre\, and opened new territories in Korean contemporary photography. \nThe exhibition includes over 500 works and 600 resource materials from 43 of the artist’s major series\, including his iconic Vessel\, Gold\, Interiors\, Soap\, and In the Beginning projects. \n  Save  
URL:https://artinamericaguide.com/event/koo-bohnchangs-voyages/
LOCATION:Seoul Museum of Art\, 61\, Deoksugung-gil\, Jung-gu\, Seoul\, 04515\, Korea\, Republic of
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/01/Bohnchang-Koo-Moon-Rising-3-2006.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240111T100000
DTEND;TZID=America/New_York:20240309T170000
DTSTAMP:20260403T153338
CREATED:20231206T223052Z
LAST-MODIFIED:20231206T223052Z
UID:106155-1704967200-1710003600@artinamericaguide.com
SUMMARY:Janet Cardiff & George Bures-Miller: Ambient Jukebox & Other Stories
DESCRIPTION:Fraenkel Gallery is pleased to present Ambient Jukebox & Other Stories\, an exhibition of new work by multidisciplinary artists Janet Cardiff and George Bures Miller. Atmospheric\, dreamlike\, and theatrical\, the duo’s work often explores how sound affects perception. This will be the artists’ second solo exhibition with the gallery since 2018. A public reception with the artists will take place on Saturday\, January 13\, from 2-4pm. \n\n\n\nIn Cosmic Disco\, tiny points of light reflected from altered mirrorballs fill a darkened room to create the illusion of slowly moving galaxies\, accompanied by a soundtrack drawn from recordings of planets and moons made by NASA’s Voyager I and II. The piece immerses viewers in illusory reflections and otherworldly sounds\, encouraging contemplation of the universe and humans’ place in it. In another room\, Ambient Jukebox repurposes a familiar-looking 1960s jukebox. Rather than playing pop hits\, it has been reprogrammed to spin drone-like tunes created by Bures Miller during the disorienting months of the global pandemic. As in many of their pieces\, Cardiff and Bures Miller invite the viewer to activate the piece—selecting the tracks creates a singular experience of the work and transforms the iconic object into something unfamiliar and surprising. \n\n\n\nA range of more intimate works populate the third gallery. Combining paintings\, found materials\, soundtracks\, and audio musings\, these works explore the ways in which narrative\, music\, and sound influence the viewer’s interpretation of visual elements. Playful sculptural collages\, made in part from studio scraps left over from earlier works\, are inspired by constructivist ideas. In one\, a collage made from rough wooden shapes\, pieces of torn paper\, and a tuft of blonde hair spins on a round pedestal as speakers play a hypnotic soundtrack of layered voices. Other works juxtapose moody oil paintings with fragments of found text\, exploring the power of words even when inaudible. \n\n\n\nSuitcases appear in several works. A vintage suitcase is transformed into a theater\, replete with curiously crafted doll-like characters and a range of scenarios that play on a small screen facing the ‘stage.’ Another suitcase is modified with a gramophone speaker through which Cardiff’s dreamlike voice quavers the World War I marching song Pack Up Your Troubles in Your Old Kit Bag\, and Smile\, Smile\, Smile by George and Felix Powell\, a song which in time has been sung by forces on all sides of many conflicts. \nJanet Cardiff and George Bures Miller recently opened the Cardiff Miller Art Warehouse in Enderby\, British Columbia\, a venue that showcases their immersive large-scale installations. The Killing Machine\, an automated installation inspired in part by Franz Kafka’s story In the Penal Colony\, is featured in the exhibition Kafka: 1924 at Villa Stuck in Munich\, Germany\, on view until February 11\, 2024. Their solo survey exhibition Dream Machines was recently on view at Museum Tinguely in Basel\, Switzerland\, following its premier at Lehmbruck Museum in Duisburg\, Germany. The exhibition was organized in honor of the Wilhelm Lehmbruck Prize\, which was awarded to the pair in 2020. Cardiff’s celebrated sound sculpture Forty-Part Motet is on view in ongoing exhibitions at the National Gallery of Canada in Ottawa\, and Inhotim in Brumadinho\, Brazil. \nTheir work has been shown in the Metropolitan Museum of Art\, New York; MoMA PS1\, New York; National Gallery of Canada\, Ottawa; Nelson Atkins Museum of Art\, Kansas City\, Missouri; Moderna Museet\, Stockholm; San Francisco Museum of Modern Art; and Tate Modern\, London\, among many others. Their work is in the collections of public institutions including the Corcoran Gallery of Art\, Washington\, D.C.; Dallas Museum of Art\, Dallas\, Texas; Hirshhorn Museum and Sculpture Garden\, Washington\, D.C.; San Francisco Museum of Modern Art\, and others. In 2011 they received Germany’s Käthe Kollwitz Prize\, and in 2001\, represented Canada at the 49th Venice Biennale\, for which they received the Premio Speciale and the Benesse Prize. \n\n\n\n\n\n\n\n\n\n\n\n\n  Save  
URL:https://artinamericaguide.com/event/janet-cardiff-george-bures-miller-ambient-jukebox-other-stories/
LOCATION:Fraenkel Gallery\, 49 Geary Street\, San Francisco\, CA\, 94108\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/12/JCGBM-0126_b.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;VALUE=DATE:20240112
DTEND;VALUE=DATE:20240303
DTSTAMP:20260403T153338
CREATED:20231212T195453Z
LAST-MODIFIED:20231212T195453Z
UID:106223-1705017600-1709423999@artinamericaguide.com
SUMMARY:Julian Charrière: Buried Sunshine
DESCRIPTION:Sean Kelly is delighted to present Julian Charrière’s Buried Sunshine\, the artist’s third solo exhibition with the gallery in New York. Capturing the delirium of the petroleum industry and the burning of lithic landscapes\, Charrière brings his film Controlled Burn together with sculptures and a new series of heliographic photographs to unearth the ‘fossilized sunshine’ upon which the mythos of Los Angeles was built. Examining the material reality of hydrocarbons and how our modern world is organized around the energy they provide\, the exhibition draws parallels between the image-making machine of Hollywood and our dependence on fossil fuels\, both of which exert gravitational forces that bend our perception of reality. There will be an opening reception on Thursday\, January 11\, from 6-8pm. The artist will be present. \nIn his new photographic series Buried Sunshines Burn\, Charrière reveals the City of Angels as a special anomaly: a place built not only by hydrocarbons\, but on top of them\, with 5\,000 active oil wells beneath the second largest city in the United States. Employing heliography\, one of photography’s oldest techniques\, first developed by French inventor Nicéphore Niépce in 1822\, Charrière uses a light-sensative emulsion incorporating naturally occurring tar collected from the La Brea\, McKittrick\, and Carpinteria Tar Pits in California to create photographic imprints of local oil fields. Shot from a bird’s eye perspective\, the images–printed on highly polished stainless-steel plates–survey some of the state’s largest reserves\, including the immense Kern River Oil Field in the San Joanquin Valley\, the Placerita and Aliso Canyon Oil Fields in Santa Clarita\, and the giant Inglewood Oil Field situated in the heart of the city. \nCharrière’s film Controlled Burn invites viewers on a cosmic journey\, soaring through an aerial landscape of imploding fireworks. Filmes using a drone\, this disorienting voyage takes place in open pit coal mines\, discommissioned oil rigs\, and rusting cooling towers. Amid whirling smoke and fire\, implosions are intercut by flashing images of primordial ferns and fluttering moths–beings that evolved during the carboniferous geological period. Charrière cites these organisms as spirit guides and living tokens for the vitality of fossil fuels\, and markers for how the agency of coal\, oil\, and tar has come to haunt our contemporary imagination. Linking celebratory pyrotechnics with architectures of extraction\, explosive momentum\, and technological obsolescence\, Controlled Burn stages the fantasy of a dramatic return to sources of energy via implosion. \nAlso featured in the exhibition are two obsidian sculptures\, Thickens\, pools\, flows\, rushes\, slows. Made from large pieces of polished volcanic glass–colled magma which has erupted from the Earth’s core. Charrière draws on this material as an ancient means of divination. A readily available resource in Mesoamerica\, both Mayan and Aztec civilizations believed obsidian to unlock doors to other times and realms; the hardness of the glass made it one of the earliest materials to be traded across vast distances. In the present\, the dark vitality of obsidian is eerily reminiscent of our technological black mirrors\, themselves questionable portals beyond the present. \nAs an exhibition\, Buried Sunshine expands upon Julian Charrière’s ongoing inquiry into how our species inhabits the world\, and how it in turn inhabits us. Charrière combines a unique industrial history with a historic form of image-making\, creating an immersive landscape where our most urgent ecological concerns can be addressed. Utilizing photography\, film and sculpture\, Buried Sunshine investigates sense of place through the lens of geological time\, in the process urging viewers to reflect on how our relationship with the materials we appropriate as fuel comes to inform how we perceive the world around us. \nJulian Charrière’s work has been the subject of solo presentations at major international institutions\, including SFMOMA\, San Francisco; Langen Foundation\, Neuss; Dallas Museum of Art\, Dallas; MAMbo\, Bologna; Berlinische Galerie\, Berlin; Parasol Unit Foundation\, London; Musée des Beaux-Arts\, Lausanne; and Centre Culturel Suisse\, Paris. Charrière has also been prominently featured at the 59th Biennale di Venezia; 57th Biennale di Venezia; the Antarctic Biennale; the Taipei Biennial; the 12th and 16th Biennale de Lyon; Centre Pompidou\, Paris; Sprengel Museum\, Hannover; Aarhus Kunstmuseum\, Aarhus; SCHIRN Kunsthalle\, Frankfurt; Hayward Gallery\, Southbank Centre\, London; and Palais de Tokyo\, Paris. Julian Charrière is a former participant of the Institute for Spatial Experiments\, an experimental education and research project at the Berlin University of the Arts led by Olafur Eliasson. A nominee for the Prix Marcel Duchamp in 2021\, in 2022 Charrière received the 14th SAM Prize for Contemporary Art. \nFor additional information on Julian Charrière\, please visit skny.com \nFor media inquiries\, please email Adair Lentini at Adair@skny.com \nFor all other inquiries\, please email Lauren Kelly at Lauren@skny.com \n  Save  
URL:https://artinamericaguide.com/event/julian-charriere-buried-sunshine-2/
LOCATION:Sean Kelly\, New York\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240112
DTEND;VALUE=DATE:20240303
DTSTAMP:20260403T153338
CREATED:20240103T214212Z
LAST-MODIFIED:20240103T214212Z
UID:106426-1705017600-1709423999@artinamericaguide.com
SUMMARY:Drowning in Harmony
DESCRIPTION:Sean Kelly Gallery is delighted to present John Guzman’s solo exhibition Drowning in Harmony. Guzman’s visceral artworks deconstruct the body to navigate the unpredictable\, unusual\, and at times\, unbearable moments of life. Featuring a compelling series of new large and small oil paintings and works on paper\, the exhibition delves into the complexities of the human experience. There will be an opening reception on Thursday\, January 11\, from 6-8pm. The artist will be present. \nDrowning in Harmony presents Guzman’s distinctive style and thought-provoking narrative to explore his unique visual language. His innovative approach to painting serves as a form of documentation\, revealing the transformative nature of the body by reducing it to textured lines and muted colors. Drawing from lived experiences in the Southside of San Antonio\, Texas\, Guzman’s paintings abstract the human figure to reflect the unrecognizable transformations of the body resulting from stress. Guzman’s mastery of form\, color\, and conceptual depth is evident in this new series of works which demonstrate his ability to push artistic boundaries. The works on paper further highlight Guzman’s versatility\, translating intricate concepts into a more intimate medium. \nPositioning his figures within domestic architecture\, Guzman intricately weaves links between the environment and its inhabitants. In his paintings\, Guzman assembles distorted\, tangled figures confined in cramped domestic spaces\, creating a visual language for the condition of existence at the edge of survival. The exhibition creates a link between the environment and its inhabitants as Guzman explores space\, style\, subject matter\, and line\, addressing the fragility of the psyche and altered landscapes. \nJohn Guzman received formal training from the Southwest School of Art\, San Antonio\, TX. In June 2022\, he had his first museum solo exhibition\, John Guzman: Flesh and Bone at Blaffer Art Museum\, Houston\, TX. He is a graduate of NXTHVN’s Fellowship Program in New Haven\, CT\, which had its culminating exhibition\, Undercurrents at Sean Kelly\, New York in June 2022. He currently lives and works in New Haven\, CT. \nFor additional information on John Guzman\, please visit skny.com \nFor media inquiries\, please email Adair Lentini at Adair@skny.com \nFor all other inquiries\, please email Janine Cirincione at Janine@skny.com \n  \nImage: John Guzman\, Secret hide away\, 2023\, oil on linen\, 20 x 16 inches © John Guzman Photography Adam Reich Courtesy: the artist and Sean Kelly\, New York/Los Angeles \n  Save  
URL:https://artinamericaguide.com/event/drowning-in-harmony/
LOCATION:Sean Kelly\, New York\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/01/JG-2024.01-Drowning-in-Harmony-SKNY-scaled.jpg
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240112
DTEND;VALUE=DATE:20240303
DTSTAMP:20260403T153338
CREATED:20240119T150547Z
LAST-MODIFIED:20240119T150547Z
UID:106731-1705017600-1709423999@artinamericaguide.com
SUMMARY:Julian Charrière: Buried Sunshine
DESCRIPTION:Sean Kelly is delighted to present Julian Charrière’s Buried Sunshine\, the artist’s third solo exhibition with the gallery in New York. Capturing the delirium of the petroleum industry and the burning of lithic landscapes\, Charrière brings his film Controlled Burn together with sculptures and a new series of heliographic photographs to unearth the ‘fossilized sunshine’ upon which the mythos of Los Angeles was built. Examining the material reality of hydrocarbons and how our modern world is organized around the energy they provide\, the exhibition draws parallels between the image-making machine of Hollywood and our dependence on fossil fuels\, both of which exert gravitational forces that bend our perceptions of reality. There will be an opening reception on Thursday\, January 11\, from 6-8pm. The artist will be present. \nIn his new photographic series Buried Sunshines Burn\, Charrière reveals the City of Angels as a spatial anomaly: a place built not only by hydrocarbons\, but on top of them\, with 5\,000 active oil wells beneath the second largest city in the United States. Employing heliography\, one of photography’s oldest techniques\, first developed by French inventor Nicéphore Niépce in 1822\, Charrière uses a light-sensitive emulsion incorporating naturally occurring tar collected from the La Brea\, McKittrick\, and Carpinteria Tar Pits in California to create photographic imprints of local oil fields. Shot from a bird’s eye perspective\, the images— printed on highly polished stainless-steel plates—survey some of the state’s largest reserves\, including the immense Kern River Oil Field in the San Joaquin Valley\, the Placerita and Aliso Canyon Oil Fields in Santa Clarita\, and the giant Inglewood Oil Field situated in the heart of the city. \n\n\n\n\nCharrière’s film Controlled Burn invites viewers on a cosmic journey\, soaring through an aerial landscape of imploding fireworks. Filmed using a drone\, this disorienting voyage takes place in open pit coal mines\, decommissioned oil rigs\, and rusting cooling towers. Amid whirling smoke and fire\, implosions are intercut by flashing images of primordial ferns and fluttering moths—beings that evolved during the carboniferous geological period. Charrière cites these organisms as spirit guides and living tokens for the vitality of fossil fuels\, and markers for how the agency of coal\, oil\, and tar has come to haunt our contemporary imagination. Linking celebratory pyrotechnics with architectures of extraction\, explosive momentum\, and technological obsolescence\, Controlled Burn stages the fantasy of a dramatic return to sources of energy via implosion. \n\n\n\n\nAlso featured in the exhibition are two obsidian sculptures\, Thickens\, pools\, flows\, rushes\, slows. Made from large pieces of polished volcanic glass–cooled magma which has erupted from the Earth’s core. Charrière draws on this material as an ancient means of divination. A readily available resource in Mesoamerica\, both Mayan and Aztec civilizations believed obsidian to unlock doors to other times and realms; the hardness of the glass also made it one of the earliest materials to be traded across vast distances. In the present\, the dark vitality of obsidian is eerily reminiscent of our technological black mirrors\, themselves questionable portals beyond the present. \nAs an exhibition\, Buried Sunshine expands upon Julian Charrière’s ongoing inquiry into how our species inhabits the world\, and how it in turn inhabits us. Charrière combines a unique industrial history with a historic form of image-making\, creating an immersive landscape where our most urgent ecological concerns can be addressed. Utilizing photography\, film and sculpture\, Buried Sunshine investigates sense of place through the lens of geological time\, in the process urging viewers to reflect on how our relationship with the materials we appropriate as fuel come to inform how we perceive the world around us. \nJulian Charrière’s work has been the subject of solo presentations at major international institutions\, including SFMOMA\, San Francisco; Langen Foundation\, Neuss; Dallas Museum of Art\, Dallas; MAMbo\, Bologna; Berlinische Galerie\, Berlin; Parasol Unit Foundation\, London; Musée des Beaux-Arts\, Lausanne; and Centre Culturel Suisse\, Paris. Charrière has also been prominently featured at the 59th Biennale di Venezia; 57th Biennale di Venezia; the Antarctic Biennale; the Taipei Biennial; the 12th and 16th Biennale de Lyon; Centre Pompidou\, Paris; Sprengel Museum\, Hannover; Aarhus Kunstmuseum\, Aarhus; SCHIRN Kunsthalle\, Frankfurt; Hayward Gallery\, Southbank Centre\, London; and Palais de Tokyo\, Paris. Julian Charrière is a former participant of the Institute for Spatial Experiments\, an experimental education and research project at the Berlin University of the Arts led by Olafur Eliasson. A nominee for the Prix Marcel Duchamp in 2021\, in 2022 Charrière received the 14th SAM Prize for Contemporary Art. \n\n\n\n\n\n  Save  
URL:https://artinamericaguide.com/event/julian-charriere-buried-sunshine-3/
LOCATION:Sean Kelly\, New York\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20240112
DTEND;VALUE=DATE:20240303
DTSTAMP:20260403T153338
CREATED:20240119T150547Z
LAST-MODIFIED:20240119T150547Z
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SUMMARY:John Guzman Drowning in Harmony
DESCRIPTION:Sean Kelly Gallery is delighted to present John Guzman’s solo exhibition Drowning in Harmony. Guzman’s visceral artworks deconstruct the body to navigate the unpredictable\, unusual\, and at times\, unbearable moments of life. Featuring a compelling series of new large and small oil paintings and works on paper\, the exhibition delves into the complexities of the human experience. There will be an opening reception on Thursday\, January 11\, from 6-8pm. The artist will be present. \nDrowning in Harmony presents Guzman’s distinctive style and thought-provoking narrative to explore his unique visual language. His innovative approach to painting serves as a form of documentation\, revealing the transformative nature of the body by reducing it to textured lines and muted colors. Drawing from lived experiences in the Southside of San Antonio\, Texas\, Guzman’s paintings abstract the human figure to reflect the unrecognizable transformations of the body resulting from stress. Guzman’s mastery of form\, color\, and conceptual depth is evident in this new series of works which demonstrate his ability to push artistic boundaries. The works on paper further highlight Guzman’s versatility\, translating intricate concepts into a more intimate medium. \n\n\n\n\nPositioning his figures within domestic architecture\, Guzman intricately weaves links between the environment and its inhabitants. In his paintings\, Guzman assembles distorted\, tangled figures confined in cramped domestic spaces\, creating a visual language for the condition of existence at the edge of survival. The exhibition creates a link between the environment and its inhabitants as Guzman explores space\, style\, subject matter\, and line\, addressing the fragility of the psyche and altered landscapes. \nJohn Guzman received formal training from the Southwest School of Art\, San Antonio\, TX. In June 2022\, he had his first museum solo exhibition\, John Guzman: Flesh and Bone at Blaffer Art Museum\, Houston\, TX. He is a graduate of NXTHVN’s Fellowship Program in New Haven\, CT\, which had its culminating exhibition\, Undercurrents at Sean Kelly\, New York in June 2022. He currently lives and works in New Haven\, CT. \n\n\n\n\nFor additional information on John Guzman\, please visit skny.com  \nFor media inquiries\, please email Adair Lentini at Adair@skny.com \nFor all other inquiries\, please email Janine Cirincione at Janine@skny.com \n\n\n\n\n\n\n\n  Save  
URL:https://artinamericaguide.com/event/john-guzman-drowning-in-harmony/
LOCATION:Sean Kelly\, New York\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240116
DTEND;VALUE=DATE:20240617
DTSTAMP:20260403T153338
CREATED:20231010T164429Z
LAST-MODIFIED:20231012T195754Z
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SUMMARY:Jacob Lawrence and the Legend of John Brown
DESCRIPTION:Jacob Lawrence and the Legend of John Brown presents a recently acquired portfolio of prints by the acclaimed Black modernist Jacob Lawrence (1917–2000). Lawrence originally produced The Legend of John Brown as paintings in 1941\, but\, due to problems related to the stability of the gouache used in the series\, in 1974 he collaborated with printers to translate this important body of work to screen prints. Lawrence drew inspiration for the 22 prints in the series from research he conducted at the Schomberg Center for Research in Black Culture at the New York Public Library\, notably Franklin B. Sanborn’s The Life and Letters of John Brown\, Liberator of Kansas and Martyr of Virginia\, published in 1885. Lawrence’s account of Brown’s life and death includes consideration of his time in Kansas\, where Brown first employed violence in his quest to rid the country of slavery. \n  Save  
URL:https://artinamericaguide.com/event/jacob-lawrence-and-the-legend-of-john-brown/
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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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240118
DTEND;VALUE=DATE:20240401
DTSTAMP:20260403T153338
CREATED:20240119T150410Z
LAST-MODIFIED:20240130T152431Z
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SUMMARY:Daniel Rosenbaum: Inner Guardians\, Outer Explorers
DESCRIPTION:Woodward Gallery presents Daniel Rosenbaum: Inner Guardians\, Outer Explorers\, a Solo Exhibition at our 132A Eldridge Street location and continuing with large-scale works at our 60 Pine Street space. Thought-provoking gestural paintings ponder the question of whether an ancient relationship between humans and the cosmos exists. \nPoured and brushed paint and the artist’s hands and body integrate within Rosenbaum’s meditative painting process to unite earthly and astral sources. Paint asserts itself through natural spirals on his canvas surface. A form appears in his spontaneous expressions\, perhaps representing the curious\, to guide us away from here and now. Daniel Rosenbaum’s repetitive and introspective process of layering thick and thin acrylics in translucent coats helps guide him to unplanned images. \n\n\n\n\nRosenbaum isn’t afraid of vibrant colors that flow unconstrained in his canvases. The artist is influenced by the East while living in the West\, and looks to the sky for inspiration\, in a celestial awareness with limitless boundaries. \nHis paintings seek to understand the soul of the universe with a freedom and vigor that charge that inquiry. \nPlease come along on Daniel Rosenbaum’s creative journey at Woodward Gallery by appointment\, online at WoodwardGallery.net\, and in a virtual Exhibition Viewing Room on ARTSY.net. \n\n\n\n  Save  
URL:https://artinamericaguide.com/event/daniel-rosenbaum-inner-guardians-outer-explorers/2024-01-18/
LOCATION:Woodward Gallery at Downtown Association\, 60 Pine Street\, NYC\, 60 Pine Street\, 3rd Floor\, New York\,\, NY\, 10005\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Woodward Gallery":MAILTO:art@woodwardgallery.net
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240118T110000
DTEND;TZID=America/New_York:20240421T180000
DTSTAMP:20260403T153338
CREATED:20240119T150547Z
LAST-MODIFIED:20240119T150547Z
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SUMMARY:If toxic air is a monument to slavery\, how do we take it down?
DESCRIPTION:Forensic Architecture (FA) presents their research on “Death Alley\,” using architectural and environmental analysis; FA examines the impacts of colonialism and slavery\, offering tools to help combat a 300-year continuum of environmental racism. \n  Save  
URL:https://artinamericaguide.com/event/if-toxic-air-is-a-monument-to-slavery-how-do-we-take-it-down/
LOCATION:San Jose Museum of Art\, 110 S. Market Street\, San Jose\, CA\, 95113\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240119
DTEND;VALUE=DATE:20240311
DTSTAMP:20260403T153338
CREATED:20240110T191112Z
LAST-MODIFIED:20240110T191112Z
UID:106624-1705622400-1710115199@artinamericaguide.com
SUMMARY:The Worlds of Chuck Bowdish
DESCRIPTION:New York Studio School is pleased to present a solo exhibition of work by the late artist Chuck Bowdish. Organized in collaboration with the artist’s estate\, The Worlds of Chuck Bowdish draws on several decades of work to explore the various facets of Bowdish’s highly personal and enigmatic paintings\, watercolors\, collages\, drawings\, and sculptures. An opening reception will take place on Friday\, January 19\, which will include a screening of Peter Wareing’s documentary film\, Chuck Bowdish: Painter (2001). \nBowdish’s career is marked by an ethos of experimentation\, in search of what he described as “grace and honesty” in the face of the “darkness of human character.” The subject matter of Bowdish’s works emerges from both keenly observing the world around him and probing the depths of his subconscious. The Worlds of Chuck Bowdish is organized around the specificity of place that informed his artmaking in subject matter\, palette\, and materials\, even as he became increasingly preoccupied with the landscapes and narratives of the imagination. Diagnosed with bipolar disorder\, Bowdish found solace in the act of painting. “When I am behind the easel\,” he explained\, “I can feel the forms and shapes in my physical body coming out in a very concrete way. It is truly therapeutic.” \nBowdish flourished while attending the Ringling School of Art in Sarasota\, Florida\, from 1977 through 1980. There he studied figure painting and drawing\, concentrating his efforts on watercolor—a medium that remained central to his practice throughout his career. Motifs inspired by Florida\, such as palm trees\, boats\, and shorelines\, recur across his bodies of work. \nBowdish’s years in New York evidence a dedicated interest in form while studying illustration and figuration at the Art Students League and figural sculpture at NYSS. He continued to refine his draughtsmanship and developed a singular sense of color\, which\, he observed\, was “considerably brightened” by the “color\, light\, and culture” of San Miguel de Allende\, where he lived from 1986 to 1991. Returning to New York\, he pursued figure painting and anatomical studies at the New York Academy of Art\, a period of intensive study that resulted in large\, haunting oil paintings of nudes in imagined landscapes inhabiting unknowable narratives. The surfaces of his gestural oil paintings are marked by scratches and scrapes\, themselves becoming objects with storied histories of erasure\, change\, and discovery\, like Roman frescoes. In his later oil paintings\, watercolors\, and collages from New York and\, finally\, Hendersonville\, North Carolina\, he worked primarily from his imagination and dreams\, reformulating themes and narratives of innocence\, violence\, loss\, and sexuality central to the human condition. His inventive deployment of scale underscores the emotional and psychological tenor of much of his work\, as does the high-contrast\, stage-like lighting. \nBowdish’s work signals a profound and expansive familiarity with the history of art. His angular forms at times evoke the timelessness of Archaic sculpture\, his landscapes the dreamlike scenes of the Fauves. His winged figures conjure Fra Angelico’s and his nudes Balthus’s. Yet\, Bowdish’s work complexly intertwines his personal lived experience with broader national and international events through these familiar art historical forms. Allusions to a midcentury childhood defined by the American idealism of John F. Kennedy’s presidency and the brutality of the Vietnam War haunt scenes populated by recurring motifs of Greek amphoras\, military tanks\, ballet dancers\, Judeo-Christian symbols\, fedora-wearing mobsters\, and Gauguin-inspired nudes. Artist Bruce Gagnier\, with whom Bowdish studied at NYSS\, highlights the metaphoric nature of Bowdish’s work\, explaining that “he fashions forms that project feelings that lie within us all. Here\, as in all great painting\, life comes to the canvas with the urgency of the painter’s brush.” This exhibition explores the cosmologies he experienced\, remembered\, and imagined. \nThe Worlds of Chuck Bowdish serves as an important critical examination of an artist whose prolific output has yet to be fully considered. Bowdish’s expansive body of work searches for innocence and transcendence in a post-industrial\, fragmented\, and\, at times\, perilous world. As the artist himself wrote\, “One of the responsibilities of an artist is to reaffirm our humanity which is basically our capacity to love.” Also on view in the exhibition is Peter Wareing’s thirty-minute film Chuck Bowdish: Painter (2001) that chronicles Bowdish’s artistic journey. \nFollowing its presentation at NYSS\, the exhibition will be on view at the Ringling College of Art and Design\, Sarasota\, FL\, during their 2025-2026 season. \nOn February 13\, NYSS will host an Evening Lecture Series panel discussion on Bowdish’s work featuring Sasha Chermayeff\, Bruce Gagnier\, Ernie Sandidge\, and Lisa Steiner. The event will start at 6:30 pm ET and will be held in person and livestreamed on Zoom and YouTube Live. The occasion will also mark the launch of the illustrated exhibition catalogue\, The Worlds of Chuck Bowdish\, which will include remembrances by friends and fellow artists\, such as SoHyun Bae\, Chris Carone\, Marianne Gagnier\, and Nels Pierce\, among others. \nChuck Bowdish (1959-2022) was born in Dayton\, Ohio. His peripatetic childhood was defined by his fighter pilot father’s tours of duty in the Vietnam era. He first learned to draw from his mother\, a painter and schoolteacher. He attended the Ringling School of Art and Design in Sarasota in the late 1970s\, followed by the Art Students League and NYSS in the early 1980s. In New York he joined the downtown art scene and began working as an illustrator with The New York Times and Fortune. After several years in Mexico\, he returned to New York and enrolled at the New York Academy of Art. His awards include the Edgar Whitney Scholarship (1981)\, “Best of Show” at the 1993 Ringling alumni exhibition\, the Wynn Newhouse Award (2012) and the Hassam\, Speicher\, Betts\, and Symons Fund Purchase Award from the American Academy of Arts and Letters (2015). He showed often with steven harvey fine arts projects\, New York\, and Galerie Timothy Tew\, Atlanta\, GA\, among several other galleries\, and his work is in the collection of The Butler Institute of American Art\, Youngstown\, Ohio; Western Carolina University Art Museum\, Cullowhee\, North Carolina; and the William Louis-Dreyfus Foundation\, Mt. Kisco\, New York. Recent exhibitions include Chuck Bowdish: Complete Works\, Art at Kings Oaks\, Newtown\, PA\, and the group exhibition The Way I’m Wired: Artist Reflections on Neurodiversity\, Western Carolina University Fine Art Museum\, Cullowhee\, North Carolina. \nThe School extends a special thank you to the family of Chuck Bowdish. \n  Save  
URL:https://artinamericaguide.com/event/the-worlds-of-chuck-bowdish-2/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="new york studio school":MAILTO:rrickert@nyss.org
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DTSTART;TZID=America/New_York:20240119T180000
DTEND;TZID=America/New_York:20240427T180000
DTSTAMP:20260403T153338
CREATED:20231204T195923Z
LAST-MODIFIED:20231204T195923Z
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SUMMARY:Streaming: Sculpture by Christy Rupp
DESCRIPTION:Understood as one of the early pioneers in the field of ecological art activism\, the artist\, activist and thought-leader Christy Rupp has an international reputation. Streaming will feature a survey of Rupp’s intricate collages\, wall installations and free-standing sculpture\, which chronicle the ongoing tension between natural systems and the environment in transition\, and call our attention to our interconnectedness with non-humans and habitat – transmuting detritus gathered from the waste stream through collage and sculpture to reveal what is hidden away from common view and understanding. Informed by science and the historical representation of natural history\, the artwork in this exhibition examines the way we frame our opinions of nature\, using irony and wit to represent the human impact on our natural habitat. This exhibition in the Walsh Gallery located at Fairfield University opens Thursday\, January 18th and runs through Saturday\, April 27th\, 2024. \n  Save  
URL:https://artinamericaguide.com/event/streaming-sculpture-by-christy-rupp/
LOCATION:Fairfield University Art Museum\, 200 Barlow Road\, Fairfield\, CT\, 06824\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Cross Contemporary Art Projects":MAILTO:crosscontemporaryprojects@gmail.com
GEO:41.1534278;-73.2542612
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240120
DTEND;VALUE=DATE:20240310
DTSTAMP:20260403T153338
CREATED:20240226T154048Z
LAST-MODIFIED:20240226T154048Z
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SUMMARY:Jose Davila: Photographic Memory
DESCRIPTION: Sean Kelly is delighted to announce Photographic Memory\, Jose Dávila’s first exhibition at the Los Angeles gallery. Photographic Memory is comprised of a series of Dávila’s signature cut-out works\, which reference Richard Prince’s solo exhibition at LACMA in 2018. The exhibition features large-scale photographic works in which Dávila has removed the main figure of Prince’s influential Untitled (cowboy) series. Challenging conventional connotations and limitations of photography in today’s image driven society\, Dávila’s cut-outs interrogate originality\, appropriation\, and the truth behind an image. There will be an opening reception on Saturday\, January 20\, from 5-7pm. The artist will be present.  \nDávila began making cut-outs in 2008\, an ongoing series in which he simultaneously pays homage to and critiques icons of 20th century art and architecture through acts of excision\, physically removing the central subject from photographic reproductions of original works of art. With these works\, Dávila investigates whether an artwork can be produced through a reductive rather than additive process. This technique is inspired by the Mexican folk-art tradition of papel picado or Cut-Paper\, which Dávila applies to contemporary art to explore the importance of negative space.  \nDávila revisits Richard Prince’s series in which he photographed and enlarged widely recognized advertisements for Marlboro cigarettes featuring imagery of cowboys on horseback in iconographic American Western landscapes. Prince cropped the 13 57 N H IG H LA N D AVE L OS A N GE L E S C A 90028 | T 3 1 0 . 4 9 9 . 0 8 4 3 | S E A N K E L L Y LA . C OM  \nadvertisements to remove any text and left the torn edges and tape as a reminder of their original context in mass-market magazines. This controversial practice raises questions about what constitutes an original work of art. Dávila’s photographs\, similarly scaled at up to six feet high by eight feet wide\, include the uneven edges and tape to pay homage to\, and keep the conceptual and theoretical congruency of\, the works referenced. Dávila takes the conversation a step further by removing the focal point of the image\, transforming the scenes into a poetic discourse about the power of negative space. “By subtracting the main subject\, I intend to compel the viewer to perform a creative act\, because they have to somehow fill in that central image from their memory and imagination\,” states Dávila. “Even if it’s an image you’ve seen many times\, whatever you might recall might not be the same thing that I recall.”  \nIn Photographic Memory\, Jose Dávila explores the boundaries of artistic influence\, skillfully intertwining homage and critique. He simultaneously challenges authorship through the alteration of iconic images to create new artworks and a distinctive oeuvre all his own.  \nJose Dávila has presented solo exhibitions at the Museum Haus Konstruktiv\, Zürich\, Switzerland; Dallas Contemporary\, Texas; JUMEX Museum\, Mexico City; Hamburg Kunsthalle\, Hamburg and the Museo del Novecento\, Florence\, amongst others. His work is in the permanent collection of numerous institutions including the Museo Universitario Arte Contemporáneo (MUAC)\, Mexico City\, Mexico; Museo Nacional Centro de Arte Reina Sofía\, Madrid\, Spain; Inhotim\, Brumadinho\, Brazil; the Perez Art Museum\, Miami\, Florida; the Buffalo AKG Art Museum\, Buffalo\, New York; the San Antonio Museum of Art\, San Antonio\, Texas\, the Solomon R. Guggenheim Museum\, New York; the Centre Pompidou\, Paris; Hamburg Kunsthalle\, Hamburg; and the Museum of Modern Art\, Luxembourg.  \nDávila was the winner of the 2016 BALTIC Centre for Contemporary Art’s New Annual Artists’ Award\, Artists honoree of the Hirshhorn Museum in Washington DC in 2016\, the 2014 EFG ArtNexus Latin America Art Award\, and has been the recipient of support from the Andy Warhol Foundation\, a Kunstwerke residency in Berlin\, and the National Grant for young artists by the Mexican Arts Council (FONCA) in 2000. In 2022\, Hatje Cantz published a major monograph illustrating the past twenty years of Davila’s practice.  \nFor additional information on Jose Dávila\, please visit skny.com  \nFor media inquiries\, please email Adair Lentini at Adair@skny.com  \nFor all other inquiries\, please email Thomas Kelly at Thomas@seankellyla.com  \n  Save  
URL:https://artinamericaguide.com/event/jose-davila-photographic-memory-2/
LOCATION:New York
CATEGORIES:Exhibition
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END:VEVENT
END:VCALENDAR