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BEGIN:VEVENT
DTSTART;VALUE=DATE:20200116
DTEND;VALUE=DATE:20200601
DTSTAMP:20260427T060449
CREATED:20200330T231603Z
LAST-MODIFIED:20200331T173801Z
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SUMMARY:Virtual Tour | Homebody: New Prints 2020/Winter
DESCRIPTION:INTERNATIONAL PRINT CENTER NEW YORK (IPCNY) is pleased to present Homebody: New Prints 2020/Winter\, an exhibition featuring 31 artists from Australia\, Canada\, Portugal\, Ukraine\, the United Kingdom\, and the United States whose work explores relationships between personal and domestic structures. IPCNY’s New Prints Program is a biannual\, juried open call for prints and print-based work that captures current voices and issues in contemporary printmaking. \n\nImage:\nHaoyun Erin Zhao (b. 1991\, China). 如果石头记得 (If Rocks Could Remember) from series #2 C#(63-66)\, 2019Monotype\, plexiglass\, and nails on wood panel. Each: 10 x 10 x 1inches. Printed by the artist. Edition: Unique. Courtesy of the artist. © 2019 the artist \n\n  Save  
URL:https://artinamericaguide.com/event/virtual-tour-homebody/
LOCATION:International Print Center New York\, 508 W. 26th St\, 5th Fl\,\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200130
DTEND;VALUE=DATE:20200424
DTSTAMP:20260427T060449
CREATED:20200420T150510Z
LAST-MODIFIED:20200420T150510Z
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SUMMARY:Virtual Exhibition | You Belong Here & The Seventh View
DESCRIPTION:YOU BELONG HERE\nWORKS BY ORIT BEN SHITRIT & NIRIT TAKELE \nMoroccan-Israeli artist\, Orit Ben Shitrit & Ethiopian-Israeli artist Nirit Takele have both experienced numerous cultural influences at a young age. At a time when questions of home\, homeland and displacement loom large on the global landscape\, these artists each channel their personal histories of mixed identity\, culminating in a multi-media exhibition that collectively explores notions of self and belonging in a complex and dangerous world. Ben Shitrit and Takele both play against the experience of being “othered” to deliver genuine portrayals of everyday life and nuanced responses to the injustices and violence they’ve experienced or observed. \nOrit Ben Shitrit is a visual artist\, photographer\, choreographer and filmmaker who focuses on themes of abstract systems of political\, religious\, and economic control\, cycles of violence in the Middle East\, and conflicted beings trapped in bodies. Her film work embodies the dynamics of disintegration and destruction impacting our current notions of self\, safety and leadership with a visceral force\, while her collages represent the physical and psychic impact of living in a world that would so easily disembody us. \nNirit Takele’s bold\, abstract shapes combine to form figurative portraits of members of the Israeli Ethiopian community\, transcending the boundaries of allotted space. Having experienced prejudice from both of her homelands\, her experience lends a more complex perspective to an otherwise simple act of depicting members of her own community going about their daily business. In this way\, her figurative abstractions serve as constructs of a new and harmonious normal. \nView the 3-D Virtual Tour here\, courtesy of Eazel. \n\nTHE SEVENTH VIEW\nIN PARTNERSHIP WITH\nTHE ING DISCERNING EYE EXHIBITION \nAlso on view\, we will be featuring the work of 21 artists who were chosen to participate in the 2019 ING Discerning Eye Exhibition\, based in the UK. The Discerning Eye annual exhibition is a show of small works independently selected by six prominent figures from different areas of the art world: two artists\, two collectors and two critics. The 2019 selectors included artists Gill Button and Charlotte Hodes\, collectors Kwame Kwei-Armah and Sir Tim Rice\, and critics John Penrose and Louis Wise. We have mined the choices of the six selectors to create a seventh perspective on the exhibition. The Seventh View will be the first time the Discerning Eye Exhibition is sharing its works in the United States. \nView the 3-D Virtual Tour here\, courtesy of Eazel. \n\n​ \n  Save  
URL:https://artinamericaguide.com/event/virtual-exhibition-you-belong-here-the-seventh-view/
LOCATION:C24 Gallery\, 560 W 24th St\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200201
DTEND;VALUE=DATE:20200502
DTSTAMP:20260427T060449
CREATED:20200826T185903Z
LAST-MODIFIED:20200826T185903Z
UID:73505-1580515200-1588377599@artinamericaguide.com
SUMMARY:Minor Truths: Monotypes by Sarah Smelser
DESCRIPTION:A selection of monotypes by Sarah Smelser that are at once elegant and awkward\, deliberate and intuitive\, skilled and naïve\, with an abstract sensibility informed by drawing and that reference cartography\, the body\, cycles in nature\, and mundane objects. \n  Save  
URL:https://artinamericaguide.com/event/minor-truths-monotypes-by-sarah-smelser/
LOCATION:Manneken Press\, 1106 E Bell Street\, Bloomington\, IL\, 61701\, United States
CATEGORIES:Virtual Events + Viewing Rooms
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ORGANIZER;CN="Manneken Press":MAILTO:ink@mannekenpress.com
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20200213
DTEND;VALUE=DATE:20200522
DTSTAMP:20260427T060449
CREATED:20200330T142341Z
LAST-MODIFIED:20200331T154845Z
UID:66845-1581552000-1590105599@artinamericaguide.com
SUMMARY:Virtual Tour: UNSAID by Andrew Gatti
DESCRIPTION:Virtual Tour on view through May 21\, 2020 \nUNSAID\, by Andrew Gatti is a series of photographic images paired with written sounds (phonetics)\, which aims to visually represent the dislocated joint that exists between language and media; An indirect correspondence between symbols and sounds\, and sounds and ideas.  \nThis series of work\, made over three years from 2017-2019\, engages in a reimagining of written pronunciations\, as sounds\, disassociated from their true meaning by representing them photographically\, engendering new relationships for the ideas represented by the original word. \nWe created a digital presentation of the work containing a few different types of materials\, including the exhibition catalog\, artist statement\, artist biography\, stills of all the pieces presented\, exhibition images showing the work in our space\, and the label information. \n\nAndrew Gatti was born in Denver\, Colorado. After relocating and spending most of his childhood in Akron\, Ohio\, he returned to Denver for college and graduated in 2014 with a Bachelor of Art Degree in Studio Art and Italian Language & Literature from the University of Denver. Soon after\, Gatti moved to Italy to attend Studio Arts College International\, Florence attaining a Master of Fine Arts Degree in Photography in 2017. Andrew Gatti now resides in New York and has worked with many prominent art organizations including Christie’s Auction House\, Cadogan Tate Fine Art\, and R & Co. \nVisit SACI’s website to learn more about the exhibition and artist. \n  Save  
URL:https://artinamericaguide.com/event/virtual-tour-unsaid/
LOCATION:SACI Gallery\, 454 W 19th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200220
DTEND;VALUE=DATE:20200419
DTSTAMP:20260427T060449
CREATED:20200331T165732Z
LAST-MODIFIED:20200331T170344Z
UID:66912-1582156800-1587254399@artinamericaguide.com
SUMMARY:Virtual Tour | Heather Hutchison: Mid Air
DESCRIPTION:Winston Wächter Fine Art\, New York is excited to announce Mid Air\, an exhibition of new work by Heather Hutchison. These luminous abstract paintings meditate on light\, air\, and natural phenomena in our changing world and climate. \nView the virtual exhibition tour here.  \n\nThis poetic series evokes landscape and horizon lines\, as Hutchison draws from her childhood in Arizona and California\, where both the desert and the sea offer long stretches of uninterrupted horizon. She recalls the stunning effects of light on polluted skies in the 1960s and 70s. More recently\, Hutchison has been studying the low-lying fog in her area and images in the news of skies lit by wildfires. With bands of green\, red\, and black\, Deforestation conjures a forest of trees that is burning and choking the air with smoke. Camp Fire similarly resembles a dazzling atmospheric display of an entire horizon in flames. Others\, such as Rising Tide and Stratocumulus are cooler\, with bands of blues\, grays\, and whites in varying opacities. Through her expressive titles\, Hutchison’s studies of light and air elicit questions about the climate crisis and the role of human intervention in creating a new\, disaster-centric natural world. \nThe light itself as depicted in these works is beautiful and sublime\, but the knowledge of why it exists at all provokes distress and fear for the future. Hutchison allows space for this tension and shows us that both realities are valid. We can admire the mystery and beauty of brilliant light displays in the sky\, while at the same time acknowledge our responsibility to the earth and environment. \n\nHeather Hutchison was born in Corvallis\, OR\, in 1964. She was raised between coastal Oregon\, Marin County and the southern border in Bisbee\, Arizona. Her self-directed studies as an artist brought her from the San Francisco Bay Area to New York City in 1986. She currently works and resides in upstate New York. Hutchison has been included in numerous museum exhibitions including those at the Brooklyn Museum\, Montclair Art Museum\, the Smithsonian\, the Knoxville Museum of Art\, and the 44th Biennial Exhibition of American Painting at the Corcoran Gallery of Art\, Washington D.C. Her work is held in several public collections including the Brooklyn Museum\, Hammer Museum in Los Angeles\, and the Smithsonian Institution in Washington\, D.C. Hutchison’s works have been featured in publications such as The New York Times\, The Los Angeles Times\, ARTnews\, and Art in America\, among others. \n\nImage:\nInstallation View\nHeather Hutchison: Mid Air\nCourtesy of Winston Wächter Fine Art \n\n  Save  
URL:https://artinamericaguide.com/event/virtual-tour-heather-hutchison/
LOCATION:Winston Wächter Fine Art\, 530 W 25th St\, New York\, New York\, 10001
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200226
DTEND;VALUE=DATE:20200501
DTSTAMP:20260427T060449
CREATED:20200221T160222Z
LAST-MODIFIED:20200414T194854Z
UID:65502-1582675200-1588291199@artinamericaguide.com
SUMMARY:Viewing Room | Betty Parsons: Heated Sky
DESCRIPTION:Alexander Gray Associates presents its second exhibition of works by Betty Parsons (1900–1982)\, Heated Sky. The paintings and works on paper from the height of Parsons’ engagement with abstraction from the 1960s to mid-1970s foreground the artist’s attunement to nature and the landscape. Parsons’ keen observation of the natural world was the ground for compositional methods ranging from loose biomorphism to geometric order\, always featuring a dynamic sense of color. \n\nExhibition Walkthrough \nhttps://www.youtube.com/watch?v=UcuftwOVFYw&t=224s \nExhibition video voiced by Rachel Vorsanger\, Collection and Research Manager\, Betty Parsons and William P. Rayner Foundation. \n\nInspired by a visit to the 1913 Armory Show in New York\, Parsons determined to become an artist from a young age\, undertaking training in figurative sculpture and later watercolor. In 1947\, one year after founding the Betty Parsons Gallery\, she made her first abstract painting\, thereby initiating a transformative new direction that would engage her for the next 35 years. \nThe completion of Parsons’ light-filled studio in Southold\, NY\, in 1960 ushered in a decade of work characterized by a simplification of form and color. Designed by architect and artist Tony Smith and overlooking the Long Island Sound\, it fast became the artist’s regular weekend retreat and the site of concentrated art-making. In paintings such as Pasture (1963)\, Parsons combined a monochromatic field of color with free-floating island-like shapes in colors both analogous and complementary. Works from later in the decade introduced line-based compositions as featured in the graphic immediacy of Early Morning (1967)\, with its rhythmic repetition of gold and red stripes interwoven with white\, black\, and gray. Alongside her paintings\, Parsons filled numerous sketchbooks and notebooks with spontaneous observations. Gouaches such as the red\, gold\, and blue Heated Sky (1976) feature highly saturated color and Parsons’ harnessing of the medium’s speed and fluency. \nCounting many of the period’s leading painters among her former and current gallery artists\, Parsons was immersed in the languages of abstract painting. Her own work\, however\, was rooted in the marriage of her powers of observation and interpretation. As she described in an interview with Lawrence Alloway in 1968\, “When I start a painting I try to become a blank and only let an emotion come into me. If I say\, for instance\, I have an idea that I want to paint an atmosphere that I see out of the window\, I try to become a blank when it comes to choice of forms and colors. I go up to the canvas with a brush and suddenly decide and I pick out a gray or brown or whatever the atmosphere is and put it on very spontaneously. That color introduces an idea for another color\, and I go on from there.” \nThe exhibition will be accompanied by a fully-illustrated catalogue\, featuring a new essay by art historian Elizabeth Buhe and an introduction by Rachel Vorsanger\, Collection and Research Manager for the Betty Parsons Foundation. \n\nImage:\nBetty Parsons\nPasture\, 1963\nAcrylic on canvas\n25h x 30w in (63.50h x 76.20w cm) \n\n  Save  
URL:https://artinamericaguide.com/event/betty-parsons-heated-sky/
LOCATION:Alexander Gray Associates\, 510 W 26th St\, New York\, New York\, 10001\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200227
DTEND;VALUE=DATE:20200419
DTSTAMP:20260427T060449
CREATED:20200415T202009Z
LAST-MODIFIED:20200416T151033Z
UID:67253-1582761600-1587254399@artinamericaguide.com
SUMMARY:Virtual Exhibition | Fragmented Bodies
DESCRIPTION:albertz benda is pleased to present Fragmented Bodies\, a virtual group exhibition examining the ways in which the accelerated visual culture of the past five decades has influenced depictions of the human form. On view from February 27 through April 18\, 2020 the show comprises works by international artists working across painting\, photography\, and drawing.\n\nImage:\nInstallation view: Fragmented Bodies. February 27 – April 18\, 2020. albertz benda\, New York. \n\nThe immediacy of information afforded by new technologies and the proliferation of social media simultaneously promote connectivity and fragmentation; it is possible to peer into the lives of others for a brief moment or in continuous streams. Images presented as self-narrativization are consumed\, analyzed\, and reinterpreted\, blurring boundaries between private and public. \nLiving and working within this context\, the artists in this exhibition have created pieces that reflect both fluid and fractured aspects of identity. By manipulating and recontextualizing the body among continuously evolving personal and cultural symbols\, previously unrepresented subjects emerge from the familiar outlines of the human form. \n\n \nArtist Talk: Niki Johnson from Albertz Benda on Vimeo. \n\n \nKelly Reemtsen Fragmented Bodies from Albertz Benda on Vimeo. \n\n \nJason Bard Yarmosky Art Talk: Wonder Women from Albertz Benda on Vimeo. \n\n \nNatalie Frank Artist Talk Part 1 from Albertz Benda on Vimeo. \n \nNatalie Frank Artist Talk Part II from Albertz Benda on Vimeo. \n\n \nDarryl Westly – Virtual Artist Talk from Albertz Benda on Vimeo. \n\n  Save  
URL:https://artinamericaguide.com/event/virtual-exhibition-fragmented-bodies/
LOCATION:albertz benda\, 515 W 26th St\, 1st Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200227
DTEND;VALUE=DATE:20200701
DTSTAMP:20260427T060449
CREATED:20200605T202037Z
LAST-MODIFIED:20200605T202341Z
UID:68476-1582761600-1593561599@artinamericaguide.com
SUMMARY:Viewing Room: Jane Bustin: The Color of Words
DESCRIPTION:Jane Lombard Gallery is pleased to present The Colour of Words\, our first solo exhibition with Jane Bustin\, following a successful two-person show in 2017. The London-based artist is recognized for her intimate and minimalist constructions. Bustin’s earthen neutral works are made by applying natural pigment to porcelain\, fabric\, or wood. She cultivates a poetic dialogue between the disparate materials. The exhibition includes paintings\, film\, and porcelain objects. \nJane Bustin was the recipient of a residency award at the Mark Rothko Centre\, in Latvia\, during the summer of 2019. In the former 1833 Fortress just outside of the city of Daugavpils\, Bustin describes a richness of “histories\, secrets\, and buried memories within its walls” where she made her studio. Situated in a brooding outbuilding that once housed a dining hall for Napoleonic soldiers\, a prisoner of war camp\, a post-war aviation engineering school and underground raves in the 1980s. The strangeness and beauty of Bustin’s surroundings compelled an intensive study of her quarters. She suggests the space itself entranced her and directed her practice in those weeks and beyond. \n\nImage:\nJane Bustin\nFrom a mezzanine window\, 2020\nWood\, acrylic\, polyurethane\, silk\, beetroot dye\, 51 x 47 cm. \n\n  Save  
URL:https://artinamericaguide.com/event/viewing-room-jane-bustin-the-color-of-words/
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2020/06/jlg_DSC4834-scaled.jpg
ORGANIZER;CN="Jane Lombard Gallery":MAILTO:info@janelombardgallery.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200227
DTEND;VALUE=DATE:20200419
DTSTAMP:20260427T060449
CREATED:20200415T200027Z
LAST-MODIFIED:20200415T202451Z
UID:67249-1582761600-1587254399@artinamericaguide.com
SUMMARY:Virtual Artist Talks | albertz benda
DESCRIPTION:Image:\nNiki Johnson\nFitting in with the squares \n67 inches long by 47 inches tall \n\n\n \nArtist Talk: Niki Johnson from Albertz Benda on Vimeo. \n\n \nKelly Reemtsen Fragmented Bodies from Albertz Benda on Vimeo. \n\n \nJason Bard Yarmosky Art Talk: Wonder Women from Albertz Benda on Vimeo. \n\n \nNatalie Frank Artist Talk Part 1 from Albertz Benda on Vimeo. \n \nNatalie Frank Artist Talk Part II from Albertz Benda on Vimeo. \n\n \nDarryl Westly – Virtual Artist Talk from Albertz Benda on Vimeo. \n\n  Save  
URL:https://artinamericaguide.com/event/virtual-artist-talks-albertz-benda/
LOCATION:albertz benda\, 515 W 26th St\, 1st Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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GEO:40.7500935;-74.0036112
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200228
DTEND;VALUE=DATE:20200504
DTSTAMP:20260427T060449
CREATED:20200421T151234Z
LAST-MODIFIED:20200423T165800Z
UID:67333-1582848000-1588550399@artinamericaguide.com
SUMMARY:James Cohan Online | Tuan Andrew Nguyen: A Lotus in a Sea of Fire
DESCRIPTION:James Cohan is delighted to share A Lotus in a Sea of Fire\, an exhibition of new work by Tuan Andrew Nguyen\, in our online viewing room. Nguyen’s work explores the power of storytelling and the folklore traditions of diasporic communities. He extracts and re-works dominant\, oftentimes colonial histories and supernaturalisms into imaginative vignettes. \nImage:\nTuan Andrew Nguyen\nA Lotus in a Sea of Fire\, 2019\nHand-carved gmelina wood\n6 1/2 x 13 x 8 in.\n16.5 x 33 x 20.3 cm \n\nIn the video below\, the artist speaks about the exhibition and the making of his film The Boat People. This exhibition coincides with the launch of a new series of original videos that brings James Cohan’s artists\, in their own words\, directly to you. \n \n\n‘There’s a way that spiritual practices\, specifically in Vietnam\, have been embedded with strategies of political resistance. Fire and self-immolation have been well known acts of political resistance where the spiritual and the political collide. Fire becomes a strong metaphor for freedom and liberation\, spiritual and political. This is exemplified in Thich Quang Duc’s act of self-immolation. The image of this action has been burnt deeply into my own psyche. A collision between the spiritual and the political – the struggle for freedom.’\n-Tuan Andrew Nguyen \n\n  Save  
URL:https://artinamericaguide.com/event/tuan-andrew-nguyen-2/
LOCATION:James Cohan\, 52 Walker Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200301
DTEND;VALUE=DATE:20200601
DTSTAMP:20260427T060449
CREATED:20200415T192714Z
LAST-MODIFIED:20200415T194702Z
UID:67247-1583020800-1590969599@artinamericaguide.com
SUMMARY:Viewing Room | Rachel Harrison: Drawings
DESCRIPTION:Greene Naftali is pleased to present Drawings an online exhibition by Rachel Harrison.  \nImage:\nRachel Harrison\nThe Classics\, 2018\nColored pencil and India ink on pigmented inkjet print\nPaper: 17 x 11 inches (43.2 x 27.9 cm)\nFrame: 23 1/8 x 17 1/8 x 1 1/4 inches (58.7 x 43.5 x 3.2 cm) \n\n  Save  
URL:https://artinamericaguide.com/event/viewing-roomn-rachel-harrison-drawings/
LOCATION:Greene Naftali\, 508 W. 26th St.\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200301
DTEND;VALUE=DATE:20200401
DTSTAMP:20260427T060449
CREATED:20200324T204719Z
LAST-MODIFIED:20200331T174704Z
UID:66798-1583020800-1585699199@artinamericaguide.com
SUMMARY:Viewing Room | browngrotta arts presents Transforming Tradition: Japanese and Korean Contemporary Craft
DESCRIPTION:In honor of Asia Art Week 2020 this March\, browngrotta arts has collated contemporary works by 12 artists born in Japan and Korea for an online exhibition\, Transforming Tradition: Japanese and Korean Contemporary Craft. The works include ceramics\, weavings\, baskets and sculptures made of paper and silk. \nNotable in the exhibition are paper sculptures by Naomi Kobayashi and an elegant silk thread assemblage by her late husband\, Masakazu Kobayashi. The couple often collaborated\, working on installations that combined elements created by each of them. “These works express a shared vision and such common themes as the tranquility of nature\, the infinity of the universe and the Japanese spirit\,” Masakuzu once explained. “Naomi and I work in fiber because natural materials have integrity\, are gentle and flexible. In my own work\, I search for an equilibrium between my capacity as a creator and the energy of the world around me.” \nKeiji Nio’s interlaced wall work is inspired by a haiku\, Rough Sea of Sado\, from Japanese haiku master Matsuo Basho’s haiku series. In it\, Basho describes the deep blue waves of the Sea of Japan as they are reflected in the night sky and the light blue waves hitting the beach. The work incorporates ribbons on which Nio has screened images from the sea and tiny pebbles from the shore. Nio is a faculty member at the Kyoto University of Art & Design\, who combines industrial and natural materials in his works to make statements about nature and man’s relationship to the world. \nSeveral ceramics by Yasuhisa Kohyama\, are included in Transforming Tradition. Kohyama is a renowned Shigaraki potter who uses ancient techniques to explore new forms. He gained widespread attention in Japan in the 60s when he built one of the first anagama kilns since medieval times. Collectors and museums have been quick to acquire his works\, including the Metropolitan Museum of Art\, the Cleveland Museum of Art\, the Stedelijk Museum in Amsterdam\, the Gardiner Museum of Art in Toronto\, the Philadelphia Museum of Art\, the Museum of Art and Craft in Hamburg and the Shigaraki Ceramic Cultural Park in Shiga\, Japan. Kohyama’s work graces the cover of Contemporary Clay: Japanese Ceramics for the New Century by collectors Alice and Halsey North and curator Joe Earle. \nBamboo sculptures by Jiro Yonzawa are also part of browngrotta arts’ exhibition. Yonezawa has been recognized with the Cotsen Prize\, a commission from Loewe to work in leather and inclusion in the prestigious Japan Nitten National Fine Arts Exhibit. Yonezawa has explained his work: “Bamboo basketry for me is an expression of detailed precision. These baskets represent a search for the beauty and precision in nature and a way to balance the chaos evident in these times.” \nKorean artist Chang Yeonsoon\, who creates ethereal works of starched indigo\, was Artist of the Year at the National Museum of Contemporary Art in Seoul in 2008. For 35 years\, Jin-Sook So\, also of Korea\, has been creating dimensional works — sculptural vessels and wall pieces  — from stainless steel mesh to international acclaim. \nYou can view Transforming Tradition: Japanese and Korean Contemporary Contemporary Craft online by visiting browngrotta arts’ YouTube channel: www.youtube.com/channel/UCV7IJwPD34cF-U88hB5e4aw. \nYou can see each individual work in the exhibition on Artsy: www.artsy.net/browngrotta-arts/shows and learn more about the artists included by visiting arttextstyle arttextstyle.com and browngrotta arts’ website: www.browngrotta.com \n  \nArtists included:\nChiyoko Tanaka (Japan)\, Jiro Yonezawa (Japan)\, Masakazu Kobayashi (Japan)\, Naomi Kobayashi (Japan)\, Kyoko Kumai (Japan)\, Kiyomi Iwata (Japan/US)\, Yasuhisa Kohyama (Japan)\, Keiji Nio (Japan)\, Hisako Sekijima (Japan)\, Toshio Sekiji (Japan)\, Jin-Sook So (Korea)\, Chang Yeonsoon (Korea)  \n  \nAll photos by Tom Grotta\, courtesy of browngrotta arts. Not to be published without prior permission. High res. images available upon request.\n\nFor all media inquiries\, contact State Public Relations at (646) 714 – 2520 or browngrotta@statepr.com.  \n  \n  Save  
URL:https://artinamericaguide.com/event/browngrotta-arts-online-viewing/
LOCATION:browngrotta arts\, 276 Ridgefield Road\, Wilton\, CT\, 06897\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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ORGANIZER;CN="browngrotta arts":MAILTO:browngrotta@statepr.com
GEO:41.2036033;-73.4518807
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200303
DTEND;VALUE=DATE:20200517
DTSTAMP:20260427T060449
CREATED:20200428T205615Z
LAST-MODIFIED:20200428T205750Z
UID:67410-1583193600-1589673599@artinamericaguide.com
SUMMARY:Digital Exhibition Catalogue | Revolutionary by Nature: Master Prints by Women Artists 1896-2020
DESCRIPTION:Revolutionary by Nature: Master Prints by Women Artists 1896-2020\nView the virtual catalogue for the exhibition here.\n\nImage:\nInstallation View\nRevolutionary by Nature: Master Prints by Women Artists 1896-2020\nCourtesy of Mary Ryan Gallery \n\n  Save  
URL:https://artinamericaguide.com/event/revolutionary-by-nature/
LOCATION:Mary Ryan Gallery\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200303
DTEND;VALUE=DATE:20200426
DTSTAMP:20260427T060449
CREATED:20200331T232439Z
LAST-MODIFIED:20200414T194040Z
UID:66917-1583193600-1587859199@artinamericaguide.com
SUMMARY:Virtual Tour | Liam Gillick: Redaction
DESCRIPTION:Casey Kaplan is pleased to announce Liam Gillick: Redaction\, the artist’s ninth solo exhibition with the gallery over a two-decade collaboration. The show brings together a selection of key texts\, abstract structures and installations\, spanning the early 90s to the late 2000s\, and will coincide with the gallery’s 25th anniversary. \nView digital exhibition tour here.  \n\nSince the late 1980s\, Gillick has employed a variety of methodologies to explore the semiotics of the built world. Writing has maintained a crucial role in his practice\, culminating in an eclectic collection of fictional texts that resist linear narrative in favor of fragmented dialogue\, stream of consciousness\, and abrupt slips in time. In addition to these narrative devices\, Gillick often uses historical revisioning as an exercise through which to imagine alternative parallel futures. Continually referenced\, decontextualized\, and reworked\, the texts remain in a permanent state of development and transformation in order to examine shifting modes of production and the psychosocial implications of late capitalism. \nA selection of Gillick’s earliest writings provide a conceptual framework for this exhibition\, including: McNamara (1992-1995)\, Erasmus is Late (1995)\, Ibuka! (1995)\, and Discussion Island/Big Conference Centre (1997). Many of the artworks were produced in relation to specific ideas contained within the texts\, encompassing ergonomics\, conditions of production\, the influence of secondary characters\, the aesthetics of both secondary and tertiary sectors\, and the disillusionment of utopian projections of the future. Formal abstractions and instructional installations exist as potential props or mis-en-scenes\, in loose correlation to the narratives. Rejecting a cause-and-effect logic\, the works instead propose a variety of potential scenarios to reflect the nuanced contexts in which abstract ideas are realized. \nA series of Plexiglas and powder-coated aluminum structures resume the language of renovation and development utilized in the texts. The materials are specifically chosen for these connotations and often embody the formal qualities of secondary architecture. Canopies suspended from the ceiling incite the unconscious congregation of bodies; a free-standing screen provides access visually while blocking physical entry\, and ill-placed handrails create arbitrary divisions\, but deny stability. Within this non-functional “middle space\,” the artworks maintain an elusive and open-ended quality\, persistently asking “What If?” while refuting a definitive answer. Acutely self-aware\, but without irony or cynicism\, the work parodies the perpetual speculation of corporate culture and the desire to preserve an illusion of progress. In face of the increasingly rapid rate at which models of collectivity and resistance are outmaneuvered\, co-opted and rebranded within neoliberal societies\, Gillick’s work has continued to encourage discourse and collective exchange over three decades of artistic production. \n\nLiam Gillick lives in New York. His work has been the subject of numerous solo exhibitions internationally\, at institutions such as: Madre Museum\, Naples; Kunsthalle Wien\, Vienna; Contemporary Art Centre\, Vilnius; Serralves Museum of Contemporary Art\, Porto; Le Magasin\, Grenoble; Hessel Museum of Art\, Bard College\, New York; Museum of Contemporary Art\, Chicago; the Guggenheim Museum\, New York and Bilbao; Museum of Modern Art\, New York; and Tate\, London\, among many others. Gillick has participated in documenta\, and the Venice\, Berlin and Istanbul Biennales – representing Germany in 2009 in Venice. A prolific writer and critic of contemporary art over the last twenty-five years\, Gillick has contributed to publications such as Artforum\, October\, Frieze and e-flux Journal. He is the author of a number of books\, including a volume of his selected critical writing and the recently-published Industry and Intelligence: Contemporary Art Since 1820 (Columbia University Press\, March 2016). Additionally\, Gillick has produced a number of short films since the late 2000s\, which address the construction of the creative persona in light of the enduring mutability of the contemporary artist as a cultural figure. High-profile public works include the British Government Home Office (Interior Ministry) building in London and the Lufthansa Headquarters in Frankfurt. His work can be found in institutional collections such as Centre Pompidou\, Paris; Solomon R. Guggenheim Museum\, New York and Bilbao; Museum of Modern Art\, New York; Tate\, London; and Serralves Museum of Contemporary Art\, Porto. \n\nImage:\nLiam Gillick\, Via Del Charro\, 2013\, detail. Image courtesy artist and Casey Kaplan\, New York. \n\n  Save  
URL:https://artinamericaguide.com/event/virtual-tour-liam-gillick-redaction/
LOCATION:Casey Kaplan\, 121 W. 27th St\, New York\, NY\, 10001\, United States
CATEGORIES:Event,Virtual Events + Viewing Rooms
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200305
DTEND;VALUE=DATE:20200602
DTSTAMP:20260427T060449
CREATED:20200427T184447Z
LAST-MODIFIED:20200427T184619Z
UID:67392-1583366400-1591055999@artinamericaguide.com
SUMMARY:Viewing Room | History Reclaimed
DESCRIPTION:On March 5\, Hollis Taggart opened History Reclaimed\, a two-person exhibition of new and recent work by interdisciplinary contemporary artists Suchitra Mattai and Adrienne Elise Tarver. Featuring painting and embroidery as well as a large-scale\, site-specific installation by Mattai\, the exhibition will capture the intricate formal approaches Mattai and Tarver take to reveal the voices and identities of individuals—in particular women—who have been obscured and made invisible through colonialism\, oppression\, and deep rooted stereotypes and tropes. Mattai and Tarver bring their distinct backgrounds to bear as they explore the complexity of identity through personal and collective histories\, engaging with narratives of subjugation that remain relevant today.  \nImage:\nInstallation View\nHistory Reclaimed\nSuchitra Mattai and Adrienne Elise Tarver\nCourtesy of Hollis Taggart \n\n  Save  
URL:https://artinamericaguide.com/event/viewing-room-history-reclaimed/
LOCATION:Hollis Taggart\, 521 West 26th Street\, 1st Floor\,\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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GEO:40.7505732;-74.0028708
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Hollis Taggart 521 West 26th Street 1st Floor New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=521 West 26th Street\, 1st Floor\,:geo:-74.0028708,40.7505732
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200305
DTEND;VALUE=DATE:20200511
DTSTAMP:20260427T060449
CREATED:20200423T000101Z
LAST-MODIFIED:20200423T002154Z
UID:67349-1583366400-1589155199@artinamericaguide.com
SUMMARY:James Cohan Online |  Firelei Báez
DESCRIPTION:Explore Firelei Báez’s solo exhibition of new paintings in James Cohan’s online viewing room. Overlaying paint onto large-scale reproductions of found maps and documents\, Báez casts diasporic histories into an imaginative realm\, re-working visual references drawn from the past to explore new possibilities for the future. \nImage:\nFirelei Báez\nUNTITLED (UNITED STATES MARINE HOSPITAL)\, 2019\nOil and acrylic on archival printed canvas\n100 x 127 1/2 x 1 3/4 in\n254 x 323.9 x 4.4 cm \n\nThe artist populates historically-loaded representations of space with change-making creatures—whose hybrid forms incorporate folkloric and literary references\, textile pattern\, plantlife\, and wide-ranging emblems of healing and resistance—to present fictional alternative universes. \nIn an online video feature below\, Báez speaks about the exhibition\, her ongoing use of found book pages\, and mythologies ranging from the Dominican ciguapa to the black Atlantis developed in the techno music of Drexciya. \n \n\n“Painting is an incredibly generous medium that allows both the viewer and the maker to navigate between imagined and real worlds. In my paintings\, there are massive movements of water\, of me having to extend my body to create big\, abstract gesture—and also very meticulously-rendered figuration. They are two ways of tracing me\, as a painter\, into this depiction of body: a melding of both the depicted illusory body and the materiality of my own presence.”\n—Firelei Báez \n\n  Save  
URL:https://artinamericaguide.com/event/firelei-baez-2/
LOCATION:James Cohan\, 291 Grand Street\, New York\, 10002
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200305
DTEND;VALUE=DATE:20200616
DTSTAMP:20260427T060449
CREATED:20200604T202725Z
LAST-MODIFIED:20200604T204545Z
UID:68465-1583366400-1592265599@artinamericaguide.com
SUMMARY:Online Exhibition | Kara Walker: Drawings
DESCRIPTION:Sikkema Jenkins & Co. is pleased to present a solo exhibition of works on paper by Kara Walker\, featuring selections from the artist’s personal archive alongside more recent drawings. The show previews a selection of works that will be included in Walker’s first major exhibition in Switzerland at the Kunstmuseum Basel. The museum exhibition will travel to HEART – Herning Museum of Contemporary Art in Herning\, Denmark and the De Pont Museum of Contemporary Art in Tillburg\, The Netherlands. \nImage:\nInstallation View\nKara Walker: Drawings\nMarch 5 – April 4\, 2020 \n\nAmong the most acclaimed artists working in the United States\, Walker utilizes a diverse range of artistic practices to explore issues of race\, gender\, sexuality\, and violence. Although she’s best known for her cut paper silhouette wall installations and monumental sculptural works\, drawing remains the core of Walker’s artistic practice. Previously kept within her private archive\, these works on paper reveal the scope of Walker’s process\, from sketches\, studies\, and collages\, to texts and “dream journals.” Materials such as watercolor\, graphite\, and ink give the drawings a sense of spontaneity and immediacy. To view these works on paper is to realize the intimacy and intensity of Walker’s vision in creating her subjects\, speaking back to history and thus simultaneously reforming it within the present. The figures within Walker’s drawings insist upon themselves as the protagonists of a new mythology\, a narrative revealed to us through bodies and words and unspeakable acts.  \nIn the 38 drawings of The Gross Clinician: Pater Gravidam (2018)\, a centerpiece of the exhibition\, history is all-consuming; the title refers to Thomas Eakins 1875 painting\, The Gross Clinic\, which depicts the public operation on a woman by Dr. Samuel Gross. Swathes of graphite\, sumi ink\, and gouache flesh out scenes of bodily and psychological violence. The context within each drawing is not always clear; some figures are suspended against blank backgrounds\, or placed against ruinous landscapes\, barren fields and shadowed mountains. While some drawings explicitly depict acts of medical brutality\, reflecting the series’ namesake\, others invoke a multitude of traumas and symbols\, including colonial-era “Yankees\,” the snake in the Garden of Eden\, palm trees\, and police in full riot gear. The Gross Clinician: Pater Gravidam finds its genesis within Walker’s new mythology; chaotic\, unholy\, and unending. \nBorn in Stockton\, California in 1969\, Kara Walker was raised in Atlanta\, Georgia from the age of 13. She studied at the Atlanta College of Art (BFA\, 1991) and the Rhode Island School of Design (MFA\, 1994). She is the recipient of many awards\, notably the John D. and Catherine T. MacArthur Foundation Achievement Award in 1997 and the United States Artists\, Eileen Harris Norton Fellowship in 2008. Walker is a member of the American Academy of Arts and Letters (elected 2012) and American Philosophical Society (elected 2018)\, and was named an Honorary Royal Academician by the Royal Academy of Arts\, London in 2019. She lives and works in New York. \nWalker’s work has been acquired by prominent museums and public collections throughout the United States and Europe\, including the Kunstmuseum Basel’s Kupferstichkabinett (Department of Prints and Drawings); the Solomon R. Guggenheim Museum\, New York; the Museum of Modern Art\, New York; the Metropolitan Museum of Art\, New York; the Tate Gallery\, London; the Museo Nazionale delle Arti del XXI secolo (MAXXI)\, Rome; and the Deutsche Bank Collection\, Frankfurt. \nWalker was selected by the Tate Modern for the 2019 Hyundai Commission. She responded with a large-scale public sculpture in the form of a four-tiered fountain entitled Fons Americanus. Directly alluding to the Victoria Memorial at Buckingham Palace\, Walker’s sculpture stands as a “counter-memorial\,” a playful yet incisive subversion of such monuments’ original public function within the context of European imperialist projects. Surrounded by two pools of water as a disaster at sea\, the work represents a counter-narrative to the Western pride of empire-building\, a mythologized origin story built upon the violent and tragic foundations of our collective history. \n\n  Save  
URL:https://artinamericaguide.com/event/online-exhibition-kara-walker-drawings/
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2020/06/WalkerinstallationviewSJCo3-2020group7.jpg
ORGANIZER;CN="Sikkema Jenkins & Co.":MAILTO:gallery@sikkemajenkinsco.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200306
DTEND;VALUE=DATE:20201101
DTSTAMP:20260427T060449
CREATED:20200804T221139Z
LAST-MODIFIED:20200804T221254Z
UID:71811-1583452800-1604188799@artinamericaguide.com
SUMMARY:Adriana Marmorek | "Flower to Bee"
DESCRIPTION:For her fourth solo exhibition\, Flower to Bee\, Adriana Marmorek presents us with the clues for deciphering the enigmas of love\, sexuality and desire. Her decades long enquiry into what she herself has called the “architecture of desire” began with questions around media and how the female body is wielded as a sexualized marketing tool. This path led her to then wonder about love and loss\, which in turn led to her current investigation into the nature of love and how we have come to loose its proximity to the spiritual\, the sublime\, and the highly mysterious. \nMarmorek’s search has transformed her into a researcher\, an avid reader of post-modern philosophy and poetry\, a seeker of meanings concealed behind layers of paint in classical works of art. In Flower to Bee\, Marmorek bravely tries to unlock one of the many shielded mysteries of Hieronymus Bosch’s “Garden of Earthly Delights” and she does so by taking the varied flora and fauna of his triptych outside the landscape and into the gallery space. She offers her viewer a path of discovery into their own interpretation both of what the Garden’s message on love is\, and their own notion of what it has been for them. \n\nImage:\nAdriana Marmorek: Flower to Bee\, Nohra Haime Gallery\, New York\, 2020 \n\n \n\n  Save  
URL:https://artinamericaguide.com/event/adriana-marmorek-flower-to-bee/
LOCATION:Nohra Haime Gallery\, 500 West 21st Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200311
DTEND;VALUE=DATE:20200423
DTSTAMP:20260427T060449
CREATED:20200330T161744Z
LAST-MODIFIED:20200401T160327Z
UID:66856-1583884800-1587599999@artinamericaguide.com
SUMMARY:Viewing Room: Rosalind Fox Solomon\, In Conversation
DESCRIPTION:Bruce Silverstein Gallery is pleased to highlight work by Rosalind Fox Solomon as discussed by the artist and Richard Grosbard in September 2019. \nRosalind Fox Solomon\, In Conversation\, will be available in our online viewing room through April 22\, 2020. \nExhibition features include: images\, a video of the conversation\, an essay\, and interview highlights. \n\n \n\nImage and video courtesy of Bruce Silverstein Gallery \nImage caption:\nRosalind Fox Solomon\nPilgrims\, Madurai\, India\, 1981 \n\n  Save  
URL:https://artinamericaguide.com/event/viewing-room-rosalind-fox-solomon/
LOCATION:Bruce Silverstein\, 529 West 20th Street\, 3rd Floor\, New York\, NY\, 10011\, United States
CATEGORIES:Event,Exhibition,Virtual Events + Viewing Rooms
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X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Bruce Silverstein 529 West 20th Street 3rd Floor New York NY 10011 United States;X-APPLE-RADIUS=500;X-TITLE=529 West 20th Street\, 3rd Floor:geo:-74.0067876,40.7465935
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200312
DTEND;VALUE=DATE:20200419
DTSTAMP:20260427T060449
CREATED:20200416T132633Z
LAST-MODIFIED:20200416T133655Z
UID:67256-1583971200-1587254399@artinamericaguide.com
SUMMARY:RLWindow | Miranda Lichtenstein: Danse Serpentine (Doubled and Refracted)
DESCRIPTION:Image:\nMiranda Lichtenstein\nDanse Serpentine: Doubled and Refracted\, High Line\, 2010\nHD Video\, 48 second (continuous loop\, dimensions variable) \n\nRLWindow: Miranda Lichtenstein\, Dance Serpentine: (Doubled and Refracted)\nHD Video\, 48 second (continuous loop\, dimensions variable) \n\nAbout RLWindow\nRLWindow is a dedicated exhibition space featuring video\, installation\, and performance art designed to engage High Line visitors\, viewable from the elevated public park at 26th Street. RYAN LEE invites you to join the conversation by tagging #RLWindow and #ryanleegallery in social media posts. Find us on Instagram @ryanleegallery! \n\n  Save  
URL:https://artinamericaguide.com/event/rl-window-miranda-lichtenstein-danse-serpentine-doubled-and-refracted/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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GEO:40.7500935;-74.0036112
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=RYAN LEE 515 W 26th St 3rd Fl New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=515 W 26th St\, 3rd Fl:geo:-74.0036112,40.7500935
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200312
DTEND;VALUE=DATE:20200426
DTSTAMP:20260427T060449
CREATED:20200406T161638Z
LAST-MODIFIED:20200406T161953Z
UID:66957-1583971200-1587859199@artinamericaguide.com
SUMMARY:Viewing Room | Noland: Flares
DESCRIPTION:Kenneth Noland’s Flares\, employing colorful and translucent plexiglass strips wedged between irregularly shaped panels\, are the outcome of the artist’s rigorous and daring lifelong exploration of painting’s many possibilities. \nImage:\nKenneth Noland\, Flares: Away\, 1991\, acrylic on canvas on panel\, 85-1/8″ × 32″ × 1-1/4″ (216.2 cm × 81.3 cm × 3.2 cm) © The Kenneth Noland Foundation / Artists Rights Society (ARS)\, New York \n\nIn the late 1950s\, Noland broke with Abstract Expressionism’s gestural aesthetic. Staining unprimed canvas with acrylic\, he produced paintings with stark geometric shapes and bold color contrasts\, becoming one of the pioneers of Color Field painting and the Washington Color School. Groundbreaking series\, such as his Circle or Chevron works\, were systematic yet intuitive investigations of painting’s visual elements\, especially color and shape. Eminent critics and artists soon lauded Noland’s work\, with Donald Judd affirming in 1965\, “by now Kenneth Noland’s salience isn’t debatable; he’s one of the best painters.” \nNoland’s command over his medium only grew in the following decades. So did his ingenuity. “I believe in working and not . . . repeating that way of working as an image or as a style\,” he stated\, stressing\, “It’s the learning\, it’s the seeing something new evolve . . . out of various trial and error methods\, fooling with stuff and taking chances on it not working.” Noland had adopted this hands-on\, empirical approach from his close friend David Smith who in Noland’s eyes was relentlessly “involved in the nature of work.” The Flares are the outcome of this rigorous and daring lifelong exploration of painting’s many possibilities. \nOne of the Flares’ chief innovations resides in their colorful and translucent plexiglass strips. Wedged between the irregularly shaped panels of each work\, these glossy bands activate a complex interplay among color\, materials and form. To Noland\, the Flares were “constructed pictures” with “separate component parts.” This assembling makes them related to both collage and sculpture\, generating new possibilities. Realizing that color was inherent to plexiglass\, Noland stated\, “I can now make up\, find different kinds of materials to use that I can assimilate as color—pieces of color.” He\, in fact\, further enhanced the objecthood of the Flares by painting their sides in colors that do not match their frontal surfaces. These edges\, in turn\, require that the works be viewed as three-dimensional objects. \nNoland was attracted to the transparency of plexiglass\, which\, according to him\, amplified the emotional resonance and material presence of color. “The slight difference of transparency in colors can be the difference of a thousand pounds of actual material\,” he observed\, “a matte color and a shiny\, transparent color are emotionally different…there’s an expressive difference you can get [with transparency] that gives you more expressive range.” In Grace Black (1991/1995)\, for example\, austere black panels are set ablaze by the glowing red of the work’s plexiglass strips. The work therefore oscillates between sobriety and vivacity—a capacious affective scale. Though Noland subsequently reworked some of his Flares in his Vermont studio\, they were created while he resided in Santa Barbara\, where nature\, specifically the changing light and colors of the landscape\, continuously inspired him\, according to William Agee. In a horizontal work such as Rise and Fall (1991)\, predominantly warm hues\, punctured by a vanishing sliver of blue plexiglass\, evoke the atmospheric effects of the sky at sunset. With its title suggesting the arc of the sun\, Rise and Fall thus delivers the full chromatic poignancy of the Pacific coast at dusk. \nNoland’s interest in the triangulation between color\, materials\, and form can be traced back to his education at Black Mountain College\, located in his hometown of Asheville\, North Carolina. There his teacher Josef Albers experimented with glass and other nontraditional materials to examine what he called matière\, that is\, “how a substance looks” under different conditions. Noland’s collaboration with architect I.M. Pei was another important precedent. For the Weisner Building at MIT\, they created in 1985 a mural integrating art and architecture. In this work as with the Flares\, the recesses between flat planes are filled with color. Consequently\, a dynamic\, optical relationship links surface and edge. “The idea of using the interstices kind of jelled around that idea [of the MIT mural]\,” Noland recollected\, “And I saw the possibility also of . . . hav[ing] the effect be that . . . the eye would be moved along by differences in color into various kinds of playful effects.” In this manner\, the Flare series engages viewers in a prolonged game of looking—a journey into the artist’s radical reconfiguration of painting. \n\nPace’s online viewing rooms offer rich contextual lenses through which to engage with our artists’ work and exhibitions. To inquire about any of the works featured in this exhibition\, please email inquiries@pacegallery.com. \nWe invite you to explore our other Viewing Rooms including Saul Steinberg: Imagined Interiors\, James Turrell\, Julian Schnabel: The Patch of Blue the Prisoner Calls the Sky\, Paul Graham: The Seasons\, Arlene Schechet: Skirts\, and A Swiftly Tilting Planet. \n\n  Save  
URL:https://artinamericaguide.com/event/viewing-room-noland-flares/
LOCATION:Pace Gallery 25th Street\, 540 West 25th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200312
DTEND;VALUE=DATE:20200426
DTSTAMP:20260427T060449
CREATED:20200406T160508Z
LAST-MODIFIED:20200406T160918Z
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SUMMARY:Viewing Room | Arlene Shechet: Skirts
DESCRIPTION:Rich in idiosyncrasies\, Arlene Shechet’s latest works combine disparate mediums\, from ceramics to wood and metalwork\, with playfully ambiguous titles that prompt endless associations. \nImage:\nInstallation view\, Arlene Shechet: Skirts\, February 28 – April 25\, 2020\, Pace Gallery\, New York © Arlene Shechet \n\nUtilizing a title that is both a noun and a verb\, Skirts is a testament to the artist’s fluid and unformulaic process. Though her works appear effortless and forgiving of imperfections\, they are the belabored products of an intuitive and technically fastidious approach\, involving casting\, painting\, firing\, carving\, stacking\, undoing and redoing with no predetermined endpoint. Her expansive approach to sculpture and materials is reminiscent of artists Shechet admires\, such as Sophie Taeuber-Arp and Sonia Delaunay\, whose work transcends the divisions of painting and sculpture and encompassed innovative multimedia practices\, distinguishing their work from that of their male peers. Shechet’s title\, Skirts\, also reclaims misogynist slang. As if to counter this term’s reduction of women to passive things\, Shechet’s unruly\, polymorphous sculptures suggest that objects themselves are active and subversive. \nThe potential of structure is a central concern that Shechet’s latest production explores with virtuosity. Magic Matters\, for example\, reveals itself as a counterintuitive pas de deux: from one side\, two rectangular steel sheets seem to compress a sliced log into a starkly geometric and gravity-defying planar arrangement; from the other\, this tension is suddenly released as the same wooden and metal pieces appear to unravel to the ground. Similarly\, Shechet’s larger-scale assemblages are seemingly precarious stacks of massive logs juxtaposed with bronze or ceramic parts. In spite of their bulkiness\, these works suggest motion\, whether the swaying of skirts\, teetering of towers\, or slow growth of organisms. Shechet’s incorporation of wood in forms still identifiable as tree trunks suggests a kind of taming on the artist’s part\, with each carefully crafted piece incorporated without detracting from its wild rawness. The result is a type of sculpture that confounds the man-made with the organic\, a reminder that humankind is neither apart from nature nor unrivaled in its creativity. \nShechet’s sculptures appear to be suspended between the living and inanimate. An encounter with a piece such as Grammar suggests an immediate and bodily kinship. A bloated and lumpy vessel\, it seems to churn with the vitality of a stomach or lungs. Punctured by tubular openings\, or what Shechet calls “breathing holes\,” the sculpture offers its orifices as portals through which to see internal\, structural mysteries. \nTo Shechet\, who has long mastered the technical difficulties of creating glazed ceramics\, color is not extraneous to structural problems. “In firing the glaze into the clay\, the color becomes part of the structure\,” she observes. Even in works devoid of ceramics and hence glaze\, Shechet retains this understanding. \nShechet’s dismantling of the conventions of sculpture is also apparent in her treatment of the base; the work’s “skirt” is integral to her work’s logic. She achieves this integration through a variety of means: a pedestal-like form might appear at the top of the work\, as in Ripple and Ruffle\, or a base of metal or wood might determine the contours of the ceramic forms that hug and exceed the edges of its “base.” Casting ceramic parts from these supports to create a seamless interlocking\, Shechet’s sculptures absorb their idiosyncratic pedestals\, expanding and even encompassing the room\, since Shechet choreographs the placement of her works—“a family of actors” in her own words—to form a totality that enlists architecture\, light\, and ambulant bodies in its play. \nYet Shechet’s reversal of hierarchies is not confined to the skirt of her works. It is not merely formal. Through her work in clay\, paper\, and porcelain\, Shechet has continuously demonstrated the critical force\, as well as aesthetic richness\, of mediums and traditions historically marginalized as craft\, to wit\, gendered as the purview of women. Such masculinist policing of boundaries can no longer hold in the universe that Shechet’s art conjures so powerfully—a place of flux and transformation\, where the unmooring of oppositions\, identities\, and hierarchies can be conceived and felt. \n\n\n\nPace’s online viewing rooms offer rich contextual lenses through which to engage with our artists’ work and exhibitions. To inquire about any of the works featured in this exhibition\, please email inquiries@pacegallery.com. \nWe invite you to explore our other Viewing Rooms including Saul Steinberg: Imagined Interiors\, James Turrell\, Julian Schnabel: The Patch of Blue the Prisoner Calls the Sky\, Paul Graham: The Seasons\, A Swiftly Tilting Planet and Noland: Flares. \n\n  Save  
URL:https://artinamericaguide.com/event/viewing-room-arlene-shechet-skirts/
LOCATION:Pace Gallery 25th Street\, 540 West 25th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200312
DTEND;VALUE=DATE:20200419
DTSTAMP:20260427T060449
CREATED:20200406T155649Z
LAST-MODIFIED:20200406T155855Z
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SUMMARY:Viewing Room | Julian Schnabel: The Patch of Blue the Prisoner Calls the Sky
DESCRIPTION:Painted in Mexico and Montauk\, Julian Schnabel’s latest large-scale works embrace the irregular shapes of their supports-fabric tarps sourced from an ambulatory market in Mexico.  \nImage:\nJulian Schnabel\, The Patch of Blue the Prisoner Calls the Sky I\, 2019\, oil on found fabric\, 108″ × 90″ (274.3 cm × 228.6 cm) © Julian Schnabel \n\nThese works catalogue the possibilities of how and what to paint\, revealing a new way of looking at the world that blurs the line between representation and configuration. As artist and writer James Nares explains\, “These paintings represent the evidence of their own autonomy. They are metaphoric in an open way\, not to interpretation as image but as underlying principles and facets of nature.” \nWeather-beaten fabrics provide a temporal point of departure. “Julian is drawn to surfaces and objects that show their own history—scuffed-up cardboard\, the discarded sails of sailing ships\, Kabuki theater backdrops…he thinks of them as ‘opportunities’—calls them ‘veils of time.’” \nPainted with marks Nares refers to as “a kind of mapping of the mind\,” the works evoke volcanoes\, rock formations\, ocean waves\, deserts\, outer space\, all rendered in emotive indigo blues\, blood reds\, pale pinks and olive greens– eternity. Once a utilitarian object\, the fabric ground contains traces of its past life and the perfection of the coincidental opening a window into both our world and one imagined in dense paint. “The paintings are full of dynamic surprises….Small fire\, a prism\, and a window-like opening in a place with no wall\, blue sky beyond…” \n\nPace’s online viewing rooms offer rich contextual lenses through which to engage with our artists’ work and exhibitions. To inquire about any of the works featured in this exhibition\, please email inquiries@pacegallery.com. \nWe invite you to explore our other Viewing Rooms including Saul Steinberg: Imagined Interiors\, James Turrell\, A Swiftly Tilting Planet\, Paul Graham: The Seasons\, Arlene Schechet: Skirts\, and Noland: Flares. \n\n  Save  
URL:https://artinamericaguide.com/event/viewing-room-julian-schnabel/
LOCATION:Pace Gallery 25th Street\, 540 West 25th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200312
DTEND;VALUE=DATE:20200419
DTSTAMP:20260427T060449
CREATED:20200417T204240Z
LAST-MODIFIED:20200417T205206Z
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SUMMARY:Virtual Exhibition | Kate Shepherd: Surveillance
DESCRIPTION:Galerie Lelong & Co. is pleased to present Surveillance\, a solo exhibition of work created in the past year by New York–based artist Kate Shepherd. Known for her richly colored paintings built with layers of monochromatic enamel\, Shepherd here charts new territory in her decades-long exploration of perspectival space. Chief among Shepherd’s concerns in these works is their relationship to their environs; the various reflective surfaces establish a spatial discourse across the panel\, the viewer\, and the gallery space. \nImage:\nKate Shepherd\nEavesdropper\, 2019\nEnamel on panel\n52 x 46 inches (132.1 x 116.8 cm)\n(Photographed with reflections)\n(GL 14292) \n\n \nKate Shepherd Exhibition Walkthrough from Galerie Lelong on Vimeo. \n\nSurveillance presents two bodies of work conceived and executed in tandem. The first group\, on display in the main gallery\, incorporates chromatic trapezoids that cut through the picture plane. These shapes—which the artist calls “surrogate paintings”—function as architectonic premises\, delineating volume and the space between them. Shepherd defines these forms through difference in textures\, rather than with her signature fine lines. In many of these works\, she interrupts the glossy quality of the enamel\, sanding large areas down to produce velvety fields that show pentimenti of color and faint lines of obliterated brushstrokes. These shifts in color and finish complicate how distinct areas of the painting reflect their surroundings and ultimately create a push-pull. Being situationally reactive to light and movement\, the paintings take on sculptural characteristics in their constant change. \nOn view in the smaller gallery\, a second body of work recalls the daguerreotype’s image-making process. Shepherd begins these works by leaning paintings in her studio at varied angles\, allowing the paintings’ environments to be reflected within their compositions. The artist then photographs the painting and using the same enamel paint\, screen prints this image onto a panel. Born out of this referential loop\, these works evince a dialogue with memory and the act of surveillance. \n\nOn April 10\, 2020\, Art in America editor Will Smith and Kate Shepherd got on Zoom to discuss her new body of abstract paintings and how they can connect with viewers in today’s virtual settings. Watch the recording here. \nAired on April 15\, 2020\, Kate Shepherd was a guest on The Modern Art Notes podcast with Tyler Green for the “Pandemic Bonus Episode.” In the episode\, Shepherd shared how her works in Surveillance were developed over six years\, reflecting on the current situation and what it means to her as an artist. Listen to the episode here. \n\nBorn in 1961 in New York City\, Kate Shepherd continues to live and work there. Her work is featured in numerous museum collections\, including The Phillips Collection\, Washington\, D.C.; Albright-Knox Art Gallery\, Buffalo\, New York; Baltimore Museum of Art\, Maryland; Los Angeles County Museum of Art\, California; Museum of Fine Arts\, Boston\, Massachusetts; The Microsoft Art Collection; and the Metropolitan Museum of Art\, New York\, New York. Solo exhibitions of the artist’s work have been held at institutions including The Phillips Collection\, Washington\, D.C.; Charlotte and Philip Hanes Art Gallery\, Wake Forest University\, Winston-Salem\, North Carolina; and The Chinati Foundation\, Marfa\, Texas. \n\n  Save  
URL:https://artinamericaguide.com/event/virtual-exhibition-kate-shepherd-surveillance/
LOCATION:Galerie Lelong & Co.\, 528 West 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200314
DTEND;VALUE=DATE:20200510
DTSTAMP:20260427T060449
CREATED:20200409T203803Z
LAST-MODIFIED:20200409T204431Z
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SUMMARY:Viewing Room: A Tribute to Jonas Mekas
DESCRIPTION:Jonas Mekas: the Founder of Anthology Films in New York\, the filmmaker\, poet\, writer\, curator and artist. Jonas Mekas captured moments that we all cherish in art history\, in American history\, in life… from film producers\, Salvador Dali\, the Kennedy’s\, Warhol\, Yoko Ono and John Lennon\, Elvis Presley\, the World Trade Center… to more personal\, special moments of nature\, his family\, being human\, celebrating life and cherishing each experience to the fullest. Jonas made a major contribution to the art world and is greatly missed. He passed away on January 23\, 2019 at 96 years old. Since then\, there have been many events celebrating his life last year\, including Homage to a Happy Man: Celebrating Jonas Mekas (1922 – 2019) at St Mark’s Church last May. This is the first solo art exhibition paying Tribute to his artistic career since his passing. \nImage:\nSalvador Dali and Nena von Schlemberugge\, NYC\, 1964\, 2013\, Archival Photographic Print\, Edition of 3 + 2 AP\, 22 x 17 Inches \n\n\n\nDeborah Colton Gallery is founded on being an innovative showcase for ongoing presentation and promotion of strong historical and visionary contemporary artists world-wide\, whose diverse practices include painting\, works on paper\, sculpture\, video\, photography\, performance\, conceptual future media and public space installations. \n\n  Save  
URL:https://artinamericaguide.com/event/viewing-room-a-tribute-to-jonas-mekas/
LOCATION:Deborah Colton Gallery\, 2445 North Boulevard\, Houston\, 77098\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200316
DTEND;VALUE=DATE:20200524
DTSTAMP:20260427T060449
CREATED:20200406T154430Z
LAST-MODIFIED:20200406T154703Z
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SUMMARY:Viewing Room | James Turrell
DESCRIPTION:Over the course of more than six decades\, James Turrell has pioneered an art of light\, space\, and time. \n“I want light itself to be the revelation.” – James Turrell \nImage:\nInstallation view\, James Turrell\, February 11 – May 23\, 2020\, Pace Gallery\, London © James Turrell. Photo: Damian Griffith \n\nJames Turrell’s recent Constellation works\, the focal point of this exhibition\, are the culmination of Turrell’s lifelong pursuit. Generating what the artist has called “spaces within space\,” these luminous portals are instruments for altering our perception; gazing into them results in the slow dissolution of the boundaries of the surrounding room\, enveloping the viewer in the radiance of pure color. Fusing the temporal\, sensuous\, and illusory qualities of his projection works and architectural installations\, the Constellations synthesize several aspects of Turrell’s practice. Unlike his early projection pieces\, however\, they are not about generating an illusion; instead\, they greet the viewer with the actual materiality of light\, what Turrell calls “the physical manifestation of light\, which we have trained our eyes too readily to look through rather than to look at.” \nPresented in site-specific chambers\, the works feature elliptical and circular shapes with a frosted glass surface animated by an array of technically advanced LED lights\, which are mounted to a wall and generated by computer programming. \n\nPace’s online viewing rooms offer rich contextual lenses through which to engage with our artists’ work and exhibitions. To inquire about any of the works featured in this exhibition\, please email inquiries@pacegallery.com. \nWe invite you to explore our other Viewing Rooms including Saul Steinberg: Imagined Interiors\, A Swiftly Tilting Planet\, Julian Schnabel: The Patch of Blue the Prisoner Calls the Sky\, Paul Graham: The Seasons\, Arlene Schechet: Skirts\, and Noland: Flares. \n\n  Save  
URL:https://artinamericaguide.com/event/viewing-room-james-turrell/
LOCATION:Pace Gallery 25th Street\, 540 West 25th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200316
DTEND;VALUE=DATE:20200331
DTSTAMP:20260427T060449
CREATED:20200325T225520Z
LAST-MODIFIED:20200331T155558Z
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SUMMARY:Online Viewing Room: William Scharf: Elemental Color\, Works from the 50s and 60s
DESCRIPTION:Online Viewing Room\nWilliam Scharf: Elemental Color\, Works from the 50s and 60s\nMarch 16 – 30\, 2020 \nThis exhibition brings together work by New York School painter William Scharf\, focusing on a formative period for the artist between 1953 and 1969\, during which he developed a friendship with Mark Rothko. Scharf first met Rothko in 1953 and in the 1960s assisted Rothko with his renowned commission for the De Menil Chapel in Houston. They remained close until Rothko’s death in 1970. Both artists shared an interest in the expressive\, emotive and symbolic properties of color as well as a fascination with mythology\, philosophy\, and the concept of the primordial. \nComing of age in the heyday of New York’s Surrealist and Abstract-Expressionist movements\, Scharf’s style developed into something immediately recognizable\, a unique combination of visual transcendence and quiet moments of beauty. Potent symbols – the egg\, the eye\, the cross – recur throughout his oeuvre\, teaching viewers to see his paintings as part of a larger fabric of universal mythos\, even as a conduit to an understanding of those omnipresent ideas. \nAlong with symbols\, color was Scharf’s most powerful tool to convey ideas using the language of abstraction. In Top Sphinx\, crimson\, fiery orange\, black\, cobalt blue\, and turquoise color fields evoke sentiments of tension and cohesion and appear laden with allusive\, enigmatic meanings. In Untitled\, 1962\, pink\, egglike forms at the center of the composition glow against a field of black\, earthy brown\, and dark blue\, evoking notions of fertility\, creation\, and the eternal lifecycle. \nScharf’s style crystalized during this period\, as evidenced in a series of small canvases from the mid-1960s first shown at Betty Parsons Gallery in New York. Works such as Lid’s Night\, 1964 distill free-flowing brushwork into discrete vignettes of glowing form\, each emerging from the shadowed plane like a luminescent creature from the quiet depths. These forms coalesce into compositions that function like contained ecosystems\, small aquarium glimpses into a larger\, grander and more wonderful world. \n\nImage HTG16207:\nWilliam Scharf\nThe Sea Went Red and Right\, 1964\nGouache on paper\n11 x 13 3/4 inches \n\n  Save  
URL:https://artinamericaguide.com/event/online-viewing-room-william-scharf/
LOCATION:Hollis Taggart\, 521 West 26th Street\, 1st Floor\,\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200317
DTEND;VALUE=DATE:20200701
DTSTAMP:20260427T060449
CREATED:20200605T203352Z
LAST-MODIFIED:20200605T204445Z
UID:68479-1584403200-1593561599@artinamericaguide.com
SUMMARY:Viewing Room | Art from Afar
DESCRIPTION:George Adams Gallery is pleased to present our first online viewing room\, as part of the ADAA Member Viewing Rooms in collaboration with Artlogic. In a special installation of our backroom\, we are sharing a cross-section of the gallery’s program\, with its focus on representational\, narrative art. Since the 1950s\, the gallery has championed artists outside the mainstream\, particularly those from the San Francisco Bay Area and Latin America\, as well as under recognized artists who continue to challenge us through their work. \nVisit the online viewing room to see paintings\, drawings and prints by Robert Arneson\, Luis Cruz Azaceta\, Chris Ballantyne\, Elmer Bischoff\, Joan Brown\, Enrique Chagoya\, Gregory Gillespie\, Red Grooms\, Amer Kobaslija\, Andrew Lenaghan\, Tony May\, David Park\, Peter Saul\, Katherine Sherwood and H.C. Westermann. \n\nImage:\nH. C. Westermann\n(1922-1981)\nHuman Cannonball\, 1971\nsigned\, dated\, lower right\nInk and watercolor on paper\n13 3/4 x 16 1/2 inches \n\n  Save  
URL:https://artinamericaguide.com/event/viewing-room-art-from-afar/
CATEGORIES:Virtual Events + Viewing Rooms
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ORGANIZER;CN="George Adams Gallery":MAILTO:info@georgeadamsgallery.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200318
DTEND;VALUE=DATE:20200503
DTSTAMP:20260427T060449
CREATED:20200423T190631Z
LAST-MODIFIED:20200423T220018Z
UID:67368-1584489600-1588463999@artinamericaguide.com
SUMMARY:Viewing Room: Jorinde Voigt: The State of Play
DESCRIPTION:David Nolan Gallery is delighted to present The State of Play\, an exhibition of new works by Jorinde Voigt. For the artist’s fifth solo exhibition with the gallery\, Voigt continues to expand upon her singular practice of methodical and conceptually rigorous “visual scores” that transcend everyday perceptual experiences and attempt to translate into color and form that which is most ephemeral and impenetrable. \nImage:\nJorinde Voigt\nPotential III\, 2020\nIndia ink\, gold leaf\, pastel\, oil pastel\, and graphite on paper in artist-designed frame\n55 1/8 x 55 1/8 in (140 x 140 cm)\nframed: 59 3/8 x 59 3/8 x 3 3/4 in (150.8 x 150.8 x 9.5 cm)\n(JV7584) \n\nDavid Nolan Gallery is pleased to share documentation of Jorinde Voigt’s artistic process\, narrated by the artist. Followed by installation views of The State of Play.\n \n\nJorinde Voigt was born in Frankfurt am Main and lives and works in Berlin. Recent solo museum exhibitions include: The Menil Collection\, Houston (2019); Horst-Janssen-Museum\, Oldenburg\, Germany (2019); St. Matthäus-Kirche\, Berlin\, Germany (2018); Hamburger Bahnhof – Museum für Gegenwart\, Berlin (2016); Kunstraum Innsbruck\, Austria (2016); Kunsthalle Krems\, Austria (2015); MACRO Museo d’Arte Contemporanea\, Rome\, Italy (2014); Langen Foundation\, Neuss\, Germany (2013); Royal Ontario Museum\, Toronto\, Canada (2012); Von der Heydt-Museum\, Wuppertal\, Germany (2011); and Gemeentemuseum\, The Hague\, Netherlands (2010)\, among others. \n\n  Save  
URL:https://artinamericaguide.com/event/viewing-room-jorinde-voigt-the-state-of-play/
LOCATION:David Nolan Gallery\, 24 E 81st Street\, New York\, NY\, 10028\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200319
DTEND;VALUE=DATE:20200426
DTSTAMP:20260427T060449
CREATED:20200421T160851Z
LAST-MODIFIED:20200421T162359Z
UID:67336-1584576000-1587859199@artinamericaguide.com
SUMMARY:Online Catalogue | John Evans: BREATHE
DESCRIPTION:Gallery Henoch presents an online catalogue for BREATHE\, twelve paintings produced over the last two years by artist John Evans. As the title for the exhibition suggests\, these works evoke the meditative quality of the botanic gardens which are their subject.  \nImage\nJohn Evans\nUniverse\,\nOil on Canvas\, 66″ x 96″\n*Private Collection \nView installation images of the exhibition here.  \n\n“It’s evident when looking at John Evans’ work that he is a painter completely enveloped in the process of painting. Waterlilies\, a common visual trope in this body of work\, float across the painted surfaces. At times they resemble hearts\, at other moments they become simple ellipses\, then still forms\, only existing due to the surrounding paint that holds them in place. For an artist such as John Evans\, the subject is less important than the act itself. He has used his artistic prowess to consistently delve into the world of painting\, never tiring of the possibilities that can emerge from the unknown or from shifts in spatial planes. In each instance\, the landscape is malleable\, a vehicle for a painting —a way to recreate a world that might never be lived in. \nWhat initially may seem to be moments of representation can also be construed as fabrications of memory or imagination. His landscapes\, while inspired by veritable places\, reflect dimensions of life that can only exist within the realm of painting. While the wonderment of where this place is might emerge\, it will be less about where\, than just admiring a space where colors sail and the ground is alive with marks. In that it is like a fish in a pond\, lingering below the surface.” — Katy Diamond Hamer \n\nJohn Evans received his MFA from Boston University under the tutelage of James Weeks\, David Aronson\, and Philip Guston. His first solo show with Gallery Henoch was in 1984. Works by John Evans are held in the permanent collections of several distinguished institutions including the Museum of Fine Arts in Boston\, MA\, the Smithsonian American Art Museum in Washington\, DC\, the Fogg Art Museum in Cambridge\, MA\, the DeCordova Museum and Sculpture Park in Lincoln\, MA\, and the Houston Museum of Fine Art\, TX\, among others. \n\n  Save  
URL:https://artinamericaguide.com/event/online-catalogue-john-evans-breathe/
LOCATION:Gallery Henoch\, 555 West 25th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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