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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190413T150000
DTEND;TZID=America/Halifax:20190413T170000
DTSTAMP:20260403T221007
CREATED:20190402T192028Z
LAST-MODIFIED:20190529T182649Z
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SUMMARY:Opening for Charles Ray: two ghosts
DESCRIPTION:Matthew Marks is pleased to announce Charles Ray: two ghosts\, the next exhibition in his galleries at 1062 North Orange Grove and 7818 Santa Monica Boulevard. The exhibition includes three new sculptures and more than twenty works on paper. \nThe centerpiece of the exhibition is Ray’s first work in stone\, Two Horses Relief (2018)\, carved from a single block of Virginia granite. The sculpture is twelve feet tall and fourteen feet wide and weighs more than six tons. \nClothespile (2018) is a portrait of the artist’s own clothes\, a recurring subject for Ray since the early 1970s. Ray began Clothespile more than fifteen years ago\, ultimately completing it through a process called direct metal laser sintering (DMLS)\, which uses lasers to fuse powdered metal into solid structures with an intricacy that cannot be achieved through casting or carving. \nMountain Lion Attacking a Dog (2018) is a hypothetical scene from the hills around Ray’s home in Los Angeles. Each animal has been machined from a solid block of aluminum\, producing a reflective surface that enhances the finely sculpted details on their bodies. \nOn view in the gallery at 7818 Santa Monica Boulevard is a selection of Ray’s recent drawings\, the first such presentation since the 2010 Whitney Biennial in New York. These pictures of flowers\, drawn in ink on paper\, have an immediacy in direct contrast to the sculptures\, although one drawing\, at seven feet tall\, shares the sculptures’ monumental scale. The paper for some of these works was hand-made by the artist\, including several sheets with embossed imagery. Also on display are four scroll-like notebooks\, each about eight feet long\, that were hand-bound by Ray in his studio. \nCharles Ray (born 1953) lives and works in Los Angeles. His work has been featured in Documenta (1992)\, the Venice Biennale (1993\, 2003\, 2013)\, and the Whitney Biennial (1989\, 1993\, 1995\, 1997\, 2010)\, and his sculptures have been the subject of two retrospectives. The first was organized in 1998 by the Museum of Contemporary Art\, Los Angeles\, and traveled to the Whitney Museum of American Art\, New York\, and the Museum of Contemporary Art\, Chicago. The second was held at the Kunstmuseum Basel and the Art Institute of Chicago in 2014–15. The exhibition “Charles Ray: four patterns” is currently on view at the Reina Sofía in Madrid from March 28 to September 8. \nCharles Ray: two ghosts is on view at 1062 North Orange Grove and 7818 Santa Monica Boulevard from April 13 to June 22\, 2019\, Tuesday through Saturday\, from 10:00 to 6:00 PM. \nFor additional information\, please contact Stephanie Dorsey at 212-243-0200 or stephanie@matthewmarks.com. \n  Save  
URL:https://artinamericaguide.com/event/charles-ray-two-ghosts-2/
LOCATION:Matthew Marks Gallery LA\, 1062 North Orange Grove/7818 Santa Monica Boulevard\, Los Angeles\, CA\, 90046\, United States
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/04/44382_050.jpg
ORGANIZER;CN="Matthew Marks Gallery LA":MAILTO:info@matthewmarks.com
GEO:34.0904185;-118.3604255
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Matthew Marks Gallery LA 1062 North Orange Grove/7818 Santa Monica Boulevard Los Angeles CA 90046 United States;X-APPLE-RADIUS=500;X-TITLE=1062 North Orange Grove/7818 Santa Monica Boulevard:geo:-118.3604255,34.0904185
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190413T140000
DTEND;TZID=America/Halifax:20190413T160000
DTSTAMP:20260403T221007
CREATED:20190325T163837Z
LAST-MODIFIED:20190325T163837Z
UID:50120-1555164000-1555171200@artinamericaguide.com
SUMMARY:Anton Ginzburg in Conversation with Meghan Forbes
DESCRIPTION:Helwaser Gallery is pleased to present VIEWs\, the first solo exhibition of works with artist Anton Ginzburg. The exhibition introduces the newest body of works by the artist\, which includes the VIEW painting series\, a site-specific mural\, and ceramic sculptures. VIEWs presents Ginzburg’s engagement with the development of modernist-formal vocabulary in Eastern Europe\, which addresses theories of viewing. Marking the inaugural exhibition at Helwaser Gallery’s new location (833 Madison Avenue\, Third Floor)\, the show will be on view March 28–May 23\, 2019\, with an opening reception to be held Thursday\, March 28\, 2019. The core of the exhibition is the VIEW painting series. Executed on wooden panels of two distinct sizes\, each work references diagrammatic representations of the binocular field of human vision. Based on the shape and geometry of the panels\, abstract compositions are developed through color\, plane\, and line. \nIn smaller-scale works\, different planes of color overlap and intersect with each other\, demonstrating the figure and ground perception within each work. In larger works\, Ginzburg draws on the effects of the movement of color through space. Collectively\, the VIEW series analyzes the act of viewing and demonstrates the process through the material practice of painting. \nAlso on show are Polychrome Columns (2018)\, a pair of multi-colored porcelain sculptures measuring 10 feet in height. Segmented into different colored modules\, which are stacked on top of each other\, the columns introduce a spatial dimension to the exhibition. Accompanying these columns is a site-specific mural\, comprising bands of colored lines with mirrored\, glass pieces superimposed over it. Placed in dialogue with the space of the gallery\, these works create a dynamic viewing process\, allowing visitors to immerse themselves within the works. Also presented in the exhibition\, the artist’s earlier video work Color and Line (2013) echoes this notion of space. A playful interpretation of Suprematist paintings and cinematic structure\, the work was filmed in a laundry room\, in between “cuts” of darkness (achieved by switching on and off the lights)\, creating a continuous sequence of color compositions that vary in placement. Ginzburg’s practice explores the direct relationship between the viewer and the process of observing. Through referencing theories of viewing proposed by two artists of historical avantgarde\, Mikhail Matyushin and Władysław Strzeminski\, Ginzburg applies his own methodology to painting\, sculpture\, and video. \nThis inquiry began three years ago during Ginzburg’s residency in Canada in 2016\, where the artist engaged in visual exercises used in the curriculum of the VkHUTEMAS (a modern art and technical school established by the Soviet Union in 1920). These exercises included color and spatial studies\, photography\, and graphic explorations\, which strived to re-animate the avant-garde methodology of the 20th into the present-day context. \nAbout the artist \nAnton Ginzburg (b. 1974\, St. Petersburg\, Russia) is a New York-based artist\, known for his films\, paintings\, sculptures\, and text-based printed work investigating historical narratives and poetic studies of place\, representation\, and post-Soviet identity. He earned a B.F.A. from Parsons School of Design\, The New School and M.F.A. degree from Bard College\, Milton Avery Graduate School of Arts\, Annandale-on-Hudson\, New York. His work has been shown at the 54th Venice Biennale; the Blaffer Art Museum at the University of Houston; Southern Alberta Art Gallery\, Canada; Palais de Tokyo\, Paris; the San Francisco Museum of Modern Art; White Columns\, New York; Lille 3000\, Euralille\, France; and the first and second Moscow Biennales. His films have been screened at the Whitechapel Gallery\, London; Rotterdam International Film Festival (IFFR); Dallas Symphony Orchestra; Nasher Sculpture Center\, Dallas; Les Rencontres Internationales\, Paris; Haus der Kulturen der Welt\, Berlin; and New York Film Festival/Projections among others. \nwww.antonginzburg.com \nAbout the speaker \nMeghan Forbes is currently the C-MAP Fellow for Central and Eastern Europe at The Museum of Modern Art\, New York and a Visiting Scholar at the Institute for Public Knowledge at New York University. She holds a Ph.D. from the Department of Slavic Languages and Literatures at the University of Michigan\, Ann Arbor. Meghan recently co-curated the exhibition BAUHAUS↔VKhUTEMAS: Intersecting Parallels (2018) in the MoMA Library. She is the sole editor of International Perspectives on Publishing Platforms: Image\, Object\, Text (Routledge\, 2019). Besides her academic publications\, Meghan publishes regularly in venues of wider readership such as Hyperallergic\, Literary Hub\, The Los Angeles Review of Books\, Words Without Borders\, and the Michigan Quarterly Review. \n  Save  
URL:https://artinamericaguide.com/event/anton-ginzburg-in-conversation-with-meghan-forbes/
LOCATION:Helwaser Gallery\, 833 Madison Avenue\, 3rd Floor\, New York\, NY\, 10021\, United States
CATEGORIES:Event,Exhibition
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ORGANIZER;CN="Helwaser Gallery":MAILTO:info@helwasergallery.com
GEO:40.7700197;-73.9664595
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190413T100000
DTEND;TZID=America/Halifax:20190413T150000
DTSTAMP:20260403T221007
CREATED:20190325T163906Z
LAST-MODIFIED:20190325T163906Z
UID:50065-1555149600-1555167600@artinamericaguide.com
SUMMARY:Daffodils and Follies Day
DESCRIPTION:Saturday\, April 13 – 10 am to 3 pm \nCelebrate the beauty of the daffodil\, enjoy Winterthur’s amazing daffodil display\, and see the Follies garden exhibition! Henry Francis du Pont used his collector’s eye in assembling his collection of hundreds of heirloom daffodil bulbs arranged in cloud-like drifts on Sycamore Hill. The day’s events will include tours\, kids’ crafts\, and a daffodil show. Members free. Included with admission. \nChildren’s Daffodil Show – 10:00 am\, Visitor Center (entries accepted through 11:00 am) \nDaffodil Day Craft – 10:00 am to 2:00 pm\, Visitor Center \nGuided Walking Tours of the Daffodils – 11:30 am and 1:30 pm\, begin at Visitor Center Patio \nSelf-guided Tours of the Daffodils – all day\, begin at Visitor Center Patio \nPhoto Credit: Courtesy of Winterthur\, photo by Bob Leitch \n  Save  
URL:https://artinamericaguide.com/event/daffodils-and-follies-day/
LOCATION:Winterthur Museum\, Garden & Library\, 5105 Kennett Pike\, Wilmington\, DE\, 19807\, United States
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/03/Daffodil_and_Follies_Bob_Leitch.jpg
ORGANIZER;CN="Winterthur Museum%2C Garden &amp%3B Library":MAILTO:pressroom@winterthur.org
GEO:39.8087941;-75.6037258
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Winterthur Museum Garden & Library 5105 Kennett Pike Wilmington DE 19807 United States;X-APPLE-RADIUS=500;X-TITLE=5105 Kennett Pike:geo:-75.6037258,39.8087941
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190409T180000
DTEND;TZID=America/Halifax:20190409T200000
DTSTAMP:20260403T221007
CREATED:20190325T163625Z
LAST-MODIFIED:20190327T143717Z
UID:50169-1554832800-1554840000@artinamericaguide.com
SUMMARY:Royal Trivia Nights
DESCRIPTION:Gather a team of mates\, grab a drink\, and go head to head with other royal aficionados for a fun night of trivia related to all things royal. \nApril 9\, 6:00–8:00 pm\nTheme: “Royal Conundrums”\nPurchase tickets online or call 800.448.3883. \nMay 14\, 6:00–8:00 pm\nTheme: “Royal Weddings”\nPurchase tickets online or call 800.448.3883. \nPhoto credit: Courtesy of Winterthur \n  Save  
URL:https://artinamericaguide.com/event/royal-trivia-nights/2019-04-09/
LOCATION:Winterthur Museum\, Garden & Library\, 5105 Kennett Pike\, Wilmington\, DE\, 19807\, United States
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/03/Royal_trivia_night.jpg
ORGANIZER;CN="Winterthur Museum%2C Garden &amp%3B Library":MAILTO:pressroom@winterthur.org
GEO:39.8087941;-75.6037258
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Winterthur Museum Garden & Library 5105 Kennett Pike Wilmington DE 19807 United States;X-APPLE-RADIUS=500;X-TITLE=5105 Kennett Pike:geo:-75.6037258,39.8087941
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190404T180000
DTEND;TZID=America/Halifax:20190404T200000
DTSTAMP:20260403T221007
CREATED:20190402T153857Z
LAST-MODIFIED:20190402T153857Z
UID:50497-1554400800-1554408000@artinamericaguide.com
SUMMARY:Opening Reception for Raqib Shaw: Landscapes
DESCRIPTION:Pace Gallery is privileged to present new paintings by Raqib Shaw. The exhibition showcases Shaw’s first work in the long tradition of landscape painting\, signifying a new direction for the London-based Kashmiri artist. Drawing inspiration from his childhood memories of Kashmir and the nature and architecture of the Indian subcontinent\, Shaw has mined and re-envisioned his own personal history through the compulsively-detailed\, meticulously-painted\, and emotionally-potent works. Raqib Shaw: Landscapes will be on view at 537 West 24th Street from April 5 – May 18\, 2019\, with an opening reception on Thursday\, April 4 from 6 – 8 PM. A full-color catalogue featuring a conversation between the artist and Pace Gallery Founder Arne Glimcher will accompany the exhibition. \nImage: Raqib Shaw\, The Four Seasons “Spring”\, 2018-2019. Acrylic liner and enamel on Birch wood\, 44-7/8″ x 47-1/4″ (114 cm x 120 cm). \n  Save  
URL:https://artinamericaguide.com/event/opening-reception-for-raqib-shaw-landscapes/
LOCATION:Pace Gallery 24th Street\, 537 West 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Event
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2019/04/landscapes.png
ORGANIZER;CN="Pace Gallery":MAILTO:info@pacegallery.com
GEO:40.749373;-74.0054596
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Pace Gallery 24th Street 537 West 24th Street New York NY 10011 United States;X-APPLE-RADIUS=500;X-TITLE=537 West 24th Street:geo:-74.0054596,40.749373
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190404T180000
DTEND;TZID=America/Halifax:20190404T200000
DTSTAMP:20260403T221007
CREATED:20190325T164149Z
LAST-MODIFIED:20190325T164149Z
UID:50125-1554400800-1554408000@artinamericaguide.com
SUMMARY:Opening Reception for Andrea Belag: Inheritance
DESCRIPTION:Morgan Lehman presents recent abstractions by painter Andrea Belag in the artist’s first solo exhibition with the gallery. \n  Save  
URL:https://artinamericaguide.com/event/opening-reception-for-andrea-belag-inheritance/
LOCATION:Morgan Lehman Gallery\, 526 West 26 Street\, Suite 419\, New York\, NY\, 10001\, United States
CATEGORIES:Event,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/03/Belag_Cave-_2019_60x70_oil_linen.jpg
ORGANIZER;CN="Morgan Lehman Gallery":MAILTO:art@morganlehmangallery.com
GEO:40.7500464;-74.0042596
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Morgan Lehman Gallery 526 West 26 Street Suite 419 New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=526 West 26 Street\, Suite 419:geo:-74.0042596,40.7500464
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190404T180000
DTEND;TZID=America/Halifax:20190404T200000
DTSTAMP:20260403T221007
CREATED:20190325T164122Z
LAST-MODIFIED:20190325T164218Z
UID:50279-1554400800-1554408000@artinamericaguide.com
SUMMARY:Donald Sultan: Mimosa\, PAINTINGS & DRAWINGS exhibition opening
DESCRIPTION:RYAN LEE is pleased to announce Donald Sultan: Mimosa\, PAINTINGS AND DRAWINGS\, an exhibition of new work by the acclaimed artist. Inspired by a gift of mimosa blossoms he received from a friend in the South of France\, Sultan began using the structure of the mimosa plant to continue his interrogation of the space between abstraction and representation\, the organic and the industrial\, as well as the history of modern art. The exhibition includes large-scale drawings and monumental paintings\, ranging from four to eight feet wide\, respectively. This is the first exhibition of Sultan’s Mimosa paintings and the show will be accompanied by a catalogue. \n  Save  
URL:https://artinamericaguide.com/event/donald-sultan-mimosa-paintings-drawings-exhibition-opening/
LOCATION:NY\, United States
GEO:43.2994285;-74.2179326
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190402T180000
DTEND;TZID=America/Halifax:20190402T200000
DTSTAMP:20260403T221007
CREATED:20190402T160721Z
LAST-MODIFIED:20190402T162017Z
UID:50505-1554228000-1554235200@artinamericaguide.com
SUMMARY:Opening Reception for Richard Learoyd: Curious
DESCRIPTION:Pace and Pace/MacGill are pleased to present an exhibition of recent photographs by Richard Learoyd\, on view on the second and ninth floors of 32 East 57th Street.Marking the British artist’s second solo show with the galleries\, Richard Learoyd: Curious will feature never-before-seen large-scale gelatin silver prints\, as well as unique color images made with a camera obscura. Comprising landscapes\, portraits and still lifes\, among other subjects\, Learoyd’s latest work advances his continued exploration of the technical possibilities of the medium and the limits of photographic expression. The public is invited to attend an opening reception with the artist on Tuesday\, April 2 from 6 to 8 PM. \nImage: Installation view\, “Richard Learoyd: Curious\,” April 3 – May 4\, 2019\, Pace Gallery\, New York © Richard Learoyd. \n  Save  
URL:https://artinamericaguide.com/event/opening-reception-for-richard-learoyd-curious/
LOCATION:Pace Gallery 57th Street\, 32 East 57th Street\, New York\, NY\, 10022\, United States
CATEGORIES:Event
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2019/04/Richard-Learoyd.png
ORGANIZER;CN="Pace Gallery":MAILTO:info@pacegallery.com
GEO:40.7618922;-73.9720405
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Pace Gallery 57th Street 32 East 57th Street New York NY 10022 United States;X-APPLE-RADIUS=500;X-TITLE=32 East 57th Street:geo:-73.9720405,40.7618922
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190402T103000
DTEND;TZID=America/Halifax:20190402T113000
DTSTAMP:20260403T221007
CREATED:20190327T130015Z
LAST-MODIFIED:20190327T130032Z
UID:50362-1554201000-1554204600@artinamericaguide.com
SUMMARY:NEW! Curious Kids
DESCRIPTION:Tuesdays\, April 2\, 9\, 16\, 23 & 30\n10:30–11:30 am \nThis weekly program introduces preschoolers\, ages 3 to 5\, to the wonderful world of museums through hands-on activities and exploration in the Galleries. Kids will discover why museums are important\, meet some of the people who work at Winterthur\, and learn about creating and caring for collections. Each week will focus on a different topic. Registration strongly encouraged! Included with admission. Members free. \nPhoto: Courtesy of Winterthur \n  Save  
URL:https://artinamericaguide.com/event/new-curious-kids/2019-04-02/
LOCATION:Winterthur Museum\, Garden & Library\, 5105 Kennett Pike\, Wilmington\, DE\, 19807\, United States
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/03/Curious_Kids.jpg
ORGANIZER;CN="Winterthur Museum%2C Garden &amp%3B Library":MAILTO:pressroom@winterthur.org
GEO:39.8087941;-75.6037258
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Winterthur Museum Garden & Library 5105 Kennett Pike Wilmington DE 19807 United States;X-APPLE-RADIUS=500;X-TITLE=5105 Kennett Pike:geo:-75.6037258,39.8087941
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190328T180000
DTEND;TZID=America/Halifax:20190328T200000
DTSTAMP:20260403T221007
CREATED:20190326T194302Z
LAST-MODIFIED:20190326T194302Z
UID:49423-1553796000-1553803200@artinamericaguide.com
SUMMARY:Opening Reception of Anton Ginzburg: VIEWs
DESCRIPTION:Opening Reception: Thursday\, March 28\, 2019 from 6 to 8pm \nArtist-in-Conversation with Meghan Forbes: Saturday\, April 13\, 2019 from 2 – 4 pm \nHelwaser Gallery is pleased to present VIEWs\, the first solo exhibition of works with artist Anton Ginzburg. The exhibition introduces the newest body of works by the artist\, which includes the VIEW painting series\, a site-specific mural\, and ceramic sculptures. VIEWs presents Ginzburg’s engagement with the development of modernist-formal vocabulary in Eastern Europe\, which addresses theories of viewing. Marking the inaugural exhibition at Helwaser Gallery’s new location (833 Madison Avenue\, Third Floor)\, the show will be on view March 28–May 23\, 2019\, with an opening reception to be held Thursday\, March 28\, 2019. The core of the exhibition is the VIEW painting series. Executed on wooden panels of two distinct sizes\, each work references diagrammatic representations of the binocular field of human vision. Based on the shape and geometry of the panels\, abstract compositions are developed through color\, plane\, and line. \nIn smaller-scale works\, different planes of color overlap and intersect with each other\, demonstrating the figure and ground perception within each work. In larger works\, Ginzburg draws on the effects of the movement of color through space. Collectively\, the VIEW series analyzes the act of viewing and demonstrates the process through the material practice of painting. \nAlso on show are Polychrome Columns (2018)\, a pair of multi-colored porcelain sculptures measuring 10 feet in height. Segmented into different colored modules\, which are stacked on top of each other\, the columns introduce a spatial dimension to the exhibition. Accompanying these columns is a site-specific mural\, comprising bands of colored lines with mirrored\, glass pieces superimposed over it. Placed in dialogue with the space of the gallery\, these works create a dynamic viewing process\, allowing visitors to immerse themselves within the works. Also presented in the exhibition\, the artist’s earlier video work Color and Line (2013) echoes this notion of space. A playful interpretation of Suprematist paintings and cinematic structure\, the work was filmed in a laundry room\, in between “cuts” of darkness (achieved by switching on and off the lights)\, creating a continuous sequence of color compositions that vary in placement. Ginzburg’s practice explores the direct relationship between the viewer and the process of observing. Through referencing theories of viewing proposed by two artists of historical avantgarde\, Mikhail Matyushin and Władysław Strzeminski\, Ginzburg applies his own methodology to painting\, sculpture\, and video. \nThis inquiry began three years ago during Ginzburg’s residency in Canada in 2016\, where the artist engaged in visual exercises used in the curriculum of the VkHUTEMAS (a modern art and technical school established by the Soviet Union in 1920). These exercises included color and spatial studies\, photography\, and graphic explorations\, which strived to re-animate the avant-garde methodology of the 20th into the present-day context. \nAbout the artist \nAnton Ginzburg (b. 1974\, St. Petersburg\, Russia) is a New York-based artist\, known for his films\, paintings\, sculptures\, and text-based printed work investigating historical narratives and poetic studies of place\, representation\, and post-Soviet identity. He earned a B.F.A. from Parsons School of Design\, The New School and M.F.A. degree from Bard College\, Milton Avery Graduate School of Arts\, Annandale-on-Hudson\, New York. His work has been shown at the 54th Venice Biennale; the Blaffer Art Museum at the University of Houston; Southern Alberta Art Gallery\, Canada; Palais de Tokyo\, Paris; the San Francisco Museum of Modern Art; White Columns\, New York; Lille 3000\, Euralille\, France; and the first and second Moscow Biennales. His films have been screened at the Whitechapel Gallery\, London; Rotterdam International Film Festival (IFFR); Dallas Symphony Orchestra; Nasher Sculpture Center\, Dallas; Les Rencontres Internationales\, Paris; Haus der Kulturen der Welt\, Berlin; and New York Film Festival/Projections among others. \nwww.antonginzburg.com \nAbout the speaker \nMeghan Forbes is currently the C-MAP Fellow for Central and Eastern Europe at The Museum of Modern Art\, New York and a Visiting Scholar at the Institute for Public Knowledge at New York University. She holds a Ph.D. from the Department of Slavic Languages and Literatures at the University of Michigan\, Ann Arbor. Meghan recently co-curated the exhibition BAUHAUS↔VKhUTEMAS: Intersecting Parallels (2018) in the MoMA Library. She is the sole editor of International Perspectives on Publishing Platforms: Image\, Object\, Text (Routledge\, 2019). Besides her academic publications\, Meghan publishes regularly in venues of wider readership such as Hyperallergic\, Literary Hub\, The Los Angeles Review of Books\, Words Without Borders\, and the Michigan Quarterly Review. \n  Save  
URL:https://artinamericaguide.com/event/opening-reception-of-anton-ginzburg-views/2019-03-28/
LOCATION:Helwaser Gallery\, 833 Madison Avenue\, 3rd Floor\, New York\, NY\, 10021\, United States
CATEGORIES:Event,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/02/2018_11_02_AntonGinzburg_010.jpg
ORGANIZER;CN="Helwaser Gallery":MAILTO:info@helwasergallery.com
GEO:40.7700197;-73.9664595
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Helwaser Gallery 833 Madison Avenue 3rd Floor New York NY 10021 United States;X-APPLE-RADIUS=500;X-TITLE=833 Madison Avenue\, 3rd Floor:geo:-73.9664595,40.7700197
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190326T110000
DTEND;TZID=America/Halifax:20190326T180000
DTSTAMP:20260403T221007
CREATED:20190418T175600Z
LAST-MODIFIED:20190418T184558Z
UID:51615-1553598000-1553623200@artinamericaguide.com
SUMMARY:Martha Armstrong at Bowery Gallery
DESCRIPTION:In 2015\, Roberta Smith wrote\, “Ms. Armstrong is the suave disciplinarian of a muscular style. She stacks blocky shapes of color that describe one landscape- a hill with some woods and a shack-visible from the window of her Vermont studio that may be her Mont Sainte-Victoire. But her shapes also maintain a nearly sculptural independence\, hovering slightly above the image\, just beyond legibility…They wear their devotions on their sleeves-Cezanne\, Fauvism\, Cubism\, Arthur Dove- but their bigness\, blockiness and electric spontaneity are quite their own…” (NYTimes\, 9/25/15) \nMartha Armstrong studied at the Cincinnati Art Academy\, Smith College\, and the Rhode Island School of Design. She has exhibited in the United States since 1967\, in Italy since 2000\, and has taught in community colleges\, art schools\, summer programs and graduate programs since the early 1970’s. \nFor more information visit: MarthaArmstrong.com \n  Save  
URL:https://artinamericaguide.com/event/martha-armstrong-recent-paintings-2/2019-03-26/
LOCATION:Bowery Gallery\, 547 W 27TH ST Suite 508\, New York\, NY\, 10001\, United States
CATEGORIES:Event
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GEO:40.7493621;-74.0047021
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Bowery Gallery 547 W 27TH ST Suite 508 New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=547 W 27TH ST Suite 508:geo:-74.0047021,40.7493621
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190326T110000
DTEND;TZID=America/Halifax:20190326T180000
DTSTAMP:20260403T221007
CREATED:20190418T175447Z
LAST-MODIFIED:20190418T183157Z
UID:51633-1553598000-1553623200@artinamericaguide.com
SUMMARY:Martha Armstrong at Bowery Gallery
DESCRIPTION:In 2015\, Roberta Smith wrote\, “Ms. Armstrong is the suave disciplinarian of a muscular style. She stacks blocky shapes of color that describe one landscape- a hill with some woods and a shack-visible from the window of her Vermont studio that may be her Mont Sainte-Victoire. But her shapes also maintain a nearly sculptural independence\, hovering slightly above the image\, just beyond legibility…They wear their devotions on their sleeves-Cezanne\, Fauvism\, Cubism\, Arthur Dove- but their bigness\, blockiness and electric spontaneity are quite their own…” (NYTimes\, 9/25/15) \nMartha Armstrong studied at the Cincinnati Art Academy\, Smith College\, and the Rhode Island School of Design. She has exhibited in the United States since 1967\, in Italy since 2000\, and has taught in community colleges\, art schools\, summer programs and graduate programs since the early 1970’s. \nFor more information visit: MarthaArmstrong.com \n  Save  
URL:https://artinamericaguide.com/event/martha-armstrong-recent-paintings/
LOCATION:Bowery Gallery\, 547 W 27TH ST Suite 508\, New York\, NY\, 10001\, United States
CATEGORIES:Event
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GEO:40.7493621;-74.0047021
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Bowery Gallery 547 W 27TH ST Suite 508 New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=547 W 27TH ST Suite 508:geo:-74.0047021,40.7493621
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190314T180000
DTEND;TZID=America/Halifax:20190413T180000
DTSTAMP:20260403T221007
CREATED:20190404T125532Z
LAST-MODIFIED:20190404T125532Z
UID:49394-1552586400-1555178400@artinamericaguide.com
SUMMARY:Norman Bluhm: The '70s
DESCRIPTION:Hollis Taggart is pleased to announce representation of the Estate of Norman Bluhm\, Abstract Expressionist painter (1921-1999). From his early richly-layered canvases to his more structured and vibrant later works\, Bluhm’s paintings are recognized for their compelling evocations of movement and energy. To mark the new collaboration\, Hollis Taggart will present an exhibition focused on Bluhm’s work from the 1970s at its primary Chelsea location at 521 W. 26th Street\, opening on March 14\, 2019. The exhibition\, Norman Bluhm: The ‘70s\, will be accompanied by an essay by the poet and art critic John Yau\, a long-time friend and advocate of Bluhm’s work. \n  \n“Norman Bluhm was an exceptionally gifted painter\, who showed extensively in New York and Europe throughout his career. Despite his artistic achievements\, Bluhm’s full creative trajectory has not garnered the critical evaluation and scholarship it deserves. With the upcoming exhibition—and the others that will follow—we look forward to bringing new audiences and attention to his work\, and in doing so\, supporting a more robust examination and understanding of the artists that participated in and propelled Abstract Expressionism and the movements that have followed\,” said Hollis Taggart. “We have shown Bluhm’s work in numerous group exhibitions over the years\, and are excited for the opportunity to examine and present his work more expansively and with greater focus on his particular vision and techniques.” \n  \nBluhm studied architecture at the Armour Institute of Technology (now the Illinois Institute of Technology) under Mies van der Rohe. Two weeks after Pearl Harbor in 1941\, he enlisted in the United States Army Air Corps and served as a B-26 pilot in World War II. Returning from war\, and no longer interested in architecture\, Bluhm briefly studied fresco painting in Florence. In 1947\, he moved to Paris to study at the Académie de la Grande Chaumière and the École des Beaux Arts under the G.I. Bill. While in Paris he formed relationships with a wide range of artists\, including Alberto Giacometti\, Antonin Artaud\, Sam Francis\, Jean Paul Riopelle\, and Joan Mitchell\, and began following his own artistic path. In 1950\, he married Claude Souvrain\, a French national who was herself a creative spirit. \n  \nHis early work in Paris consisted mostly of delicate line drawings\, depicting still lives\, cathedrals\, rooftops\, nudes and gestural semi-abstract heads. In the early 50s\, he began layering watercolors to create abstract landscapes and seascapes\, and worked with oil on canvas when he could afford it. \n  \nIn 1956\, with little left following the end of his marriage\, Bluhm moved to New York. The following year\, he held his first solo exhibition at Leo Castelli Gallery. During the late 1950s and into the 1960s\, Bluhm showed extensively in solo and group exhibitions in the U.S. and abroad\, and continued to experiment and push the boundaries of free-form expression within his work. In 1961\, he married his second wife\, Cary. \n  \nOver the next three decades\, Bluhm’s work would go through several critical transformations. In the 1970s\, the female form would come to dominate his aesthetic. Strong curving lines and organic forms coalesced with flat fields of color\, ranging from bright violets and pinks to vibrant reds and blues. The mixture of color and form\, along with a flattening of the surface plane\, produced strong sensations of movement\, suggesting in some instances a figure in the throes of metamorphosis and in others a violent collision of elements. “While Bluhm’s earlier works may be better known—perhaps because of their greater visual affinity to Abstract Expressionism—it is these powerful works of the 1970s that capture in particular Bluhm’s tremendous creative vision and capacity. For our first solo presentation of his work\, it seemed fitting that we highlight the aesthetic and conceptual impact and quality of these mid-career paintings\,” Taggart added. \n  \nIn 1969\, Bluhm and his family left New York City\, and a year later settled in Millbrook\, NY\, where they spent the next decade. Pop Art and the social networking of the New York art world pushed him further from the epicenters of activity and some of the acclaim his contemporaries achieved. He continued to show work throughout his life\, however\, and was especially respected in Europe where the tradition of painting remained important. \n  \nIn the 1980s and 1990s\, Bluhm continued to innovate. He incorporated decorative motifs and references to Asian and Indian art in his large-scale triptychs and multi-panel paintings. The last decade of his life he spent in Vermont. His steadfast commitment to gestural and expressive painting remained\, and was now reincarnated within an architectural structure. With every transition in his work he elevated the experience of emotion\, spirituality\, and passion inherent to his nature. \n  \n  Save  
URL:https://artinamericaguide.com/event/norman-bluhm-the-70s/
LOCATION:Hollis Taggart\, 521 West 26th Street\, 1st Floor\,\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190308T080000
DTEND;TZID=America/Halifax:20190308T170000
DTSTAMP:20260403T221007
CREATED:20190404T125418Z
LAST-MODIFIED:20190404T125418Z
UID:50034-1552032000-1552064400@artinamericaguide.com
SUMMARY:Blackface: A Reclamation of Beauty\, Power\, and Narrative
DESCRIPTION:Galerie Myrtis and The Agora Culture present Blackface: A Reclamation of Beauty\, Power\, and Narrative. \nIn asserting the beauty of the black body\, affirming its power— and societal and historical place\, curators Myrtis Bedolla and Jessica Stafford Davis offer a counter narrative to the racist archetypes that evolved from 18th century minstrelsy\, and its negative stereotyping of African Americans that prevails today. \nThe exhibition explores contemporary notions of black identity through photography by Tawny Chatmon\, and painters Alfred Conteh\, Jerrell Gibbs\, and Jas Knight; and an investigation of blackface from a historic perspective presented in paintings by Arvie Smith and multidisciplinary works by Felandus Thames. The addition of a compiling video by filmmaker Karina Griffith captured in Berlin\, Germany evokes the maligning of blackness through an international lens. \nIn addressing the insidious nature of minstrelsy and the appropriation of black culture —to deploy and rationalize the subjugation of African Americans for financial gain\, Frederick Douglass described blackface performers as: \n“…the filthy scum of white society\, who have stolen from us a complexion\, denied them by      nature\, in which to make money\, and pander to the corrupt taste of their white fellow citizens.” [i] \n[i]  Lott\, Eric (1993). Love and Theft: Blackface Minstrelsy and the American Working Class. New York: Oxford University Press. \n  \n  Save  
URL:https://artinamericaguide.com/event/blackface-a-reclamation-of-beauty-power-and-narrative/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/03/TawnyChatmon-Redemption-GirlEnlightened-reduced-size-2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190307T180000
DTEND;TZID=America/Halifax:20190406T180000
DTSTAMP:20260403T221007
CREATED:20190509T135028Z
LAST-MODIFIED:20190509T135028Z
UID:49554-1551981600-1554573600@artinamericaguide.com
SUMMARY:CAROL JACOBSEN: LIFE ON TRIAL
DESCRIPTION:Denise Bibro Fine Art\, Chelsea\, NYC is pleased to present Life on Trial\, a video installation and photography by Carol Jacobsen\, running March 7 – April 6\, 2019. \nThe exhibition includes Life on Trial\, a video installation that investigates women’s criminalization from the perspective of a woman who killed her rapist in self-defense. She was then convicted to first-degree murder and sentenced to life in prison. She was named plaintiff on six different lawsuits against the State for sexual assaults by guards and other issues on behalf of women prisoners. Also exhibited is Letters of the Law\, a photographic series on incarcerated women with whom Jacobsen has worked through her nonprofit\, Michigan Women’s Justice & Clemency. Her work has helped free 13 women from life sentences. \nCarol Jacobsen is an award-winning artist whose work actively confronts issues of women’s criminalization\, human rights and censorship. Her films and photography have been exhibited and screened worldwide\, including Lincoln Center\, New York; Cultura Contemporanea\, Barcelona; Kunstforum; Bonn and many others. She has received awards from the National Endowment for the Arts\, Paul Robeson Foundation\, Women in Film Foundation\, and others. Her exhibitions and screenings in New York and abroad have been sponsored by Amnesty International since 1998. Her book\, For Dear Life: Women’s Decriminalization and Human Rightswill be featured in a discussion with the artists exhibiting in MSDEMEANORS and their books on April 4\, 6-8 pm. She is Professor of Art and Women’s Studies at The University of Michigan and serves as Director of the Michigan Women’s Justice & Clemency Project. She he has given talks and lectures including Oxford University in England and John Jay College of Criminal Justice in New York. \nThis exhibition is co-sponsored by Amnesty International\, with support from The University of Michigan Office of Research\, Institute for the Humanities\, the Penny W. Stamps School of Art & Design\, and Institute for Research on Women and Gender. If you are interested in learning more about Jacobsen’s nonprofit please visit: http:www.umich.edu/~clemency. \nThere will be a panel discussion with the artists about their work and books at the gallery on Thursday\, April 4\, 6-8pm. \nOpening reception is Thursday\, March 7\, 6-8pm. The artist will be present. \n  Save  
URL:https://artinamericaguide.com/event/carol-jacobsen-life-on-trial/
LOCATION:Denise Bibro Fine Art\, 529 West 20th Street\, 4th Floor\, New York\, 10011\, United States
CATEGORIES:Exhibition
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GEO:40.7465935;-74.0067876
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Denise Bibro Fine Art 529 West 20th Street 4th Floor New York 10011 United States;X-APPLE-RADIUS=500;X-TITLE=529 West 20th Street\, 4th Floor:geo:-74.0067876,40.7465935
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190301
DTEND;VALUE=DATE:20190414
DTSTAMP:20260403T221007
CREATED:20190402T161337Z
LAST-MODIFIED:20190402T161337Z
UID:50506-1551398400-1555199999@artinamericaguide.com
SUMMARY:Adolph Gottlieb: Classic Paintings
DESCRIPTION:Pace Gallery is honored to present an exhibition of paintings by Adolph Gottlieb (1903 – 1974)\, a leader of the New York School and seminal force in abstraction. Drawing together works from the Adolph and Esther Gottlieb Foundation alongside a number of paintings on loan from major institutions—including the Albright-Knox Art Gallery\, the Blanton Museum of Art\, the Jewish Museum\, the Princeton University Art Museum\, the Museum of Modern Art\, the Walker Art Center\, and the Whitney Museum of American Art\, among others—Adolph Gottlieb: Classic Paintings features over 20 large-scale paintings created by Gottlieb from the mid-1950s until his death in 1974.To accompany the exhibition\, Pace will publish a full-color catalogue with a new essay by Dr. Kent Minturn. \nImage: Installation view\, “Adolph Gottlieb: Classic Paintings\,” March 1 – April 13\, 2019\, Pace Gallery\, New York © Adolph and Esther Gottlieb Foundation / Artists Rights Society (ARS)\, New York. \n  Save  
URL:https://artinamericaguide.com/event/adolph-gottlieb-classic-paintings/
LOCATION:Pace Gallery 25th Street\, 540 West 25th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2019/04/adolph.png
ORGANIZER;CN="Pace Gallery 25th Street":MAILTO:info@pacegallery.com
GEO:40.7497336;-74.0051016
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Pace Gallery 25th Street 540 West 25th Street New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=540 West 25th Street:geo:-74.0051016,40.7497336
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190226
DTEND;VALUE=DATE:20190414
DTSTAMP:20260403T221007
CREATED:20190402T151327Z
LAST-MODIFIED:20190402T151327Z
UID:50487-1551139200-1555199999@artinamericaguide.com
SUMMARY:Alice Neel: Freedom
DESCRIPTION:On view at David Zwirner’s 537 West 20th Street gallery in New York from February 26 through April 13\, 2019\, Alice Neel: Freedom will include a selection of paintings and significant works on paper by Alice Neel (1900–1984). With a range of works spanning her career\, this exhibition focuses primarily on Neel’s portrayal of the nude figure and the ways in which the artist resolutely challenged traditional perceptions of sexuality\, motherhood\, and beauty. \nOne of the foremost American figurative painters of the twentieth century\, Neel was a humanist—she was fascinated by people. She loved to paint them in all their complexities—to penetrate and reveal their fears and anxieties\, their defiance and survival. She also loved to paint the unadorned human figure. Her nudes explore the body with frankness while celebrating the individuality of each of her subjects\, and they exemplify the freedom and courage with which she approached her work and her life. In their mastery of form\, color\, and implied social commentary\, her nudes are as relevant today as when they were painted. \nOrganized by Ginny Neel of The Estate of Alice Neel\, the exhibition will comprise significant loans from museum and private collections. It will be accompanied by a fully illustrated catalogue that will include newly commissioned scholarship by Helen Molesworth\, an introduction by Ginny Neel\, and a contribution by Marlene Dumas. \nImage: Installation view\, Alice Neel: Freedom\, David Zwirner\, New York\, 2019 \n  Save  
URL:https://artinamericaguide.com/event/alice-neel-freedom/
LOCATION:David Zwirner\, 537 West 20th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2019/04/freedom.png
ORGANIZER;CN="David Zwirner 20th Street":MAILTO:newyork@davidzwirner.com
GEO:40.7467702;-74.0072895
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=David Zwirner 537 West 20th Street New York NY 10011 United States;X-APPLE-RADIUS=500;X-TITLE=537 West 20th Street:geo:-74.0072895,40.7467702
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190221
DTEND;VALUE=DATE:20190414
DTSTAMP:20260403T221007
CREATED:20190402T151006Z
LAST-MODIFIED:20190402T152410Z
UID:50485-1550707200-1555199999@artinamericaguide.com
SUMMARY:The Young and Evil
DESCRIPTION:David Zwirner is pleased to present The Young and Evil\, a group exhibition curated by Jarrett Earnest\, at the gallery’s 533 West 19th Street location in New York. The exhibition will feature significant works from the first half of the twentieth century by Paul Cadmus\, Fidelma Cadmus Kirstein\, Charles Henri Ford\, Jared French\, Margaret Hoening French\, George Platt Lynes\, Bernard Perlin\, Pavel Tchelitchew\, George Tooker\, Jensen Yow\, and their circle. This group of artists and writers looked away from abstraction toward older sources and models—classical and archaic forms of figuration and Renaissance techniques. What might be seen as a reactionary aesthetic maneuver was made in the service of radical content—endeavoring to depict their own lives. \nDrawn from important public and private collections\, key works include a painting from Paul Cadmus’s infamous sailor trilogy\, Shore Leave (1933)\, on loan from the Whitney Museum of American Art; a major canvas by Pavel Tchelitchew featuring vignettes of George Platt Lynes at work; rare paintings by Margaret French and works on paper by Fidelma Cadmus Kirstein; and never-before-seen erotic drawings and photographs from the Kinsey Institute at Indiana University. On the occasion of the exhibition\, a fully illustrated\, comprehensive catalogue featuring new scholarship by art historians Ann Reynolds and Kenneth E. Silver is forthcoming from David Zwirner Books. \nKindly note that some material in the exhibition may not be suitable for children. \nImage: Installation view\, The Young and Evil\, David Zwirner\, New York\, 2019 \n  Save  
URL:https://artinamericaguide.com/event/the-young-and-evil/
LOCATION:David Zwirner\, 525 West 19th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2019/04/the-young-and-evil.png
ORGANIZER;CN="David Zwirner":MAILTO:newyork@davidzwirner.com
GEO:40.7458819;-74.007014
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=David Zwirner 525 West 19th Street New York NY 10011 United States;X-APPLE-RADIUS=500;X-TITLE=525 West 19th Street:geo:-74.007014,40.7458819
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190221
DTEND;VALUE=DATE:20190414
DTSTAMP:20260403T221007
CREATED:20190402T150456Z
LAST-MODIFIED:20190402T152234Z
UID:50471-1550707200-1555199999@artinamericaguide.com
SUMMARY:Drawing for Print: Mind Fucks\, Kultur Klashes\, Pulp Fiction & Pulp Fact by the Illustrious R. Crumb
DESCRIPTION:David Zwirner is pleased to present an exhibition organized by Robert Storr that examines the mind and career of R. Crumb. The  exhibition will feature a wide array of printed matter culled from the artist’s archive: tear sheets of drawings  and comics\, taken directly from the publications where the works first appeared\, as well as related ephemera. These often fragile works on paper will be installed across the walls of the gallery’s 519 West 19th Street space in New York. Further illuminating Crumb’s practice\, the show will also feature a selection of rare sketchbooks and original drawings by the artist. \nImage: Installation view\, Drawing for Print: Mind Fucks\, Kultur Klashes\, Pulp Fiction & Pulp Fact by the Illustrious R. Crumb\, David Zwirner\, New York\, 2019 \n  Save  
URL:https://artinamericaguide.com/event/drawing-for-print-mind-fucks-kultur-klashes-pulp-fiction-pulp-fact-by-the-illustrious-r-crumb/
LOCATION:David Zwirner\, 525 West 19th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2019/04/r.-crumb.png
ORGANIZER;CN="David Zwirner":MAILTO:newyork@davidzwirner.com
GEO:40.7458819;-74.007014
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=David Zwirner 525 West 19th Street New York NY 10011 United States;X-APPLE-RADIUS=500;X-TITLE=525 West 19th Street:geo:-74.007014,40.7458819
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190209
DTEND;VALUE=DATE:20190407
DTSTAMP:20260403T221007
CREATED:20190402T190333Z
LAST-MODIFIED:20190402T190333Z
UID:50591-1549670400-1554595199@artinamericaguide.com
SUMMARY:David Weiss: Drawings
DESCRIPTION:Matthew Marks is pleased to announce David Weiss Drawings\, the next exhibition in his gallery at 523 West 24th Street. The exhibition presents a cross-section of the artist’s works on paper made between the late 1960s and the early 1980s\, before he began collaborating with Peter Fischli. \nIn those early years David Weiss (1946–2012) explored a range of visual idioms with the same playful curiosity that infused his later collaborative work with Fischli. Some of the earliest drawings were made during his extensive travels from his native Switzerland to London\, Montreal\, New York\, San Francisco\, Los Angeles\, Mexico\, Morocco\, and Italy. Many of them convey this restless spirit\, particularly the multi-sheet Metamorphoses\, with their hallucinatory transformations of free-associated images\, or his World Mapsdrawings\, which depict the earth’s major landmasses with affectionate looseness. \nThe over fifty drawings in the exhibition are executed in a variety of media and in a wide range of sizes. Weiss’s love for underground and classic comics can be seen in the drawings of smoking Giacometti sculptures and flirtatious flowers. Rendered with cartoonish black lines on bright watercolor backgrounds\, they embody not only his absurdist humor but also his sense of wonder. As Barry Schwabsky writes in the accompanying catalogue\, “These works reflect a commitment neither to a particular type of subject matter\, nor to a particular way of drawing\, but rather to an exploration of drawing as such.” This exploration is clear in the Neocolor series\, with its colorful sgraffito marks in oil pastel\, and the Women series\, a showcase of brushwork techniques in ink and watercolor. \nDavid Weiss was born in Zurich and had his first exhibition in Bern in 1970. His early drawings were the focus of a 2014 survey at the Bündner Kunstmuseum in Chur\, Switzerland\, which traveled to the Swiss Institute in New York in 2014–15. His creative collaboration with Peter Fischli\, which began in 1979 and lasted until the end of Weiss’s life\, yielded a celebrated and enormously influential body of work that has been the subject of numerous museum exhibitions around the world\, including\, most recently\, “Peter Fischli David Weiss: How to Work Better” at the Guggenheim Museum in New York in 2016. \nDavid Weiss Drawings is on view at 523 West 24th Street from February 9 to April 6\, 2019\, Tuesday through Saturday\, from 10:00 AM to 6:00 PM. \nFor additional information\, please contact Stephanie Dorsey at 212-243-0200 or stephanie@matthewmarks.com. \n  Save  
URL:https://artinamericaguide.com/event/david-weiss-drawings/
LOCATION:Matthew Marks Gallery 523\, 523 West 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/04/44688_WEIS_000582_01_EXH0.jpg
ORGANIZER;CN="Matthew Marks Gallery NY":MAILTO:info@matthewmarks.com
GEO:40.7490475;-74.0047307
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Matthew Marks Gallery 523 523 West 24th Street New York NY 10011 United States;X-APPLE-RADIUS=500;X-TITLE=523 West 24th Street:geo:-74.0047307,40.7490475
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190209
DTEND;VALUE=DATE:20190407
DTSTAMP:20260403T221007
CREATED:20190402T185703Z
LAST-MODIFIED:20190402T185703Z
UID:50567-1549670400-1554595199@artinamericaguide.com
SUMMARY:Jasper Johns: Recent Paintings & Works on Paper
DESCRIPTION:Matthew Marks is pleased to announce Jasper Johns: Recent Paintings & Works on Paper\, the next exhibition in his gallery at 522 West 22nd Street. The exhibition includes fifteen paintings and twenty-three works on paper made since 2012. \nTwo 2018 paintings\, as well as a group of new drawings and monotypes\, are based on a photograph of a soldier\, Lance Corporal James Farley\, taken during the Vietnam War by LIFE magazine photographer Larry Burrows. The soldier is seen at the end of a long day\, head in his hands after a failed mission. Stenciled at the top and bottom of both canvases are the words “FARLEY BREAKS DOWN / AFTER LARRY BURROWS.” \nAlso on view are four paintings and two works on paper from the Regrets series\, all completed after the exhibition of the same name at the Museum of Modern Art\, New York\, in 2014. Like the Farley series\, they are based on an image of a man covering his face\, in this case a photograph of Lucian Freud seated on a bed. In the catalogue that accompanies the current exhibition\, Alexi Worth writes that these series both “show Johns breaking what seemed like foundational prohibitions against outright depiction and unguarded emotion.” The artist’s willingness to contradict himself may account for the perpetual surprises in his long career. “I think you can be more than one person\,” Johns has said. “I think I am more than one person. Unfortunately.” \nIn two other new paintings\, Johns revisits his Seasons paintings of the mid-1980s. Like them\, the new canvases feature the artist’s shadow flanked by motifs from his earlier work. In the 2018 paintings\, however\, the shadow is overlaid with a skeleton wearing a hat. Accompanying these paintings are five related works on paper\, including drawings in ink and charcoal on paper or ink on plastic\, as well as several prints. \nIn October 2020\, Johns’s work will be the subject of a major retrospective at the Whitney Museum of American Art in New York and the Philadelphia Museum of Art. Shown at both institutions simultaneously\, it will be the artist’s most comprehensive exhibition to date. \nJasper Johns: Recent Paintings & Works on Paper is on view at 522 West 22nd Street from February 9 to April 6\, 2019\, Tuesday through Saturday\, from 10:00 AM to 6:00 PM. \nFor additional information\, please contact Jacqueline Tran at 212-243-0200 or jacqueline@matthewmarks.com. \n  Save  
URL:https://artinamericaguide.com/event/jasper-johns-recent-paintings-works-on-paper/
LOCATION:Matthew Marks Gallery 522\, 522 West 22nd Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Matthew Marks Gallery NY":MAILTO:info@matthewmarks.com
GEO:40.747299;-74.005888
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Matthew Marks Gallery 522 522 West 22nd Street New York NY 10011 United States;X-APPLE-RADIUS=500;X-TITLE=522 West 22nd Street:geo:-74.005888,40.747299
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190126
DTEND;VALUE=DATE:20190303
DTSTAMP:20260403T221007
CREATED:20201214T152125Z
LAST-MODIFIED:20201214T152125Z
UID:79215-1548460800-1551571199@artinamericaguide.com
SUMMARY:Photographs from the Tom Birch Collection
DESCRIPTION:There is something inherently strange about a photograph: its pretense of veracity\, the illusion of an unpremeditated subject\, and the feeling of an unmediated presence. Herein lies the beauty of the medium and the opportunity for collecting photographs to become an adventure. A collection of photographs can tell us many things. In the best photography collections\, each photograph is a knot on a thread leading to ever deeper and more penetrating experiences of beauty. Sometimes it is an elusive beauty captured from the real world. Other times beauty is exposed within something boring\, horrible or shocking\, revealed by the craft of the photographer and the willingness of the viewer to engage. \nThe Tom Birch Collection tells us he collected fearlessly\, always reaching for the next new beauty. In reviewing personal collections one becomes used to seeing the predictable pantomiming of the reassuring qualities of the museum’s canon. One sees collections based on themes that barely recognize the inner dynamic of individual artworks. Some collections reflect only the desire to soothe\, never to challenge\, when so much more can be experienced. It is clear Tom Birch was spurred onward by a willingness to explore the widest range of what photography had to offer. This manner of collecting nudges the idea of taste away from a fixed set of rules into an evolving narrative of personal discovery. For Tom\, each photograph is a moment on a clock spinning backwards through his life\, telling him of the places his consciousness occupied before and then after acquiring each picture. \nSome collections are broken up among heirs\, some rightly go to institutions\, and others are sold. In the selling of the Birch collection there is the goal of setting the artworks free to travel into the hearts and minds of other people\, expanding their experiences of strange and wonderful beauty. Now\, it is time for each of the photographs to become milestones in other collectors’ lives. \n  Save  
URL:https://artinamericaguide.com/event/photographs-from-the-tom-birch-collection/
LOCATION:HEMPHILL\, 1515 14th Street NW\, Washington\, DC\, 20005\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2020/12/TBirch9-scaled.jpg
ORGANIZER;CN="HEMPHILL":MAILTO:gallery@hemphillfinearts.com
GEO:38.910305;-77.0315939
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=HEMPHILL 1515 14th Street NW Washington DC 20005 United States;X-APPLE-RADIUS=500;X-TITLE=1515 14th Street NW:geo:-77.0315939,38.910305
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190126
DTEND;VALUE=DATE:20190303
DTSTAMP:20260403T221007
CREATED:20201214T152125Z
LAST-MODIFIED:20201214T152125Z
UID:79217-1548460800-1551571199@artinamericaguide.com
SUMMARY:James Britton
DESCRIPTION:A devoted student of the natural sublime\, portraiture\, and visual criticism\, Connecticut-born artist James Britton gave his life to art. He was a prolific writer and note taker\, keeping detailed journals of his observations and notes on his life. These writings have compelled curators and historians to revisit his work\, having fallen into relative obscurity after his death in 1936\, a victim of ailing health and poverty. Despite his meager financial resources\, he used whatever tools and materials were available to him\, at times using scraps of cereal boxes as canvases for his paintings. He held a deep affection for the splendor of the New England countryside\, from Connecticut to New York\, and focused primarily on these subjects in the later years of his life. The 10 works on view in James Britton highlight the artist’s command of paint and light. None larger than a sheet of paper\, each painting reveals itself to be an exquisite object\, inviting closer inspection. Through this small survey of his later works\, we are given a glimpse into the artist’s celebration of the American Northeast of the 1920s and 30s. \n\n\nJames Britton (1878 – 1936) was born in Hartford\, Connecticut. Active in New York and New England from the 1900s to the 1930s\, Britton was well known as both an artist and a writer. In New York\, Britton formed an exhibiting group of artists called The Eclectics\, which included at times Maurice Prendergast\, George Luks\, Philip L. Hale and Theresa Bernstein. His work was exhibited regularly in New York City\, Connecticut\, Boston\, and Gloucester\, Massachusetts.  In addition to his published writings in American ART News and other periodicals and journals\, Britton maintained diaries over some 30 years. Britton’s papers are now at the Smithsonian Institution’s Archives of American Art. In 2005\, James Britton: Connecticut Artist\, was assembled at the Lyman Allyn Art Museum in New London\, CT. His work is included in such collections as the Wadsworth Atheneum\, the New Britain Museum of American Art\, the Florence Griswold Museum\, The Mark Twain House and Museum\, The Parrish Art Museum\, and The New York Public Library. This show marks the first time the work of James Britton has been exhibited in Washington\, DC. \n\n  Save  
URL:https://artinamericaguide.com/event/james-britton/
LOCATION:HEMPHILL\, 1515 14th Street NW\, Washington\, DC\, 20005\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2020/12/JBritton2-scaled.jpg
ORGANIZER;CN="HEMPHILL":MAILTO:gallery@hemphillfinearts.com
GEO:38.910305;-77.0315939
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=HEMPHILL 1515 14th Street NW Washington DC 20005 United States;X-APPLE-RADIUS=500;X-TITLE=1515 14th Street NW:geo:-77.0315939,38.910305
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190111T103000
DTEND;TZID=America/Halifax:20190223T180000
DTSTAMP:20260403T221007
CREATED:20190419T175351Z
LAST-MODIFIED:20190420T193920Z
UID:51751-1547202600-1550944800@artinamericaguide.com
SUMMARY:Sharon Kopriva: Meditations\, Migrations and Muses
DESCRIPTION:Sharon Kopriva \nMeditations\, Migrations and Muses \nJanuary 12 through February 23\, 2019 \nOpening Reception: Saturday\, January 12\, from 6:00 to 8:00 pm \n  \nDeborah Colton Gallery is pleased to present Meditations\, Migrations and Muses\, the third solo-exhibition at Deborah Colton Gallery of internationally recognized artist from Houston\, Sharon Kopriva. This brilliant multi-media exhibition\, which encompasses most of Deborah Colton Gallery\, opens Saturday\, January 12th and runs through February 23rd\, 2019. \nIn this exhibition\, Sharon Kopriva searches for spirituality and light in her forests and fields. A Texas native\, she currently works in Houston\, Texas and Hope\, Idaho. Since her inauguration with the Fresh Paint exhibition at the Museum of Fine Arts\, Houston in 1985\, Kopriva has exhibited nationally and internationally\, including solo exhibitions at The Menil Collection\, The Ogden Museum and national museums in Lima\, Peru and Monterrey\, Mexico. Sharon Kopriva works in both two and three-dimensional media. Her career has taken her through investigations of Pre-Columbian cultures in Peru\, exclamations of her Catholic faith\, inspirations from the spiritual forest of the Pacific Northwest\, and most recently an exploration of Muses of the Visual Arts. \nSharon Kopriva was first shown at Deborah Colton Gallery in 2009\, and in 2011 had her first solo exhibition at Deborah Colton Gallery\, titled Cathedrals\, Phantoms and Naked Dogs. Since then\, Kopriva has been featured at Deborah Colton Gallery in many group exhibitions including Visions\, DCG Looking Back and Beyond\, Houston Foundations exhibitions and at many local and national art fairs.  Sharon’s last solo exhibition at Deborah Colton Galley was Illuminations in 2014\, which then toured to Kirk Hopper Gallery in Dallas as Tubers* Tablets* Turfs* Tails in 2016. \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  Save  
URL:https://artinamericaguide.com/event/meditations-migrations-and-muses/
LOCATION:Deborah Colton Gallery\, 2445 North Boulevard\, Houston\, 77098\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/04/Migrations_72DPI.jpg
ORGANIZER;CN="Deborah Colton Gallery":MAILTO:info@deborahcoltongallery.com
GEO:29.7276234;-95.4166597
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Deborah Colton Gallery 2445 North Boulevard Houston 77098 United States;X-APPLE-RADIUS=500;X-TITLE=2445 North Boulevard:geo:-95.4166597,29.7276234
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20181129T180000
DTEND;TZID=America/Halifax:20181129T200000
DTSTAMP:20260403T221007
CREATED:20190923T215910Z
LAST-MODIFIED:20190923T215910Z
UID:48040-1543514400-1543521600@artinamericaguide.com
SUMMARY:Opening Reception for A Tale of Five Rings
DESCRIPTION:Morgan Lehman Gallery is pleased to present a pop-up exhibition at the High Line Nine\, a modern arcade-style group of gallery spaces between West 27th and 28th Streets\, underneath the High Line and adjacent to the Zaha Hadid building at 520 West 28th. A Tale of Five Rings is a multidisciplinary project by jeweler Jennifer Odell and painter Elisa Johns. Weaving together poetic writing with sensuous imagery and objects\, this collaboration brings to life an archetypal tale about character. \nFull Address of High Line Nine: 507 West 27th Street\, Gallery #9\, New York\, NY 10001 \n  Save  
URL:https://artinamericaguide.com/event/opening-reception-for-a-tale-of-five-rings/
LOCATION:High Line Nine\, 507 West 27th Street \, Gallery #9\, New York\, NY\, 10001\, United States
CATEGORIES:Event,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2018/11/composite.jpg
ORGANIZER;CN="Morgan Lehman Gallery":MAILTO:art@morganlehmangallery.com
GEO:40.750639;-74.003003
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=High Line Nine 507 West 27th Street  Gallery #9 New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=507 West 27th Street \, Gallery #9:geo:-74.003003,40.750639
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20181110T103000
DTEND;TZID=America/Halifax:20190105T173000
DTSTAMP:20260403T221007
CREATED:20190419T201946Z
LAST-MODIFIED:20190419T201946Z
UID:51820-1541845800-1546709400@artinamericaguide.com
SUMMARY:Cosmic Attraction: Works by Dorothy Hood and Don Redman
DESCRIPTION:Foundations III: Part 2 \nCosmic Attraction: Works by Dorothy Hood and Don Redman \nBasilios Poulos: A Moment in Time \nDick Wray: Select Works \nNovember 10\, 2018 to January 5\, 2019 \nOpening Reception: Saturday\, November 10\, 2018  5:00 to 8:00 pm \nPlease join us for the second part of our Foundations Series exhibitions this fall season! \n  \nAs one of the early Texas abstract artists\, Dorothy Hood was born in Bryan\, Texas in 1918. Hood was raised in Houston and won a scholarship to the Rhode Island School of Design and then studied at the Art Students League in New York. Moving to Mexico\, Dorothy Hood was front and center in the cultural\, political\, and social activity of Mexico and Latin America during a period of intense creative ferment. She developed close friendships with all the European exiles\, Latin American surrealists\, and Mexican social realists of the time — artists\, composers\, poets\, playwrights\, and revolutionary writers that influenced her art. Upon returning to Houston in 1961\, Hood started to create the epic paintings that evoked the limitless skies and psychic voids of space\, years ahead of NASA images. Over the next four decades\, she became a renowned and highly collected Texas painter whose works were collected across the United States. Her works are included in over 30 major museums throughout the United States\, as well as the collections of many individuals\, corporations and foundations. \nA large-scale exhibition of Hood’s opened in 2016 at the Art Museum of South Texas in Corpus Christi\, which marked the first major retrospective of her artwork and included paintings\, drawings and collages from the 1930s to 2000.  Dorothy Hood’s work is currently being featured in the Museum of Fine Arts – Houston exhibition\, Kindred Spirits: Louise Nevelson & Dorothy Hood. Deborah Colton Gallery re-introduced Hood’s work to Houston in September of 2016 with a magnificent booth featuring Hoods work at the Houston Fine Arts Fair\, then in a solo exhibition of her work at Deborah Colton Gallery in November 2016 to January 2017. Dorothy Hood’s work has also been exhibited in major group exhibitions at Deborah Colton Gallery including Focus on the 70’s and 80’s Houston Foundations II in 2017\, which included 26 well-known artists who contributed to the vibrant Houston art scene during this era.  Hood was also included in the 20th anniversary exhibition of Deborah Colton Galley\, DCG Looking Back and Beyond earlier this year. \n  \nDon Redman was born in Houston and spent much of his childhood near the Gulf of Mexico. His father was a ship builder and provided him his first opportunities to work with steel\, while his mother supplied him with stockpiles of wood with which he could carve\, saw and paint. After attending the High School for the Performing and Visual Arts and the Art Institute of San Francisco\, he was fortunate to become the apprentice to several internationally recognized artists; among them Luis Jimenez\, James Surls\, and Salvatore Scarpitta. Over his forty plus years as a sculptor\, his work has grown from a fascination with kinetics to a more subtle utilization of movement created by light. His sculptures are in public\, private\, and corporate art collections throughout the United States and around the world. \nDon Redman was first shown at Deborah Colton Gallery during Focus on the 70’s and 80’s: Houston Foundations II. Since then Redman has also been featured in the 20th anniversary exhibition of Deborah Colton Gallery\, Looking Back and Beyond in February 2018. \n  \nBasilios Poulos came to Houston in 1975 from New York to be Artist-in-Residence at Rice University. He was born in South Carolina and went to the Atlanta School of Art for his BFA and Tulane University for his MFA. His many art career honors include French Government Grant from 1965-1966\, Guggenheim Fellowship 1974\, Artist Residency at the Ecole des Beaux-Arts\, Paris 1983\, and Visiting Professor for the University of Georgia Studies Abroad Program\, Cortona\, Italy 1997. His solo exhibitions in Paris\, Athens\, New York City\, Atlanta\, San Francisco\, New Orleans\, Houston and others comprise forty-eight years of painting. Retiring from teaching at Rice University in 2008\, Poulos has continued to paint in his Houston studio. \nBasilios Poulos first exhibited at Deborah Colton Gallery during September – October 2017 in Focus on the 70’s and 80’s: Houston Foundations II. A Moment in Time is Basilios Poulos’ first solo exhibition at Deborah Colton Gallery and features his works from the 80’s.  These paintings are about mark-making\, whereby Poulos creates singular pictorial imagery that is not about storytelling. The beautiful colors are the carrier of emotion with the acrylic paint applied by brush and squeegee. The painting is the image.  Now and in the past\, Basilios Poulos has always strived to make beautiful and provocative paintings that are open and accessible. \n  \nA native Houstonian born in 1933\, Dick Wray\, was an artist of incomparable talent and personality who played a critical role in the development of Houston’s contemporary art scene since the 1950s.  Often categorized as an Abstract Expressionist\, Wray is best known for his explosive and dynamic abstractions that received numerous accolades from Houston’s critical community as well as notable arts figures across the United States throughout his career.  Wray attended the University of Houston’s School of Architecture followed by the Kunstakademie\, Dusseldorf\, Germany. Returning to Houston in 1959\, he began seriously working as an artist.  Over the next fifty years\, he participated in a large number of important exhibitions nationally\, including his first solo exhibition at the Contemporary Arts Museum Houston in 1975.  Dick Wray was an instructor at the Glassell School of Art from 1968 until 1982.  Wray was awarded the Ford Foundation purchase prize in 1962\, a prestigious Artist’s Grant from the National Endowment for the Arts in 1978 and named Texas Artist of the Year by the Art League of Houston in 2000.  His work is in major collections\, including the Albright Knox Museum\, Buffalo\, National Gallery of Art in Washington\, D.C.\, the Modern Art Museum of Fort Worth\, the Museum of Fine Arts and the Contemporary Art Museum of Houston and the Museum of Modern Art in New York City. \nThe works of Dick Wray were first shown at Deborah Colton Gallery during Focus on the 70’s and 80’s: Houston Foundations II. Dick Wray’s work was also featured in DCG Looking Back and Beyond in 2018.  A comprehensive solo exhibition of Dick Wray’s work will take place at Deborah Colton Gallery in September – October 2019. \n  \nThese three exhibitions are the second part of Deborah Colton Gallery’s Foundation III exhibition\, with the recent Identifiably Houston being the first part. Deborah 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. The Gallery aspires to provide a forum through connecting Texas\, national and international artists to make positive change and to help Houston become a leading destination city of the arts. \nSince 2013 especially\, Deborah Colton Gallery has had a strong focus on establishing HOUSTON FOUNDATIONS\, which reveres our city’s artistic roots. By understanding where we came from\, we can build on this foundation to become an even more dynamic and empowered “City of the Future” in the national and international art world. Deborah Colton Gallery’s Foundations I was Suzanne Paul’s PROOF exhibition in 2016\, which the gallery actually started researching over a decade earlier when it started to house this important archive after Suzanne Paul’s passing. Suzanne Paul’s archives are the most comprehensive photographic documentation of Houston art scene from the 1970’s to 2005.  September – October of 2017\, Deborah Colton Gallery organized and exhibited Foundations II: Focus on the 70’s & 80’s which featured 26 of the most significant artists of that time period who have made a major impact on who we are as an art city today. The Foundations Symposium Series of panels and lectures was part of this exhibition. Deborah Colton Gallery has a permanent Foundations Room in the back of the gallery that highlights Suzanne Paul’s photographs of the Houston art scene plus a video excerpt of our Foundations Symposium Series from 2017. The video was created by Lee Benner. There also is a library of publications on Houston artists. \n  \nFor more information on our Foundations Projects\, please access our website. \n  Save  
URL:https://artinamericaguide.com/event/cosmic-attraction-works-by-dorothy-hood-and-don-redman/
LOCATION:Deborah Colton Gallery\, 2445 North Boulevard\, Houston\, 77098\, United States
CATEGORIES:Exhibition
ORGANIZER;CN="Deborah Colton Gallery":MAILTO:info@deborahcoltongallery.com
GEO:29.7276234;-95.4166597
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Deborah Colton Gallery 2445 North Boulevard Houston 77098 United States;X-APPLE-RADIUS=500;X-TITLE=2445 North Boulevard:geo:-95.4166597,29.7276234
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20181110T103000
DTEND;TZID=America/Halifax:20190105T173000
DTSTAMP:20260403T221007
CREATED:20190419T201916Z
LAST-MODIFIED:20190420T194311Z
UID:51822-1541845800-1546709400@artinamericaguide.com
SUMMARY:Basilios Poulos: A Moment in Time
DESCRIPTION:Foundations III: Part 2 \nCosmic Attraction: Works by Dorothy Hood and Don Redman \nBasilios Poulos: A Moment in Time \nDick Wray: Select Works \nNovember 10\, 2018 to January 5\, 2019 \nOpening Reception: Saturday\, November 10\, 2018  5:00 to 8:00 pm \nPlease join us for the second part of our Foundations Series exhibitions this fall season! \n  \nAs one of the early Texas abstract artists\, Dorothy Hood was born in Bryan\, Texas in 1918. Hood was raised in Houston and won a scholarship to the Rhode Island School of Design and then studied at the Art Students League in New York. Moving to Mexico\, Dorothy Hood was front and center in the cultural\, political\, and social activity of Mexico and Latin America during a period of intense creative ferment. She developed close friendships with all the European exiles\, Latin American surrealists\, and Mexican social realists of the time — artists\, composers\, poets\, playwrights\, and revolutionary writers that influenced her art. Upon returning to Houston in 1961\, Hood started to create the epic paintings that evoked the limitless skies and psychic voids of space\, years ahead of NASA images. Over the next four decades\, she became a renowned and highly collected Texas painter whose works were collected across the United States. Her works are included in over 30 major museums throughout the United States\, as well as the collections of many individuals\, corporations and foundations. \nA large-scale exhibition of Hood’s opened in 2016 at the Art Museum of South Texas in Corpus Christi\, which marked the first major retrospective of her artwork and included paintings\, drawings and collages from the 1930s to 2000.  Dorothy Hood’s work is currently being featured in the Museum of Fine Arts – Houston exhibition\, Kindred Spirits: Louise Nevelson & Dorothy Hood. Deborah Colton Gallery re-introduced Hood’s work to Houston in September of 2016 with a magnificent booth featuring Hoods work at the Houston Fine Arts Fair\, then in a solo exhibition of her work at Deborah Colton Gallery in November 2016 to January 2017. Dorothy Hood’s work has also been exhibited in major group exhibitions at Deborah Colton Gallery including Focus on the 70’s and 80’s Houston Foundations II in 2017\, which included 26 well-known artists who contributed to the vibrant Houston art scene during this era.  Hood was also included in the 20th anniversary exhibition of Deborah Colton Galley\, DCG Looking Back and Beyond earlier this year. \n  \nDon Redman was born in Houston and spent much of his childhood near the Gulf of Mexico. His father was a ship builder and provided him his first opportunities to work with steel\, while his mother supplied him with stockpiles of wood with which he could carve\, saw and paint. After attending the High School for the Performing and Visual Arts and the Art Institute of San Francisco\, he was fortunate to become the apprentice to several internationally recognized artists; among them Luis Jimenez\, James Surls\, and Salvatore Scarpitta. Over his forty plus years as a sculptor\, his work has grown from a fascination with kinetics to a more subtle utilization of movement created by light. His sculptures are in public\, private\, and corporate art collections throughout the United States and around the world. \nDon Redman was first shown at Deborah Colton Gallery during Focus on the 70’s and 80’s: Houston Foundations II. Since then Redman has also been featured in the 20th anniversary exhibition of Deborah Colton Gallery\, Looking Back and Beyond in February 2018. \n  \nBasilios Poulos came to Houston in 1975 from New York to be Artist-in-Residence at Rice University. He was born in South Carolina and went to the Atlanta School of Art for his BFA and Tulane University for his MFA. His many art career honors include French Government Grant from 1965-1966\, Guggenheim Fellowship 1974\, Artist Residency at the Ecole des Beaux-Arts\, Paris 1983\, and Visiting Professor for the University of Georgia Studies Abroad Program\, Cortona\, Italy 1997. His solo exhibitions in Paris\, Athens\, New York City\, Atlanta\, San Francisco\, New Orleans\, Houston and others comprise forty-eight years of painting. Retiring from teaching at Rice University in 2008\, Poulos has continued to paint in his Houston studio. \nBasilios Poulos first exhibited at Deborah Colton Gallery during September – October 2017 in Focus on the 70’s and 80’s: Houston Foundations II. A Moment in Time is Basilios Poulos’ first solo exhibition at Deborah Colton Gallery and features his works from the 80’s.  These paintings are about mark-making\, whereby Poulos creates singular pictorial imagery that is not about storytelling. The beautiful colors are the carrier of emotion with the acrylic paint applied by brush and squeegee. The painting is the image.  Now and in the past\, Basilios Poulos has always strived to make beautiful and provocative paintings that are open and accessible. \n  \nA native Houstonian born in 1933\, Dick Wray\, was an artist of incomparable talent and personality who played a critical role in the development of Houston’s contemporary art scene since the 1950s.  Often categorized as an Abstract Expressionist\, Wray is best known for his explosive and dynamic abstractions that received numerous accolades from Houston’s critical community as well as notable arts figures across the United States throughout his career.  Wray attended the University of Houston’s School of Architecture followed by the Kunstakademie\, Dusseldorf\, Germany. Returning to Houston in 1959\, he began seriously working as an artist.  Over the next fifty years\, he participated in a large number of important exhibitions nationally\, including his first solo exhibition at the Contemporary Arts Museum Houston in 1975.  Dick Wray was an instructor at the Glassell School of Art from 1968 until 1982.  Wray was awarded the Ford Foundation purchase prize in 1962\, a prestigious Artist’s Grant from the National Endowment for the Arts in 1978 and named Texas Artist of the Year by the Art League of Houston in 2000.  His work is in major collections\, including the Albright Knox Museum\, Buffalo\, National Gallery of Art in Washington\, D.C.\, the Modern Art Museum of Fort Worth\, the Museum of Fine Arts and the Contemporary Art Museum of Houston and the Museum of Modern Art in New York City. \nThe works of Dick Wray were first shown at Deborah Colton Gallery during Focus on the 70’s and 80’s: Houston Foundations II. Dick Wray’s work was also featured in DCG Looking Back and Beyond in 2018.  A comprehensive solo exhibition of Dick Wray’s work will take place at Deborah Colton Gallery in September – October 2019. \n  \nThese three exhibitions are the second part of Deborah Colton Gallery’s Foundation III exhibition\, with the recent Identifiably Houston being the first part. Deborah 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. The Gallery aspires to provide a forum through connecting Texas\, national and international artists to make positive change and to help Houston become a leading destination city of the arts. \nSince 2013 especially\, Deborah Colton Gallery has had a strong focus on establishing HOUSTON FOUNDATIONS\, which reveres our city’s artistic roots. By understanding where we came from\, we can build on this foundation to become an even more dynamic and empowered “City of the Future” in the national and international art world. Deborah Colton Gallery’s Foundations I was Suzanne Paul’s PROOF exhibition in 2016\, which the gallery actually started researching over a decade earlier when it started to house this important archive after Suzanne Paul’s passing. Suzanne Paul’s archives are the most comprehensive photographic documentation of Houston art scene from the 1970’s to 2005.  September – October of 2017\, Deborah Colton Gallery organized and exhibited Foundations II: Focus on the 70’s & 80’s which featured 26 of the most significant artists of that time period who have made a major impact on who we are as an art city today. The Foundations Symposium Series of panels and lectures was part of this exhibition. Deborah Colton Gallery has a permanent Foundations Room in the back of the gallery that highlights Suzanne Paul’s photographs of the Houston art scene plus a video excerpt of our Foundations Symposium Series from 2017. The video was created by Lee Benner. There also is a library of publications on Houston artists. \n  \nFor more information on our Foundations Projects\, please access our website. \n  Save  
URL:https://artinamericaguide.com/event/basilios-poulos-a-moment-in-time/
LOCATION:Deborah Colton Gallery\, 2445 North Boulevard\, Houston\, 77098\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/04/IMG_2072.jpg
ORGANIZER;CN="Deborah Colton Gallery":MAILTO:info@deborahcoltongallery.com
GEO:29.7276234;-95.4166597
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Deborah Colton Gallery 2445 North Boulevard Houston 77098 United States;X-APPLE-RADIUS=500;X-TITLE=2445 North Boulevard:geo:-95.4166597,29.7276234
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20181110T103000
DTEND;TZID=America/Halifax:20190105T173000
DTSTAMP:20260403T221007
CREATED:20190419T201852Z
LAST-MODIFIED:20190419T201852Z
UID:51823-1541845800-1546709400@artinamericaguide.com
SUMMARY:Dick Wray: Select Works
DESCRIPTION:Foundations III: Part 2 \nCosmic Attraction: Works by Dorothy Hood and Don Redman \nBasilios Poulos: A Moment in Time \nDick Wray: Select Works \nNovember 10\, 2018 to January 5\, 2019 \nOpening Reception: Saturday\, November 10\, 2018  5:00 to 8:00 pm \nPlease join us for the second part of our Foundations Series exhibitions this fall season! \n  \nAs one of the early Texas abstract artists\, Dorothy Hood was born in Bryan\, Texas in 1918. Hood was raised in Houston and won a scholarship to the Rhode Island School of Design and then studied at the Art Students League in New York. Moving to Mexico\, Dorothy Hood was front and center in the cultural\, political\, and social activity of Mexico and Latin America during a period of intense creative ferment. She developed close friendships with all the European exiles\, Latin American surrealists\, and Mexican social realists of the time — artists\, composers\, poets\, playwrights\, and revolutionary writers that influenced her art. Upon returning to Houston in 1961\, Hood started to create the epic paintings that evoked the limitless skies and psychic voids of space\, years ahead of NASA images. Over the next four decades\, she became a renowned and highly collected Texas painter whose works were collected across the United States. Her works are included in over 30 major museums throughout the United States\, as well as the collections of many individuals\, corporations and foundations. \nA large-scale exhibition of Hood’s opened in 2016 at the Art Museum of South Texas in Corpus Christi\, which marked the first major retrospective of her artwork and included paintings\, drawings and collages from the 1930s to 2000.  Dorothy Hood’s work is currently being featured in the Museum of Fine Arts – Houston exhibition\, Kindred Spirits: Louise Nevelson & Dorothy Hood. Deborah Colton Gallery re-introduced Hood’s work to Houston in September of 2016 with a magnificent booth featuring Hoods work at the Houston Fine Arts Fair\, then in a solo exhibition of her work at Deborah Colton Gallery in November 2016 to January 2017. Dorothy Hood’s work has also been exhibited in major group exhibitions at Deborah Colton Gallery including Focus on the 70’s and 80’s Houston Foundations II in 2017\, which included 26 well-known artists who contributed to the vibrant Houston art scene during this era.  Hood was also included in the 20th anniversary exhibition of Deborah Colton Galley\, DCG Looking Back and Beyond earlier this year. \n  \nDon Redman was born in Houston and spent much of his childhood near the Gulf of Mexico. His father was a ship builder and provided him his first opportunities to work with steel\, while his mother supplied him with stockpiles of wood with which he could carve\, saw and paint. After attending the High School for the Performing and Visual Arts and the Art Institute of San Francisco\, he was fortunate to become the apprentice to several internationally recognized artists; among them Luis Jimenez\, James Surls\, and Salvatore Scarpitta. Over his forty plus years as a sculptor\, his work has grown from a fascination with kinetics to a more subtle utilization of movement created by light. His sculptures are in public\, private\, and corporate art collections throughout the United States and around the world. \nDon Redman was first shown at Deborah Colton Gallery during Focus on the 70’s and 80’s: Houston Foundations II. Since then Redman has also been featured in the 20th anniversary exhibition of Deborah Colton Gallery\, Looking Back and Beyond in February 2018. \n  \nBasilios Poulos came to Houston in 1975 from New York to be Artist-in-Residence at Rice University. He was born in South Carolina and went to the Atlanta School of Art for his BFA and Tulane University for his MFA. His many art career honors include French Government Grant from 1965-1966\, Guggenheim Fellowship 1974\, Artist Residency at the Ecole des Beaux-Arts\, Paris 1983\, and Visiting Professor for the University of Georgia Studies Abroad Program\, Cortona\, Italy 1997. His solo exhibitions in Paris\, Athens\, New York City\, Atlanta\, San Francisco\, New Orleans\, Houston and others comprise forty-eight years of painting. Retiring from teaching at Rice University in 2008\, Poulos has continued to paint in his Houston studio. \nBasilios Poulos first exhibited at Deborah Colton Gallery during September – October 2017 in Focus on the 70’s and 80’s: Houston Foundations II. A Moment in Time is Basilios Poulos’ first solo exhibition at Deborah Colton Gallery and features his works from the 80’s.  These paintings are about mark-making\, whereby Poulos creates singular pictorial imagery that is not about storytelling. The beautiful colors are the carrier of emotion with the acrylic paint applied by brush and squeegee. The painting is the image.  Now and in the past\, Basilios Poulos has always strived to make beautiful and provocative paintings that are open and accessible. \n  \nA native Houstonian born in 1933\, Dick Wray\, was an artist of incomparable talent and personality who played a critical role in the development of Houston’s contemporary art scene since the 1950s.  Often categorized as an Abstract Expressionist\, Wray is best known for his explosive and dynamic abstractions that received numerous accolades from Houston’s critical community as well as notable arts figures across the United States throughout his career.  Wray attended the University of Houston’s School of Architecture followed by the Kunstakademie\, Dusseldorf\, Germany. Returning to Houston in 1959\, he began seriously working as an artist.  Over the next fifty years\, he participated in a large number of important exhibitions nationally\, including his first solo exhibition at the Contemporary Arts Museum Houston in 1975.  Dick Wray was an instructor at the Glassell School of Art from 1968 until 1982.  Wray was awarded the Ford Foundation purchase prize in 1962\, a prestigious Artist’s Grant from the National Endowment for the Arts in 1978 and named Texas Artist of the Year by the Art League of Houston in 2000.  His work is in major collections\, including the Albright Knox Museum\, Buffalo\, National Gallery of Art in Washington\, D.C.\, the Modern Art Museum of Fort Worth\, the Museum of Fine Arts and the Contemporary Art Museum of Houston and the Museum of Modern Art in New York City. \nThe works of Dick Wray were first shown at Deborah Colton Gallery during Focus on the 70’s and 80’s: Houston Foundations II. Dick Wray’s work was also featured in DCG Looking Back and Beyond in 2018.  A comprehensive solo exhibition of Dick Wray’s work will take place at Deborah Colton Gallery in September – October 2019. \n  \nThese three exhibitions are the second part of Deborah Colton Gallery’s Foundation III exhibition\, with the recent Identifiably Houston being the first part. Deborah 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. The Gallery aspires to provide a forum through connecting Texas\, national and international artists to make positive change and to help Houston become a leading destination city of the arts. \nSince 2013 especially\, Deborah Colton Gallery has had a strong focus on establishing HOUSTON FOUNDATIONS\, which reveres our city’s artistic roots. By understanding where we came from\, we can build on this foundation to become an even more dynamic and empowered “City of the Future” in the national and international art world. Deborah Colton Gallery’s Foundations I was Suzanne Paul’s PROOF exhibition in 2016\, which the gallery actually started researching over a decade earlier when it started to house this important archive after Suzanne Paul’s passing. Suzanne Paul’s archives are the most comprehensive photographic documentation of Houston art scene from the 1970’s to 2005.  September – October of 2017\, Deborah Colton Gallery organized and exhibited Foundations II: Focus on the 70’s & 80’s which featured 26 of the most significant artists of that time period who have made a major impact on who we are as an art city today. The Foundations Symposium Series of panels and lectures was part of this exhibition. Deborah Colton Gallery has a permanent Foundations Room in the back of the gallery that highlights Suzanne Paul’s photographs of the Houston art scene plus a video excerpt of our Foundations Symposium Series from 2017. The video was created by Lee Benner. There also is a library of publications on Houston artists. \n  \nFor more information on our Foundations Projects\, please access our website. \n  Save  
URL:https://artinamericaguide.com/event/dick-wray-select-works/
LOCATION:Deborah Colton Gallery\, 2445 North Boulevard\, Houston\, 77098\, United States
ORGANIZER;CN="Deborah Colton Gallery":MAILTO:info@deborahcoltongallery.com
GEO:29.7276234;-95.4166597
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20180915T103000
DTEND;TZID=America/Halifax:20181027T173000
DTSTAMP:20260403T221007
CREATED:20190419T185535Z
LAST-MODIFIED:20190419T185535Z
UID:51819-1537007400-1540661400@artinamericaguide.com
SUMMARY:Identifiably Houston – Foundations III
DESCRIPTION:Identifiably Houston: Foundations III  \nSeptember 15 through October 27\, 2018 \nOpening Reception: Saturday\, September 15\, 2018\, from 4:00 to 6:00 pm \nPanel Discussion and Open House: Saturday\, October 20th\, 2:00 to 6:00 pm (Panel at 2:30) \n  \nJOHN ALEXANDER      BOB CAMBLIN             MICHAEL COLLINS      VIRGIL GROTFELDT \nLUCAS JOHNSON       BERT L. LONG JR.       JESSE LOTT               SHARON KOPRIVA \nKERMIT OLIVER          FORREST PRINCE       EARL STALEY                     RICHARD STOUT \n  \nDeborah Colton Gallery is pleased to present Identifiably Houston: Foundations III\, a group exhibition of courageous and spirited artists who have made a major impact and have conveyed the pioneering spirit that Houston was founded with over 180 years ago. The exhibition is also paying tribute to Houston’s Heritage Society and their related events this season. \nAlthough this is just a small sampling of Houston artists who reveal their strong individualism and brave representational type art that has a narrative — often with an aspect of abstraction\, as viewers enter Deborah Colton Gallery during this exhibition\, they will instantly feel and see the connection within this genre or “School” that is something special and unique to Houston! \nSharon Kopriva\, Forrest Prince and Kermit Oliver\, though working with dissimilar processes\, are all sensitive to religious influences where narratives are commingled with their powerful personal visions\, spiritual traditions\, and attraction to global events and mythologies\, all which further energize their strong creative voices. The works of John Alexander\, Bert L. Long Jr. and Earl Staley have long represented the rich traditions and highest qualities of story-telling and their works continue to inspire and connect us with a splenetic era. A pioneer and leader in his own right\, Jesse Lott has never been afraid to create awareness of serious human rights and humanitarian issues through his art. Lott’s important sculpture from 1980\, titled Big Girl –A Tribute to Eula Love that is featured in this exhibition reveals this clearly. Richard Stout and Michael Collins share inspiration from places remembered and imagined that posses a certain evanescence and soulfully verdant energy. Virgil Grotfeldt has used bold materials and imagery that evoke a sense of mystery that take us to a higher level of consciousness. Both Lucas Johnson and Bob Camblin have used the figurative and the landscape to express bold statements about society and the human condition. The tragic and joyous may be found in all of these masterful creations.  All of these artists have not been afraid to tackle tough issues and are as courageous as the first settlers founding Houston\, the first artists coming out of Houston\, and have been affected by our geography\, neighboring boarders\, their travels and those artists making a strong statement in Houston before them. \nOn Saturday\, October 20th\, at 2:30 pm\, Deborah Colton Gallery will host a panel discussion addressing the question\, is there a type of art\, a spirit of art that is “Identifiably Houston”? Does this go back as far as Emma Richardson Cherry and the first artists who organized as a Gallery Guild around the time Houston was founded? What were they influenced by? What artists in the 20’s\, 30’s and 40’s were “setting the stage” for this type of art in Houston? Who were the mentors of these artists and who are the other artists whose work displays these qualities? There are certainly many. Is this a “Houston School”? How do the historical roots of our artists in Houston differ from other cities in Texas? What were the outside influences geographically and through artist who came to the city and formed a community with others? Has there been more of a community of artists in the past and where are we now as a community of artists?   Panel Members will include Pete Gershon\, Randy Tibbits and Michael Collins. Moderator will be Deborah Colton. \n  \nBorn on the bayou in east Texas\, John Alexander has made an international career as a skilled draftsman\, a painter of lush landscapes\, and as a satirist creating allegorical tableaus. Alexander (b. 1945) began studying art at Lamar University in his hometown of Beaumont. After earning an MFA in 1970 from Southern Methodist University in Dallas\, Alexander took a teaching position at the University of Houston\, where he became a key figure in the city’s nascent art scene. Alexander moved to New York City in 1979\, taking a SoHo loft he still calls home. In addition to his continuing fascination with the surreal and humankind at its worst\, Alexander gravitates toward depicting marshy landscapes\, and studied portraits of flora and fauna\, particularly the birds flocking to his part-time home on Long Island’s East End. Naturalism and conservation remain hallmarks of his work\, and he says the Beaumont bayou of his youth is never far from his mind. Alexander has been widely exhibited\, with major shows at the Smithsonian American Art Museum in Washington\, D.C.\, and the Museum of Fine Arts\, Houston. His work can be found in public collections at the Metropolitan Museum of Art; Hirshhorn Museum and Sculpture Garden; Los Angeles County Museum of Art; Museum of Contemporary Art\, Los Angeles; Museum of Contemporary Art\, Chicago; Dallas Museum of Art; Museum of Fine Arts\, Houston; and many others. He has received many awards in the arts nation-wide. \n  \nBob Camblin was born in Oklahoma in 1928 and studied painting at the Kansas City Art Institute\, earning an MFA in 1955. He taught at Rice University from 1967 to 1973 with Joe Tate and Earl Staley\, with whom he shared a studio space. His influence and art was a constant undercurrent in the Houston art scene\, revealing much about the environment and those that surrounded him. He left Houston in the early 80s. Known for his drawings\, watercolors\, paintings and his gregarious\, direct personality\, Camblin was included in the Fresh Paint\, The Houston School Museum of Fine Arts exhibition in 1985 and was the only artist without a written statement in the catalogue…. \n  \nMichael Roque Collins is an artist recognized for producing some of the most profoundly affecting figurative Post Symbolist painting seen today in Contemporary art. He was born in Houston\, Texas\, in 1955 and maintains his primary studio in this Gulf Coast city. His works have been favorably reviewed in a variety of international arts publications\, such as Art News Magazine\, Art In America\, Art Lies\, and Art World Magazine. His art has been curated in more than 250 group exhibitions in the U.S.\, Cuba\, Peru\, Germany\, China\, Mexico\, France\, Denmark\, Greece\, and Istanbul. His paintings have received more than 50 juried awards\, including a National Endowment for the Arts-Middle American Arts Alliance grant for excellence in painting and works on paper\, as well as three Cultural Arts Council of Houston grant awards for excellence in painting. Collins has held many university teaching positions and is currently the Senior Director of the Visual Arts Department\, at Houston Baptist University\, where he is also Artist-in-Residence in Painting\, Professor of Art and focuses on teaching in the MFA program. \n  \nBorn in 1948 in Decatur\, Illinois\, Virgil Grotfeldt earned a bachelor’s degree in art education from Eastern Illinois University in 1971 and a master’s degree at Tyler School of Art in Philadelphia in 1974. He moved to Houston in 1977. He began teaching painting and drawing at HBU in 2002\, where he was also widely considered instrumental in the concept and construction of the University Academic Center’s new building\, of which the art department occupies about 70 percent. Grotfeldt’s work is included in many private and public collections\, including The Menil Collection\, Houston\, Texas; Whitney Museum of American Art\, New York\, New York; NOG Insurance Company\, Amsterdam\, The Netherlands; Free International University World Art Collection\, Zeist\, The Netherlands; Museum of Fine Arts\, Houston\, Texas; Dallas Museum of Art; El Paso Museum of Art; Tyler Museum of Art\, Tyler\, Texas; and Upriver Gallery Collection\, Chengdu\, China. \n  \nLucas Johnson was a self-taught\, multi-disciplinary artist immersed in the creative community in Houston from the time of his settling here in 1973 until his passing in 2002. He lived for an extended time in Mexico City\, where he was embraced and influenced by artist contemporaries who followed the great Mexican muralists. Self-taught in drawing\, paintings\, printmaking and bronze casting\, he debuted paintings for the first time in 1967. Johnson was a guest instructor in the arts at the Glassell School of Art and at Houston’s Rice University. His work is represented in the permanent collections of museums in Mexico City\, the Menil and Museum of Fine Arts Houston\, and the Modern Art Museum in Tel Aviv. In 1993 Johnson was a founding board member of the Houston Artists Fund with two associates\, effectively establishing a charitable organization\, still active\, that serves as a fiscal sponsor for nonprofit art-related projects and provides administrative support and budgets monitoring for funds raised from the art community. \n  \n  \nBert L. Long\, Jr.\, a self-taught artist\, was born in 1940 in Texas\, grew up the Houston’s historic Fifth Ward and received his formal education from UCLA. Following a career as a master chef\, Long decided to devote himself entirely to art in 1979. He began to explore folk art and assemblage to create a unique body of work\, attracting the attention of Jim Harithas\, then Director of the Contemporary Arts Museum Houston\, and artists John Alexander\, Salvatore Scarpitta and James Surls. His life spanned an era of radical change in the American social climate\, the influence of which can be seen clearly in his work. Long’s paintings and sculptures incorporate a high level of skill and sophisticated knowledge of art history\, along with complex philosophical and social issues. Long describes the philosophy behind his work as “a quest to help people diagnose their inner self\,” believing his art to be “the vehicle to help facilitate [such a] process.” The late Peter Marzio\, former Director of the Museum of Fine Arts\, Houston\, said of Bert Long: “Bert Long does not avert his gaze from that which is painful\, but as [his artworks] testify\, he also brings a spirit of joy and redemption to his art. We can all learn from this great artist.” Over Long’s 33-year career as a painter\, sculptor\, and photographer\, he was awarded several significant awards including the National Endowment for the Arts Grant in 1987 and the prestigious Prix de Rome fellowship in 1990. \n  \nJesse Lott is an African-American sculptor of great distinction and a long time 5th Ward\, Houston resident\, who began his artistic career creating and selling his works as a student at E.O. Smith Elementary School in 1957. Jesse Lott works in paper\, metal\, and wood as well as working with armatures and wire\, all the while building with his artistry a capacity for emotional power. His technique is derived from collecting and recycling discarded materials\, as a type of urban archeology fused with scientific methodology. He has influenced many artists\, including Texans as well known as James Surls\, Bert Long Jr. and Angelbert Metoyer. The all-ages workshops that he has held over the years in his studio as a community service have inspired many students who would otherwise have no exposure to art. Lott’s community-oriented philosophy and his Artists in Action program helped spark the creation of the now famous Project Row Houses.” \n  \nSharon Kopriva is a Houston native. Her career launched in 1985 with the exhibition Fresh Paint at the Museum of Fine Arts\, Houston. In the past 25 years she has exhibited her art in major cities in the United States\, Mexico\, Peru\, India\, Cuba\, China\, and Europe. In addition to her participation in Fresh Paint – The Houston School\, her most notable exhibitions include a solo show curated by the legendary Walter Hopps at The Menil Collection in 2001 and a retrospective of her work shown at the Ogden Museum of Southern Art\, curated by Bradley Sumrall in 2012\, entitled From Terra to Verde. Kopriva is deeply influenced by a varied set of inspirations\, including her Catholic upbringing\, the wonders of nature\, and her continued spiritual journey. \n  \nKermit Oliver was born in Refugio\, Texas\, the son and grandson of African American working cowboys. He majored in art and education at Texas Southern University and graduated with a Bachelor of Fine Arts degree and teaching certificate. Throughout college\, Kermit was mentored by professor and artist\, John Bigger who recognized strength and individual spirit. Over the years\, Kermit Oliver’s masterfully executed paintings and drawings have earned him worldwide recognition as one of the finest contemporary American artists of our time. Oliver’s work was included in the inaugural exhibition at the Smithsonian’s National Museum of African American History and Culture and recently also\, The Nave Museum held a solo exhibition of selected works by Oliver. In 2013\, Oliver received the first Lifetime Achievement Award from the Art League Houston. Oliver’s work was the subject of a major retrospective at the Museum of Fine Arts Houston in 2005. His work was included in the 2001 international SITE SANTA FE biennial\, curated by art historian/critic Dave Hickey. His works have a sense of spirit and mystery that reflect his unique and personal vision. \n  \nForrest Prince was born in Houston\, Texas in 1935. With no formal art education\, he began making art in 1969\, and in 1976 was given his first solo exhibition at the Contemporary Art Museum\, Houston. In 1983 Prince founded the Praise God Foundation. His body of work is unusual in its’ freedom from the machinations and impurities of the art world and represents man’s higher spiritual aspirations. In addition to his Christian religious work\, Prince’s artwork is also concerned with political and social issues. Some of his artworks involve the artist’s investigations into food consumption other works severely question the satanic practices of the US Government. He has participated in many group exhibitions in museums and galleries including: Diverse Works\, Hooks-Epstein Gallery\, San Antonio Museum of Fine Arts\, Lawndale Art Center\, Art Car Museum\, Station Museum\, and The Menil Collection. \n  \nEarl Staley was born in the Chicago suburb of Oak Park\, received his BFA from Illinois Wesleyan University and his MFA from the University of Arkansas. His first teaching position was at Washington University\, Saint Louis\, Mo. Earl arrived in Houston in 1966 to teach at Rice University. In 1969 he became the chairperson at the new studio art American Academy in Rome. He remained there four years studying the old masters and painting from the Classics. His major influences are Texas/Mexico and Classical Art. Earl showed at the 1973 Whitney Biennale\, and then in 1979 in the landmark show\, Bad Painting\, at the New Museum\, in New York. He has had two exhibits at the Contemporary Arts Museum Houston; one was a 10-year survey 1974-1984 which traveled to the New Museum\, New York. Earl was included in Fresh Paint – Houston School Museum of Fine Arts exhibition\, the Venice Biennale 1984 and numerous exhibits across the USA and Europe. Since 1992 He teaches at Lonestar College/Tomball. \n  \nRichard Stout was born in 1934 in Beaumont\, Texas. He quickly discovered his interest in art and\, while still in high school\, studied at the Art Academy of Cincinnati during summer visits with family in Ohio. Stout received a scholarship to attend the School of Art at the Art Institute of Chicago\, where he earned his Bachelor of Fine Arts (BFA). He completed graduate studies and earned his Master of Fine Arts (MFA) at the University of Texas at Austin. From 1959 to 1967\, Stout was an instructor at the Museum School of the Museum of Fine Arts\, Houston. After completing his MFA\, he began teaching art at the University of Houston\, a career he maintained until his retirement in 1996. Stout was named Texas Artist of the Year in 2004 by the Art League of Houston and\, in 2010\, received the Lifetime Achievement Award from the Center for the Advancement and Study of Early Texas Art (CASETA). Currently\, Richard Stout has the exhibition “A Sense of Home” at the O’Kane Gallery at the University of Houston – Downtown. This exhibition debuted at the Art Museum of South East Texas in Beaumont and then traveled to the Art Museum of South Texas. Richard Stout resides in Houston\, Texas. \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. The Gallery aspires to provide a forum through connecting Texas\, national and international artists to make positive change and to help Houston become a leading destination city of the arts. \nSince 2013 especially\, Deborah Colton Gallery has had a strong focus on establishing HOUSTON FOUNDATIONS which reveres our city’s artistic roots. By understanding where we came from\, we can build on this foundation to become an even more dynamic and empowered “City of the Future” in the national and international art world. Deborah Colton Gallery’s Foundations I was Suzanne Paul’s PROOF exhibition in 2016\, which the gallery actually started researching over a decade earlier when it started to house this important archive after Suzanne Paul’s passing. Suzanne Paul’s archives are the most comprehensive photographic documentation of Houston art scene from the 1970’s to 2005.  September – October of 2017\, Deborah Colton Gallery organized and exhibited Foundations II: Focus on the 70’s & 80’s  which  featured 26 of the most significant artists of that time period who have made a major impact on who we are as an art city today. The Foundations Symposium Series of panels and lectures was part of this exhibition. Deborah Colton Gallery has a permanent Foundations Room in the back of the gallery which highlights Suzanne Paul’s photographs of the Houston art scene plus a video excerpt of our Foundations Symposium Series from 2017. The video was created by Lee Benner. There also is a library of publications on Houston artists. For more information on our Foundations Projects\, please access our website. \n  Save  
URL:https://artinamericaguide.com/event/identifiably-houston-foundations-iii/
LOCATION:Deborah Colton Gallery\, 2445 North Boulevard\, Houston\, 77098\, United States
CATEGORIES:Exhibition
ORGANIZER;CN="Deborah Colton Gallery":MAILTO:info@deborahcoltongallery.com
GEO:29.7276234;-95.4166597
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20180906T180000
DTEND;TZID=America/Halifax:20180906T200000
DTSTAMP:20260403T221007
CREATED:20190923T215939Z
LAST-MODIFIED:20190923T215939Z
UID:46617-1536256800-1536264000@artinamericaguide.com
SUMMARY:Opening Reception for Rubens Ghenov: Aft Key
DESCRIPTION:Morgan Lehman is delighted to present recent paintings by Rubens Ghenov in the artist’s third solo exhibition with the gallery. \nThis show\, entitled Aft Key\, includes three bodies of work made between 2017 and 2018\, which take as their subject the late Spanish poet Angelico Morandá’s interests in ideas of time\, ontology\, sound\, and mantras. Here\, Aft is to be read as a shortened version of the preposition\, after\, which\, for Morandá\, denotes the middle stage of descent (or diagonal time). Diagonal time can be thought of as the line that links the metaphysical world of the vertical (concerning the intellectual\, conscious\, cosmic) with the horizontal (considering the terrestrial\, pausal\, dreamlike)\, within the right triangle structure that informs Morandá’s poetry and meditative practice. Aft is thus both between space but also beyond\, converging backward in time to the present in a cyclical triangular motion. In this way\, form leads to concept and concept back into form\, as Ghenov mines the rich philosophy of the poet to create his own lyrical\, mystical paintings. \n  Save  
URL:https://artinamericaguide.com/event/opening-reception-for-rubens-ghenov-aft-key/
LOCATION:Morgan Lehman Gallery\, 526 West 26 Street\, Suite 419\, New York\, NY\, 10001\, United States
CATEGORIES:Event,Exhibition
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ORGANIZER;CN="Morgan Lehman Gallery":MAILTO:art@morganlehmangallery.com
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END:VEVENT
END:VCALENDAR