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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210813T180000
DTEND;TZID=America/Halifax:20210813T200000
DTSTAMP:20260406T193228
CREATED:20210805T201013Z
LAST-MODIFIED:20210810T171740Z
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SUMMARY:Storytelling Through Photography
DESCRIPTION:Storytelling Through Photography Remote Learning \nThese Zoom sessions will fully reflect the same content as with the on-ground workshops offered by the FMoPA institute. \nWe all have a story to tell\, a legacy or statement\, a call to action\, a declaration of what you believe\, what makes you mad or happy\, your unique observations of the world around you\, your life itself with its peaks and valleys. The medium of photography makes it possible to tell your story and sometimes make a change. A picture tells a thousand words. Several pictures correctly sequenced tell a full story – your individual story. \nIn this workshop\, you will learn the art of telling a story through creating a visual narrative. Multiple images have the power of expressing thoughts\, ideas\, experiences and beliefs in a linear format. Storyboarding and careful sequencing of photographs following a clear concept\, your unique voice and communications to the outside world\, using many case studies and background information on the starting point of any project: The Why\, What\, Who\, and How. \nWe all have a unique story to share with others\, it can be a powerful and quiet voice\, but we have a responsibility to tell our stories as part of our background\, culture\, legacy and circumstances. The power of words through titles or series’ names are also explored\, rounding up to a full story. \n  Save  
URL:https://artinamericaguide.com/event/storytelling-through-photography-2/
LOCATION:Zoom
CATEGORIES:Virtual Events + Viewing Rooms
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210810T190000
DTEND;TZID=America/Halifax:20210810T200000
DTSTAMP:20260406T193228
CREATED:20210727T212147Z
LAST-MODIFIED:20210727T212147Z
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SUMMARY:August 10 | New Prints Artist Conversation
DESCRIPTION:In conjunction with Lonely Hearts: New Prints 2021/Summer\, join us on Tuesday\, August 10 at 7 pm ET for our last online artist conversation with exhibiting artists Diana Behl\, Ellen Lesperance\, and Austin Nash. In this dialogue moderated by Jenn Bratovich\, IPCNY’s Exhibitions and Curatorial Manager\, the artists will discuss how their unique approaches to constraint\, process\, and abstraction—using writing prompts\, a daily print practice\, and archival research and the grid—inform their works.  \nThis is the second of two online artist conversations this summer. Live captioning will be available and the program recording will be uploaded to our YouTube channel afterwards. Feel free to send questions in advance to contact@ipcny.org. \nREGSITER NOW \n  Save  
URL:https://artinamericaguide.com/event/august-10-new-prints-artist-conversation/
LOCATION:Zoom
CATEGORIES:Event
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ORGANIZER;CN="International Print Center New York":MAILTO:contact@ipcny.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210806T180000
DTEND;TZID=America/Halifax:20210806T180000
DTSTAMP:20260406T193228
CREATED:20210802T184019Z
LAST-MODIFIED:20210802T184019Z
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SUMMARY:Qualeasha Wood + Kaylie Kaitschuck – “Nobody’s Home”
DESCRIPTION:Gaa Gallery is pleased to present Nobody’s Home\, a two-person exhibition of works by Qualeasha Wood and Kaylie Kaitschuck. The exhibition will be on view from August 6 through August 29\, 2021\, at Gaa Gallery located at 494 Commercial Street\, Provincetown\, MA. \n  Save  
URL:https://artinamericaguide.com/event/qualeasha-wood-kaylie-kaitschuck-nobodys-home/
LOCATION:Gaa Gallery\, 494 Commercial Street\, Provincetown\, MA\, 02657\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20210729T180000
DTEND;TZID=America/New_York:20210729T200000
DTSTAMP:20260406T193228
CREATED:20210727T212052Z
LAST-MODIFIED:20210727T212052Z
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SUMMARY:Daniela Edburg: Waning
DESCRIPTION:Daniela Edburg\nWaning\nJuly 21 – September 11\, 2021 \nOn view at Elizabeth Houston Gallery from July 21 to September 11\, Daniela Edburg: Waning is an aesthetic exercise in free association\, one that draws to the surface of consciousness the delicate symbiosis between human and glacial bodies. Following a thread of thought from her own autoimmune disease to the perils of climate change\, Edburg reimagines—in photographic form and felted wool—the tale of Frankenstein as a parable for global warming. \nEdburg has long worked in the in-betweens of reality and imagination\, crocheting and knitting objects into her compositions as a kind of hand-made fiction. She is most interested in those artistic places where opposites meet and concepts contradict themselves\, where the disconnection imposed by bodily illness is overcome by the connections of human creativity. When the summer of 2016 dealt Edburg an unexpected three-month convalescence in bed\, recovering from an affliction that left her feeling every inch of her body as a living bruise\, she turned—perhaps empathetically—to Mary Shelley’s 1818 novel Frankenstein. The glacial landscape that set the stage for Shelley’s drama drew her attention. \nNavigating her own recovering body\, Edburg planned a voyage to Mer de Glace\, the “sea of ice” in the Alps where Dr. Frankenstein expresses his only moments of joy. But what Shelley’s protagonist describes as a scene of “sublime ecstasy that gave wings to the soul\,” Edburg found gravely imperiled. Climate change is melting the largest glacier in France at an alarming rate. For Edburg\, Frankenstein’s abandonment of his creature parallels our lack of stewardship of nature. The consequences of our apathy are the global warming that endangers our lives and the environmental degradation that causes illness. \nWith Shelley’s tale as an unconscious guide\, Edburg has captured the likenesses of those glaciers in felt\, preserving them in sculptural cedarwood boxes like rare and tiny specimens. The waning of the icebergs\, recast by the artist in dripping felted wool\, serves as a warning of impending environmental catastrophe. In photographic form\, human bodies afflicted with autoimmune diseases mimic the scattered disorder of the remaining ice. In other images\, we hold in our hands (or hairdos) the effects of climate change—volatile weather patterns that generate tornadoes and other superstorms with increased frequency. \nBut Edburg is also\, in some sense\, a Romantic at heart\, albeit one with Gothic leanings. Her Wanderers stare into the expanses of the natural world\, recalling Caspar David Friedrich’s 1818 Wanderer above the Sea of Fog\, a painting that has oftentimes served as a cover for Shelley’s novel. But where Friedrich’s landscape is a moment of sublimity revealing our place in nature\, both insignificant and transcendent at once\, Edburg’s photographs reflect the diminishment of the glaciers through our own doing. \nIn Waning\, our relation to the natural world is one that is deeply interconnected\, bodily\, emotionally\, mentally and spiritually. Like Frankenstein and his creature\, we are locked in a cycle of mutual creation and destruction. We cannot stand apart. \nDaniela Edburg attended the National Autonomous University of Mexico (UNAM) where she earned her Bachelor’s degree from the School of Visual Arts. Edburg was born in 1975 in Houston\, Texas and currently lives and works in San Miguel de Allende\, Mexico. Solo and group exhibitions include Musée du Quai Branly\, Paris\, France\, Photographic Centre Manuel Álvarez Bravo\, Oaxaca City\, Mexcio\, San Diego Museum of Photographic Arts\, CA\, Contemporary Musuem of Art\, Ivanova\, Russia and The Denver Art Museum\, CO. Her work can be found in the collections of the Museet Astrup Fearnley\, Oslo\, Norway\, Museum of Fine Arts\, Boston\, MA\, Art Museum of the Americas\, Washington DC\, Museo Universitario del Chopo\, México DF\, Mexico\, and the Museum of Latin American Art\, Long Beach\, CA. A 2018-2020 Fellowship recipient in the National System of Creators\, FONCA\, National Fund for the Arts and Culture of Mexico\, Daniela was also a 2016 Hamilton Artist at the Denver Art Museum and the University of Denver\, a 2013 Laureate of the Photoquai Residencies by the Musée du Quai Branly in Paris\, France\, was a 2012 resident artist with FONCA CONACULTA in collaboration with the Banff Centre\, Alberta\, Canada\, named Best Foreign Artist in the Photography category by Premio Arte Laguna\, Venezia\, Italia in 2010 and received a 2004 Creation Stimuli Grant from Guanajuato State Institute of Culture\, Mexico. \n\n\n\n  Save  
URL:https://artinamericaguide.com/event/daniela-edburg-waning/
LOCATION:Elizabeth Houston Gallery\, 190 Orchard Street\, NEW YORK\, NY\, 10002\, United States
CATEGORIES:Event,Exhibition
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ORGANIZER;CN="Elizabeth Houston Gallery":MAILTO:info@elizabethhpustongallery.com
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210727T080000
DTEND;TZID=America/Halifax:20210809T170000
DTSTAMP:20260406T193228
CREATED:20210719T225040Z
LAST-MODIFIED:20210719T225040Z
UID:83221-1627372800-1628528400@artinamericaguide.com
SUMMARY:Partitions
DESCRIPTION:School of Visual Arts (SVA) presents “Partitions\,” a juried exhibition of multidisciplinary works by one SVA student and six recent graduates. Organized by SVA Galleries\, the exhibition will be on view online from Tuesday\, July 27\, through Monday\, August 9\, at galleries.sva.edu. \n  \nAcknowledging the drastic restructuring of lives and spaces over the past 18 months\, the artworks in “Partitions” contemplate boundaries and thresholds. Dividers—including those necessitated by the COVID-19 pandemic—guide actions by regulating the uses of a given area\, whether explicitly or implicitly. From distancing to plexiglass barriers\, these separations manage individuals and factors (such as risk) while shaping their constituents (both human and object). Moreover\, the decisions directing the application of these devices often implicate considerations such as privacy\, protection\, stress levels and sense of community. Artists in this exhibition consider the human consequences of such barriers. Through paintings\, drawings\, photographs\, video and design\, these works respond to omnipresent partitions while illustrating the importance of connection\, shared experiences and what happens when vital social and cultural bonds are interrupted or cease to exist. \n  \nArtists featured in this exhibition are Zixin Chen (BFA 2021 Illustration)\, Doi Kim (MFA 2021 Fine Arts)\, Sofiya Kuzmina (BFA 2021 Illustration)\, James Meyer (BFA 2021 Fine Arts)\, Anthony Reamer (MFA 2021 Fine Arts)\, Yansong Yang (student\, BFA Design) and Stephanie (Zhuping) Zhong (BFA 2021 Illustration). \nImage credit: Stephanie (Zhuping) Zhong\, Entrances\, 2021\, digital\, 8 x 11 inches. \n  Save  
URL:https://artinamericaguide.com/event/partitions/
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210723T180000
DTEND;TZID=America/Halifax:20210723T200000
DTSTAMP:20260406T193228
CREATED:20210706T134936Z
LAST-MODIFIED:20210706T134936Z
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SUMMARY:July Reception - Summer Exhibits
DESCRIPTION:TAKE ME AWAY is the theme of the Summer All Media Show at Art Works. We invite artists to explore vacations—the need for\, the escape from the ordinary and a change of scenery. A new exhibit by Mark Price has us thinking about the end of the world\, as we know it\, and a new nonsensible construct. Alyssa Sicard’s new work in the Skylight Gallery\, scrutinizes the lives\, dreams\, struggles\, and hopes of the modern woman. \nThyra Moore’s exhibit\, Beyond the Tangible\, continues in the main gallery. \n  Save  
URL:https://artinamericaguide.com/event/july-reception-summer-exhibits/
LOCATION:Art Works\, 320 Hull Street\, Richmond\, VA\, 23224\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Art Works":MAILTO:glenda@artworksrichmond.com
GEO:37.524914;-77.437258
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210715T160000
DTEND;TZID=America/Halifax:20210715T200000
DTSTAMP:20260406T193228
CREATED:20210617T160820Z
LAST-MODIFIED:20210617T160820Z
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SUMMARY:Brea Souders: Vistas - Opening Reception and Book Signing
DESCRIPTION:Bruce Silverstein Gallery is pleased to announce an exhibition of new work by Brooklyn-based artist Brea Souders\, titled Vistas. \nVistas is a series of hand-colored photographs that present disembodied shadows of human beings found in national parks throughout the American West. While researching Google Photo Sphere images of the parks\, the artist observed that the algorithm removed people from its shared photos\, seemingly for privacy reasons\, but left behind their distorted and artifacted shadows. The shadows are shown just as the artist found them\, the result of the west’s radiant sun and algorithmic interventions. The original photographs were made deep in nature\, by individuals who trekked to areas where roads or trails don’t exist. \nReferencing early twentieth-century picture postcards of the American West\, the hand-colored prints of Vistas recall bygone methods that were used to romanticize interactions with the natural world. Today\, most armchair travel is filtered through the internet. We regularly see shadow selfies in landscapes in our social media feeds\, echoing previous moments through photographic history. Vistas was made at a time when climate change is already altering the national parks and conservation efforts will need to be modified to adapt to profound change. Commenting in Lensculture\, Gregory Eddi Jones said\, “Our growing dependence and assimilation into virtual space brings us further from the natural world\, turning Vistas into a tug-of-war between what we once were as humans\, and what we are now. Photography has changed us\, the internet is changing us. And Souders’ work helps to illustrate just how so.” \nThe viewer’s placement in relation to these scenes suggests a witnessing of their own selves\, transmuted into archetypal forms populating the land. Traces of wanderers\, cowboys\, adventurers and earth goddesses can be imagined in the shadows imprinted in the land. In Vistas\, many of the shadows appear to have feminine forms. Though photography of the American West has long been thought to be the domain of men\, here we see evidence of women trekking into the wild\, documenting and mapping it. \nThese works enter into the long traditions of American landscape photography. The series poses a plurality of questions centering on how our relationship to nature has evolved and is changing\, how our virtually mediated world is affecting human behavior\, and the roles that photography plays in ecology\, mapping\, tourism\, sublimity and representation of the self. As we witness accelerating effects of our global climate crisis\, and as modern living continually brings us further from our origins\, Vistas explores what the landscape means to us now. \nThe exhibition features a large installation of hand-colored photographs\, as well as several large-format\, hand-colored works. In addition to the hand-colored pieces\, a small selection of black-and-white images is shown\, gathering together found shadows of hands holding phones in the Western landscape. \nConcurrent with the opening of the exhibition\, a monograph of Souders’ work spanning eleven years will be published and available by Saint Lucy Books. A book signing with the artist will take place before the opening reception on July 15th from 4-6pm. The reception will take place from 6-8pm. The gallery will be open to the public Monday-Friday\, 10am-6pm\, for the duration of the exhibition. \n  Save  
URL:https://artinamericaguide.com/event/brea-souders-vistas-opening-reception-and-book-signing/
LOCATION:Bruce Silverstein\, 529 West 20th Street\, 3rd Floor\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Bruce Silverstein":MAILTO:inquiries@brucesilverstein.com
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210713T190000
DTEND;TZID=America/Halifax:20210713T200000
DTSTAMP:20260406T193228
CREATED:20210701T145329Z
LAST-MODIFIED:20210722T191850Z
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SUMMARY:IPCNY | New Prints Artist Conversation I
DESCRIPTION:In conjunction with Lonely Hearts: New Prints 2021/Summer\, join us on Tuesday\, July 13 at 7 pm ET for an online conversation with exhibiting artists Nina Jordan\, Aric Russom\, and Nicholas Ruth. In this dialogue moderated by Jenn Bratovich\, IPCNY’s Exhibitions and Curatorial Manager\, the artists will discuss how their work explores architecture and infrastructure—foreclosed homes\, industrial buildings\, and electronic communication towers—and how the spaces we interact with can reveal the anxieties and longings of contemporary life. A Q&A session will follow at the end of the program. \nThis is the first of two online artist conversations this summer. Live captioning will be available and the program recording will be uploaded online afterwards. Feel free to send questions in advance to contact@ipcny.org. \n  Save  
URL:https://artinamericaguide.com/event/july-13-new-prints-artist-conversation-i/
LOCATION:Zoom
CATEGORIES:Event
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ORGANIZER;CN="International Print Center New York":MAILTO:contact@ipcny.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210713T080000
DTEND;TZID=America/Halifax:20210802T170000
DTSTAMP:20260406T193228
CREATED:20210719T225040Z
LAST-MODIFIED:20210719T225040Z
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SUMMARY:Work From Home
DESCRIPTION:School of Visual Arts (SVA) presents “Work from Home\,” an exhibition of work by eight MFA Art Practice students. Curated by Jacquelyn Strycker\, faculty member and director of operations and online curriculum\, the exhibition will be on view from Tuesday\, July 13\, through Monday\, August 2\, at galleries.sva.edu. \n“Work from Home” explores the fractured domesticity that we’ve all experienced over the past 15 months. Zoom declared\, “The workspace is no longer just in the office—it’s wherever you are.” And for many of us\, that was home. So we worked from home. Home was work. The bifurcation between home and work has been erased. \n  \nOnly connect. We are always connected\, through video conferencing\, workspace and chat apps\, but do we ever connect? Christianne Ebel’s “Pandemic Fine” portraits inquire of her subjects what we’ve stopped asking—“How are you?”—because we don’t want to hear (or elaborate on) how we are not okay. \n  \nLisa Lee Freeman’s ink-splattered charts\, annotated with symbols\, text and numbers\, often illegible\, attempt to quantify a palpable sense of uncertainty and anxiety. \n  \nJuliet Walzer’s drawing series\, “Waiting for a Connection\,” documents snippets of Zoom sessions with her middle-school art students—drawn portraits from their gridded digital images\, offering small glimpses of their home lives. \n  \nSeveral of the artists are presenting purely digital works. They have no dimensions. They were made on and are experienced on a screen—a nod to the absence of four walls and a roof that we navigate online. India Lombardi-Bello makes “Meridian Charts\,” created from found photography and digital painting\, for the television characters and pop-culture icons that remind her of her own Italian-American heritage. \n  \nMaria Dolores Gregori’s “Praising Shadows” are digital photographs that find poetry and nuance in the mundane. \n  \nIndeed\, what is an “online art exhibition?” It’s a website. Or a feed. Or a livestream of something taking place somewhere else. Fei Jia paints portraits that explore her friendships. Her subjects’ awkward poses are rendered with expressive brushwork\, and at times almost grotesque color. But you can’t see her paintings. These are not paintings. They are images of paintings. \n  \nThere is a melancholy to the work in this show\, a pensive mournfulness that reflects a year of shared trauma. Theodora Eliezer’s “Soft Decay” series\, made from vintage stuffed animals being consumed by fungi\, welcomes vulnerability and precarity\, finding beauty and purpose in loss. \nAnd finally\, Maya Ballen presents us with hope\, a way forward. She has used this time to critically examine her colonial perspective\, connect with nature and develop a sense of phenomenological awareness. The resulting project\, “Exercises in Animism\,” invites others to engage in a more caring relationship with the inanimate world. \nImage credit: India Lombardi-Bello\, Meridian Chart for Tony Soprano\, 2021\, found photography and digital painting. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n  Save  
URL:https://artinamericaguide.com/event/work-from-home/
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210710T170000
DTEND;TZID=America/Halifax:20210710T200000
DTSTAMP:20260406T193228
CREATED:20210706T135714Z
LAST-MODIFIED:20210706T135714Z
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SUMMARY:Our Washington\, D.C. & Richard G. Ray--Landscapes
DESCRIPTION:Opening Reception for annual Washington\, D.C. themed exhibition\, this year’s show titled “Our Washington\, D.C.” and special exhibit of works by artist (painter) Richard G. Ray. \nThis year’s show\, “Our Washington\, D.C.” includes participating artists Jill Banks\, Christina Blake\, Cecily Corcoran\, Alexangel Estevez\, Michael Francis\, Yolanda Frederikse\, Lynn Goldstein\, Pattee Hipschen\, Natalie Jackson\, Mary Kokoski\, Andrei Kushnir\, Barry Lindley\, Lynn Mehta\, Grace Peterson\, Genevieve Roberts\, Bill Schmidt\, Jean Schwartz\, Lida Stifel\, Michele Martin Taylor\, Robert Thoren and Robert Willett.  A fine selection of over 50 works in oil\, acrylic\, gouache\, aquatint and watercolor will provide ample interest  for gallery visitors. \nRichard G. Ray\, who would attain the age of 101 on July 15\, 2021\, is a plein air painter\, who\, during his tenure with the Washington Society of Landscape Painters\, from time to time held every position except president. He studied with nationally known painters Charles Movalli and George Cherepov\, painted alongside noted local artists in Maryland\, the District of Columbia and Virginia\, and was the author of an article about the WSLP published in American Artist magazine.  During his active years as an artist\, he exhibited widely in the area\, and also gave instruction and demonstrations of his approach to landscape painting. \n  \n  Save  
URL:https://artinamericaguide.com/event/our-washington-d-c-richard-g-ray-landscapes/
LOCATION:American Painting Fine Art\, 5125 MacArthur Blvd.\, NW\, Suite 17\, Washington\, DC\, DC\, 20016\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="American Painting Fine Art":MAILTO:americanpaintingdc@andreikushnir.com
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210710T130000
DTEND;TZID=America/Halifax:20210710T150000
DTSTAMP:20260406T193228
CREATED:20210709T143102Z
LAST-MODIFIED:20210709T143102Z
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SUMMARY:Regional Biennial Juried Sculpture Exhibition Opening Event
DESCRIPTION:Regional Biennial Juried Sculpture Exhibition Opening Event \nSaturday\, July 10 \n1 – 3 pm \nCome celebrate some of Michigan’s best sculptors and congratulate the winning artists at the 2021 Regional Biennial Juried Sculpture Exhibition Opening Event Saturday\, July 10\, from 1 – 3 pm! There will be live music\, hors d’oeuvres\, and a special gift (while supplies last)!  Winners will be announced at 2 pm and will be streamed on Facebook LIVE. \n  \n  Save  
URL:https://artinamericaguide.com/event/regional-biennial-juried-sculpture-exhibition-opening-event/
LOCATION:Marshall M. Fredericks Sculpture Museum\, 7400 Bay Rd\, University Center\, MI\, 48710\, United States
CATEGORIES:Event,Exhibition
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ORGANIZER;CN="Marshall M. Fredericks Sculpture Museum":MAILTO:JLLodico@svsu.edu
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210709T110000
DTEND;TZID=America/Halifax:20210709T180000
DTSTAMP:20260406T193228
CREATED:20210811T182904Z
LAST-MODIFIED:20210908T164311Z
UID:84744-1625828400-1625853600@artinamericaguide.com
SUMMARY:Golden Hour: Olympians Photographed by Walter Iooss Jr.
DESCRIPTION:Golden Hour: Olympians Photographed by Walter Iooss Jr. highlights dozens of photographer Walter Iooss Jr.’s images from the Museum’s Collection. Over his 60-year career\, Iooss (born Temple\, TX 1943) has captured hundreds of celebrated athletes training for and playing their sports\, as portraits\, and a select few as they prepared for the 1984 Summer Olympics in Los Angeles. He began his career shooting for Sports Illustrated and has contributed to the magazine for more than 50 years. \nGolden Hour is on view in conjunction with the exhibitions Artistic Tribute: Representation of the Athlete and Precious Medals: Gold\, Silver\, Bronze. These exhibitions are organized by the Asheville Art Museum and curated by Whitney Richardson\, associate curator. \nWalter Iooss Jr.\, Carl Lewis\, Houston\, TX\, 1991\, archival pigment print on paper\, 23 ¼ × 29 inches. Asheville Art Museum. © Walter Iooss Jr.  \n  Save  
URL:https://artinamericaguide.com/event/golden-hour-olympians-photographed-by-walter-iooss-jr/2021-07-09/
LOCATION:Asheville Art Museum\, 2 South Pack Square\, Asheville\, NC\, 28801\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210702T000000
DTEND;TZID=America/Halifax:20210802T000000
DTSTAMP:20260406T193228
CREATED:20210802T184019Z
LAST-MODIFIED:20210802T184019Z
UID:83952-1625184000-1627862400@artinamericaguide.com
SUMMARY:Esteban Cabeza de Baca
DESCRIPTION:Gaa Gallery is pleased to present a solo exhibition of new work by Esteban Cabeza de Baca opening July 2\, 2021\, at the gallery’s Provincetown location.  Cabeza de Baca will present recent paintings and sculptures in his third solo exhibition with Gaa. Please join us for the opening on Friday\, July 2 from 6 – 8 pm at 494 Commercial Street\, Provincetown\, MA. A reception with the artist will take place at the gallery on July 30. \n  Save  
URL:https://artinamericaguide.com/event/esteban-cabeza-de-baca/
LOCATION:Gaa Gallery\, 494 Commercial Street\, Provincetown\, MA\, 02657\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210702T000000
DTEND;TZID=America/Halifax:20210802T000000
DTSTAMP:20260406T193228
CREATED:20210802T184019Z
LAST-MODIFIED:20210802T184019Z
UID:83954-1625184000-1627862400@artinamericaguide.com
SUMMARY:Josephine Halvorson - "Five Grounds"
DESCRIPTION:Gaa Gallery is pleased to announce Five Grounds\, an exhibition of paintings by Josephine Halvorson. The exhibition will be on view July 2 through August 2\, 2021\, at Gaa Gallery located at 494 Commercial Street\, Provincetown\, MA. An opening reception will be held on Friday\, July 2\, from 6 to 8 pm. A reception with the artist will take place at the gallery on Friday\, July 30. \n  Save  
URL:https://artinamericaguide.com/event/josephine-halvorson-five-grounds/
LOCATION:Gaa Gallery\, 494 Commercial Street\, Provincetown\, MA\, 02657\, United States
CATEGORIES:Exhibition
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X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Gaa Gallery 494 Commercial Street Provincetown MA 02657 United States;X-APPLE-RADIUS=500;X-TITLE=494 Commercial Street:geo:-70.1772553,42.0576622
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210701
DTEND;VALUE=DATE:20210720
DTSTAMP:20260406T193228
CREATED:20210622T135428Z
LAST-MODIFIED:20210622T135428Z
UID:82033-1625097600-1626739199@artinamericaguide.com
SUMMARY:Artist Max Hammond “Painting a Changing World”
DESCRIPTION:The meaning behind every abstract painting is as varied as each viewer. World renown abstract artist Max Hammond has the uncanny knack of knowing exactly when a painting is finished.\nHammond is focusing on primary colors for his latest show in New York\, using layer upon layer of his pleasing palette of colors. Knowing that fundamentally they comprise the basis for all shades\, he has woven the colors uniquely into multicolored works that showcase his talent.\nBonner David Galleries will welcome Max and each of you to his New York debut show\, July 1st from 6:30 – 9 PM where you can witness these spectacular new works with your own eyes! \n  Save  
URL:https://artinamericaguide.com/event/artist-max-hammond-painting-a-changing-world/
LOCATION:Bonner David Galleries\, 22 E. 81st Street #1\, New York\, NY\, 10028\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Bonner David Galleries New York":MAILTO:rebecca@bonnerdavid.com
GEO:33.4932795;-111.9292529
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Bonner David Galleries 22 E. 81st Street #1 New York NY 10028 United States;X-APPLE-RADIUS=500;X-TITLE=22 E. 81st Street #1:geo:-111.9292529,33.4932795
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210630T100000
DTEND;TZID=America/Halifax:20210806T180000
DTSTAMP:20260406T193228
CREATED:20210611T141513Z
LAST-MODIFIED:20210611T141513Z
UID:81783-1625047200-1628272800@artinamericaguide.com
SUMMARY:The Colour of Words II
DESCRIPTION:Jane Lombard Gallery is delighted to present The Colour of Words II\, a solo exhibition by Jane Bustin. Building upon her 2020 exhibition\, The Colour of Words\, which debuted at Jane Lombard Gallery only a few weeks before stay-at-home-orders were issued in New York City\, The Colour of Words II ruminates on her practice-based research as a recipient of a residency award at the Mark Rothko Centre in Latvia during the summer of 2019. The exhibition will open on Wednesday\, June 30th\, from 1 PM – 6 PM\, and remain on view through August 6th\, 2021. \nFor over a year now the colours have dimmed\, as if a small amount of Davey’s grey had been added to everything around. The faded hours of time slipping by\, like an old worn chiffon scarf between her finger tips. Everything taken away\, still and quiet\, a low key unravelling\, like some lost little Chopin trill. Yet\, to be near and far\, in fact 72 inches apart\, Christina the Astonishing gripped her wand and kept her distance\, her clothes porous to the droplets of pain expired by others\, she wore\, like nylon armour\,  the fluorescent tabard which screeched its warning waltz Come and go \, come and go \, come and go… – Jane Bustin\, 2021. \nHer residency at the Mark Rothko Centre\, in the former 1833 Fortress just outside of the city of Daugavpils\, Bustin describes with a richness of “histories\, secrets\, and buried memories within its walls” where she made her studio. Situated in a brooding outbuilding that once housed a dining hall for Napoleonic soldiers\, a prisoner of war camp\, a post-war aviation engineering school and underground raves in the 1980s. The strangeness and beauty of Bustin’s surroundings compelled an intensive study of her quarters. She suggests the space itself entranced her and directed her practice in those weeks and beyond. Each work in The Colour Of Words is a response to her surroundings; an attempt to capture and preserve precious\, sensory rich moments and a reflection on the temporal nature of remembering. Tiled floors\, antique lamps and chipped wall paints were reborn through glazed porcelains\, burnt silks\, crushed oyster shells and beet-dyed wood\, giving the past a present\, vivid body.  \nThe unpredictable nature of the last 15 months presented people with a new relationship with time and sense of place. There were days when everything felt grey\, dull and dim; days that felt so similar to the ones before and following\, they were hard to discern. Bustin’s works in The Colour of Words II\, so luminous and vibrant\, shine with hope\, shaking loose the sense of stagnancy in anticipation of brighter futures. \nJane Bustin\, born 1964\, London\, studied at Portsmouth Polytechnic. She has had solo shows\nin London\, Berlin\, Paris\, New York\, Sydney\, as well as group shows at Whitechapel\, London;\nIngleby Gallery\, Edinburgh; Royal Academy\, London; Walker Art Gallery\, Liverpool and Kettle’s\nYard\, Cambridge. She is the recipient of the Pollock-Krasner\, British Council awards and the\nMark Rothko Memorial Fund Award. Bustin has work in public collections\, including: Victoria &\nAlbert Museum\, Ferens Museum and Yale Centre. A performance project\, Faun\, including live\nmusic and dance was presented for Art Night London\, 2018 at London County Hall\, Southbank. \n  Save  
URL:https://artinamericaguide.com/event/the-colour-of-words-ii/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2021/06/Bustin_TCOWII.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210630T100000
DTEND;TZID=America/Halifax:20210806T180000
DTSTAMP:20260406T193228
CREATED:20210611T141448Z
LAST-MODIFIED:20210625T145639Z
UID:81781-1625047200-1628272800@artinamericaguide.com
SUMMARY:Loose Ends
DESCRIPTION:Jane Lombard Gallery is pleased to present Loose Ends\, a group exhibition celebrating women working in textiles. The collection\, featuring artists Kirsten Hassenfeld\, Victoria Manganiello\, Laura Marsh\, Erin McQuarrie\, Carolina Ponte\, Aiko Tezuka and Ulla-Stina Wikander\, explores the universal applicability of fabric\, bridging cultural tradition with contemporary finesse\, and emphasizing the medium’s constant state of evolution. The exhibition will open on Wednesday\, June 30th\, from 1 PM – 6 PM\, and remain on view through August 6th\, 2021. \nTextiles tell stories. Rooted in historical processes\, they are imbued with ritual\, culture\, and tradition: interactive archives that can be touched\, held\, worn\, shared\, and passed down. There are unique narratives born within the counting of threads\, as there is within every stitch\, weave\, layer\, seam\, mend\, tear\, and year of age. The art of weaving traced back to neolithic times; embroidery the 3rd century; knitting the 5th century and decorative needlepoint the 16th century. Fabric forms and structures grew in complexity with the development of new tools. From ancient times to present day\, methods of textile production have evolved as we evolve\, influencing decoration\, clothing and functional design. Fabric\, as such\, has become intrinsically human.  \nThe featured works from each contributing artist celebrate our entangled relationship with fabric\, exploring its material processes as mechanisms for engaging with storytelling and temporal narratives. Erin McQuarrie presents the process of weaving as a form of live art\, and looms as activateable\, interactive sculptures. Her woven works then are artifactual\, residues or records of live action. Aiko Tezuka explores weaving and unravelling as a way to detangle and understand interwoven surfaces; making visible an object’s current state of being\, and opening a window to its greater history. Victoria Manganiello investigates our relationship with fabric as one of record\, tracking/tracing history and evidencing individual experience through cultural production. Kirsten Hassenfeld employs weaving as a form of repurposing and reclamation\, utilizing recycled materials and re-imagining technical processes to achieve organic structure. Carolina Ponte creates organic forms (tubules\, spouts and nodules) through repetition\, referencing cultural designs\, patterning and color to emphasize the temporality of cultural archives. Laura Marsh uses textiles to generate and amplify dialogues around socio-political and humanitarian issues\, championing accessibility\, inclusivity and material exchange. Ulla-Stina Wikander uses cross-stitching to transform forgotten household objects with new context\, re-dressing artifacts from bygone eras with a colorful\, contemporary twist. \nLoose Ends celebrates textiles as infinite: decorative and functional\, intentional and intuitive\, structured and amorphous\, masculine and feminine\, ageless and ancient\, present and vanishing. Within each loose thread lies the potential for a new connection. \n  Save  
URL:https://artinamericaguide.com/event/loose-ends/
LOCATION:Jane Lombard Gallery\, 58 White Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2021/06/Loose-Ends_Advert-II.png
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210627T130000
DTEND;TZID=America/Halifax:20210627T160000
DTSTAMP:20260406T193228
CREATED:20210603T210024Z
LAST-MODIFIED:20210621T173702Z
UID:81456-1624798800-1624809600@artinamericaguide.com
SUMMARY:The Unique Print – Gel Emulsion Lifts
DESCRIPTION:Creating the Unique Print – A One-Day\, Three-Hour Workshop blending analogue processes and digital technology with David Dürbak \n Offering a small group of students and photographers a practical introduction to emulsion transfers with hands-on training on how to successfully prepare transfer image files\, print the images to be transferred on dedicated “negative” film media\, and prepare both waterleaf paper and a wood block as image transfer receptors\, this workshop will have each participant delving into creating professional quality artistic images to keep and bring back home. \n  \nWhen working with emulsion transfer prints\, the most important thing to remember is how different the process is from other photography processes and how the value of that process is unique. The process allows each photographer to slow down\, thinking about each individual photograph\, while learning to love those happy accidents. \n  \nPart I – Exploring What’s New in Chemicals\, Media\, Processes\, and Techniques \n\n Tips and techniques with the new receiver films\n Tips and techniques with digital files\n\n  \nPart II – Exploring Concepts\, Media\, and Substrates \n\n Demonstration of emulsion transfers\n Hands-on experimentation with emulsion transfers\n\n  \nMaterials provided: CD with analogue style image borders\, pre-printed film media\, transfer gel medium\, waterleaf paper\, wood panels \n  Save  
URL:https://artinamericaguide.com/event/the-unique-print-gel-emulsion-lifts/
LOCATION:Florida Museum of Photographic Arts\, 400 N Ashley Dr Cube 200\, Tampa\, FL\, 33602\, United States
CATEGORIES:Event
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GEO:27.9472272;-82.4606362
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Florida Museum of Photographic Arts 400 N Ashley Dr Cube 200 Tampa FL 33602 United States;X-APPLE-RADIUS=500;X-TITLE=400 N Ashley Dr Cube 200:geo:-82.4606362,27.9472272
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20210626T180000
DTEND;TZID=America/New_York:20210626T200000
DTSTAMP:20260406T193228
CREATED:20210409T133747Z
LAST-MODIFIED:20210618T193422Z
UID:80699-1624730400-1624737600@artinamericaguide.com
SUMMARY:Robyn Day: Nobody Knows Exhibition Opening
DESCRIPTION:Tell all the truth but tell it slant — \nSuccess in Circuit lies \nToo bright for our infirm Delight \nThe Truth’s superb surprise \nAs Lightning to the Children eased \nWith explanation kind \nThe Truth must dazzle gradually \nOr every man be blind — \n– Emily Dickinson \nOn view at Elizabeth Houston Gallery from April 28 to July 9\, Nobody Knows promises to “tell all the truth but tell it slant.” Representing queer history by intentionally obfuscating it\, Robyn Day’s paradoxical archive plays with the materiality of photographic substrates\, deeply wedding process to the significations of its portraits. \nWith no officially sanctioned narratives of its own\, LGBTQ histories are carefully pieced together through acts of rediscovery\, reassembling\, and reinterpretation\, often from the annals of legal or medical proceedings that speak with a pathological cast. Day transforms that fundamental method of piecemeal recovery into an artistic process\, using materials and their physical “memory” as metaphors for the “love that dare not speak its name” throughout history. Layering\, scraping\, scratching\, and crinkling photographs\, and transforming their surfaces with ink\, charcoal\, pigments\, or even boiling water and ice\, Day reworks images as they develop and after\, moving seamlessly between analog and digital alterations. The cumulative effects of this slow process of development are a kind of theater of inscrutability. It is no longer possible to discern how each photograph was made\, nor how many times or by what means transfigured. \nIn this way\, Nobody Knows mimics the ambiguities of queer history through a performance of process. Masquerading as an unearthed archive\, Day’s series of portraits\, ironically\, faithfully and freely represents queer identity on its own terms. With the act of inventing an archive paralleling queer performativity\, Nobody Knows renders the presence of its subjects–long denied or hidden from view in historical records–through an intentional evasion of strict documentation. Instead\, the experimentation of material processes surpasses the aesthetic of salvaged evidence of the past\, and becomes a chrysalis for identity. Just as their photographic substrates are reassembled and transformed\, layered and reworked\, so too are the people within the portraits\, who carve space for themselves and their communities in times and places that are not always welcoming\, asserting their personhood with grace and poise. \nDay’s artistic process reflects the artist’s subject matter\, with a performance of the archive–one that creates rather than tracks the “truth”–echoing the performative of gender expression for the camera. Combining found images with contemporary portraits\, Day makes each anachronistic in its own way\, removing Polaroid emulsion from its casing or rephotographing prints underwater. The sum of these acts of conceptual experimentation is a body of political portraiture that needles at heteronormative and gender-normative assumptions. \nWith compositional layering a metaphor for identity\, Nobody Knows becomes a paradox of representation\, one that freely represents the beauty and presence of each person pictured through its experimental approach to conveying the failed representation of queer lives throughout history. \nRobyn Day graduated with an MFA from Columbia College Chicago in 2017\, receiving the Graduate Merit Award. Day currently lives and works in Chicago\, IL. Solo and group exhibitions include Elizabeth Houston Gallery\, New York\, NY\, Cornel Henry Art\, San Diego\, CA\, Plummer Park Great Hall\, West Hollywood\, CA\, ILHAM Gallery\, Kuala Lumpur\, Malaysia\, Berlin Blue Art\, Berlin\, Germany\, The Mint Museum\, Charlotte\, NC\, Toshima Center Square\, Tokyo\, JP\, Panopticon Gallery\, Boston\, MA\, Nappe Arsenale Nord\, Venice\, IT\, Arc Gallery\, San Francisco\, CA\, Schneider Art Gallery\, Chicago\, IL\, Hannah Bacol Busch Gallery\, Houston\, TX and Samson Projects\, Boston\, MA. Robyn has received press coverage in Vogue Italia\, the South Bend Tribune\, the Northwest Indiana Times\, Dig The Dunes\, The Advocate and The Charlotte Observer. A 2016 Stuart Abelson Graduate Research Fellow\, Day was also an Athens Photo Festival Finalist and Julia Margaret Cameron Award Finalist in 2015 and an Anne Louise Barrett Fellowship recipient in 2014. \n  Save  
URL:https://artinamericaguide.com/event/robyn-day-nobody-knows-exhibition-opening/
LOCATION:Elizabeth Houston Gallery\, 190 Orchard Street\, NEW YORK\, NY\, 10002\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2021/04/01.jpg
ORGANIZER;CN="Elizabeth Houston Gallery":MAILTO:info@elizabethhpustongallery.com
GEO:40.7220866;-73.9879939
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Elizabeth Houston Gallery 190 Orchard Street NEW YORK NY 10002 United States;X-APPLE-RADIUS=500;X-TITLE=190 Orchard Street:geo:-73.9879939,40.7220866
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210626T110000
DTEND;TZID=America/Halifax:20210717T170000
DTSTAMP:20260406T193228
CREATED:20210607T140002Z
LAST-MODIFIED:20210607T140002Z
UID:81497-1624705200-1626541200@artinamericaguide.com
SUMMARY:June - July Exhibits @ Art Works
DESCRIPTION:Exhibits include:\n________________________________________\nBeyond the Tangible: Abstract Art Inviting Imagination by Thyra Moore\nThyra Moore is from Maryland. She is intrigued by the complexity of life with its many dimensions\, multiple layers\, frequent changes\, and continual evolution. She sees life as a positive energy—full of stories\, events\, and experiences which she translates into color and texture. Her creative process involves recurring development and destruction. Without a preconceived plan\, each action informs the next. There is a continual exchange between spontaneous and deliberate moves. The primary theme is an evolution from adversity to optimism.\nDuring development\, abandoned items are transformed to emerge as an integral part of each painting. Ultimately each painting comes to life revealing a sense of lyrical movement ready to add drama to your decor.\nThe exhibit will be in the Jane Sandelin Gallery. This exhibit continues through August 21st. \n________________________________________\nThe Art of the Floral in Watercolor and Collage by Emma Lou Martin\nEmma Lou Martin works in many mediums. In this exhibit\, her mix-media paintings show her love of nature. \nThe exhibit will be in the Corner Gallery. \n________________________________________\nTod Ramey Recent Works\nTod Ramey says that he has always wanted to be able to paint in in the Abstract Impressionists’ style but has no proclivity in painting at all. However\, with the advent of digital photography and computer-based post manipulation he now creates images that mimic the dream-like qualities of the Abstract Impressionists. \nThe exhibit will be in the Skylight Gallery.\n________________________________________\nCLAY PLAY at ART WORKS\nThis exhibit is a focal point of all Art Works’ openings. It is a juried show with cash prizes for 1st\, 2nd and 3rd place. The show is open to all artists.The theme for this exhibit is clay art. We invite ceramic artists and potters\, anyone who works in clay to submit their work. Call for entries is May 31 – June 16\, 2021. Submit your entries through our online form. Check our website for details on submitting your artwork: https://artworksrva.com/artist-resources/call-for-entries/ \n  Save  
URL:https://artinamericaguide.com/event/june-july-exhibits-art-works/
LOCATION:Art Works\, 320 Hull Street\, Richmond\, VA\, 23224\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2021/06/2021.06-thyra-moore-from-web-1.jpg
ORGANIZER;CN="Art Works":MAILTO:glenda@artworksrichmond.com
GEO:37.524914;-77.437258
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Art Works 320 Hull Street Richmond VA 23224 United States;X-APPLE-RADIUS=500;X-TITLE=320 Hull Street:geo:-77.437258,37.524914
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210625T180000
DTEND;TZID=America/Halifax:20210625T200000
DTSTAMP:20260406T193228
CREATED:20210607T140003Z
LAST-MODIFIED:20210607T140003Z
UID:81495-1624644000-1624651200@artinamericaguide.com
SUMMARY:4th Friday Art Shows and Opening Reception @ Art Works!
DESCRIPTION:Summertime exhibits at Art Works are full of variety. There’s Clay Play. We are asking artists who work in clay to submit their creations in the juried show. And Thryra Moore from Maryland\, exhibits her imaginative\, lyrical abstract paintings to the main gallery. Emma Lou Martin explores nature with painting and collage\, and Tod Ramey simulates Expressionist painters with his photography.\nPlease join us on June 25th\, 6 p.m. – 8 p.m. for the opening reception. Meet the artists. There will be music and door prizes. Parking is free. The exhibits continue through July 17\, 2021. This event is free and open to the public. There is no need to preregister to attend the exhibit. If you have been fully vaccinated for COVID19\, no mask is required\, otherwise please wear a facemask. Exhibits include:\n________________________________________\nBeyond the Tangible: Abstract Art Inviting Imagination by Thyra Moore\nThyra Moore is from Maryland. She is intrigued by the complexity of life with its many dimensions\, multiple layers\, frequent changes\, and continual evolution. She sees life as a positive energy—full of stories\, events\, and experiences which she translates into color and texture. Her creative process involves recurring development and destruction. Without a preconceived plan\, each action informs the next. There is a continual exchange between spontaneous and deliberate moves. The primary theme is an evolution from adversity to optimism.\nDuring development\, abandoned items are transformed to emerge as an integral part of each painting. Ultimately each painting comes to life revealing a sense of lyrical movement ready to add drama to your decor.\nThe exhibit will be in the Jane Sandelin Gallery. This exhibit continues through August 21st. \n________________________________________\nThe Art of the Floral in Watercolor and Collage by Emma Lou Martin\nEmma Lou Martin works in many mediums. In this exhibit\, her mix-media paintings show her love of nature. \nThe exhibit will be in the Corner Gallery. \n________________________________________\nTod Ramey Recent Works\nTod Ramey says that he has always wanted to be able to paint in in the Abstract Impressionists’ style but has no proclivity in painting at all. However\, with the advent of digital photography and computer-based post manipulation he now creates images that mimic the dream-like qualities of the Abstract Impressionists. \nThe exhibit will be in the Skylight Gallery.\n________________________________________\nCLAY PLAY at ART WORKS\nThis exhibit is a focal point of all Art Works’ openings. It is a juried show with cash prizes for 1st\, 2nd and 3rd place. The show is open to all artists.The theme for this exhibit is clay art. We invite ceramic artists and potters\, anyone who works in clay to submit their work. Call for entries is May 31 – June 16\, 2021. Submit your entries through our online form. Check our website for details on submitting your artwork: https://artworksrva.com/artist-resources/call-for-entries/ \n  Save  
URL:https://artinamericaguide.com/event/4th-friday-art-shows-and-opening-reception-art-works-18/
LOCATION:Art Works\, 320 Hull Street\, Richmond\, VA\, 23224\, United States
CATEGORIES:Event,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2021/06/2021.06-thyra-moore-from-web.jpg
ORGANIZER;CN="Art Works":MAILTO:glenda@artworksrichmond.com
GEO:37.524914;-77.437258
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Art Works 320 Hull Street Richmond VA 23224 United States;X-APPLE-RADIUS=500;X-TITLE=320 Hull Street:geo:-77.437258,37.524914
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210625T180000
DTEND;TZID=America/Halifax:20210625T200000
DTSTAMP:20260406T193228
CREATED:20210603T210024Z
LAST-MODIFIED:20210603T210024Z
UID:81455-1624644000-1624651200@artinamericaguide.com
SUMMARY:Storytelling Through Photography Remote Learning
DESCRIPTION:These Zoom sessions will fully reflect the same content as with the on-ground workshops offered by the FMoPA institute.  \nWe all have a story to tell\, a legacy or statement\, a call to action\, a declaration of what you believe\, what makes you mad or happy\, your unique observations of the world around you\, your life itself with its peaks and valleys. The medium of photography makes it possible to tell your story and sometimes make a change. A picture tells a thousand words. Several pictures correctly sequenced tell a full story – your individual story. \nIn this workshop\, you will learn the art of telling a story through creating a visual narrative. Multiple images have the power of expressing thoughts\, ideas\, experiences and beliefs in a linear format. Storyboarding and careful sequencing of photographs following a clear concept\, your unique voice and communications to the outside world\, using many case studies and background information on the starting point of any project: The Why\, What\, Who\, and How. \nWe all have a unique story to share with others\, it can be a powerful and quiet voice\, but we have a responsibility to tell our stories as part of our background\, culture\, legacy and circumstances. The power of words through titles or series’ names are also explored\, rounding up to a full story. \n  Save  
URL:https://artinamericaguide.com/event/storytelling-through-photography-remote-learning-6/
LOCATION:Florida Museum of Photographic Arts\, 400 N Ashley Dr Cube 200\, Tampa\, FL\, 33602\, United States
CATEGORIES:Virtual Events + Viewing Rooms
GEO:27.9472272;-82.4606362
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Florida Museum of Photographic Arts 400 N Ashley Dr Cube 200 Tampa FL 33602 United States;X-APPLE-RADIUS=500;X-TITLE=400 N Ashley Dr Cube 200:geo:-82.4606362,27.9472272
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210624T180000
DTEND;TZID=America/Halifax:20210624T200000
DTSTAMP:20260406T193228
CREATED:20210603T210024Z
LAST-MODIFIED:20210603T210024Z
UID:81454-1624557600-1624564800@artinamericaguide.com
SUMMARY:Wedding Photography Basics In Person
DESCRIPTION:In this class\, I will go over the very few important basics of photographing a wedding. Content will include from booking the clients\, engagement sessions\, to understanding the required particular aesthetics for each wedding. Part of the class will include live posing techniques and how to interact with couples. \nI’ve been a mainstream wedding photographer for the past two years. Through many trials\, errors and meeting the right people (photographers) I’ve learned the best ways to photograph a wedding that is both unique but still captures the very essence of the whole wedding day.  \n  Save  
URL:https://artinamericaguide.com/event/wedding-photography-basics-in-person-2/
LOCATION:Florida Museum of Photographic Arts\, 400 N Ashley Dr Cube 200\, Tampa\, FL\, 33602\, United States
CATEGORIES:Event
GEO:27.9472272;-82.4606362
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20210624T100000
DTEND;TZID=America/Denver:20210725T180000
DTSTAMP:20260406T193228
CREATED:20210625T213252Z
LAST-MODIFIED:20220804T192117Z
UID:82145-1624528800-1627236000@artinamericaguide.com
SUMMARY:Danielle Mckinney | Midnight Oil
DESCRIPTION: Marianne Boesky Gallery is pleased to present Midnight Oil\, an exhibition of new paintings by Danielle Mckinney shown on the second floor of the gallery’s Aspen location from June 24 – July 25\, 2021. The works on view capture profoundly contemplative scenes with engaging and expressive energy\, highlighting the artist’s intuitive observation of human life and feeling. Midnight Oil is the artist’s first exhibition with Marianne Boesky Gallery.  \nMckinney’s paintings present intimate portraits of a lone protagonist\, primarily female\, lost in moments of deep reflection and respite within lushly colored interior spaces. In these scenes\, the artist pays particular attention to the gaze of her subject. At times\, the figure captures the viewer’s eye\, but most often the subject focuses on a space only visible to them\, engrossed in their own solitude and rituals. The nuanced details of the paintings – a trail of smoke\, the glisten of a necklace – invite further observation to reveal hidden narratives\, exploring themes of spirituality and the self with cathartic effect.  \nIn her works\, Mckinney skillfully delves into the formal elements of painting and image-making\, apparent in the gestures and careful cropping of her subjects\, attention to light and space\, and the subtle symbolic references found in her distinct compositions. This imagery is made all the more arresting by the methods Mckinney employs from her experiences as a photographer in the darkroom\, building up her compositions from a background of black paint to intensify the depth and vibrance of the scenes. Her paintings evoke a sense of timelessness\, recalling art historical references and an imbedded canon of portraiture. Mckinney’s intuitive and minimal brushstrokes create vignettes that are self-reflective\, pulling from the artist’s own experiences\, and yet strikingly familiar in their human moments of rest and action.  \nDanielle Mckinney (b. 1981) creates narrative paintings that often focus on the solitary female protagonist. In these intimate portraits\, Mckinney captures the figure immersed in various leisurely pursuits and moments of deep reflection. Engaging with themes of spirituality and self\, her paintings uncover hidden narratives and conjure dreamlike spaces\, often within the interior domestic sphere. With a background in photography\, Mckinney paints with an acute awareness of the female gaze\, employing deeply colorful hues and nuanced details with cinematic effect. Mckinney received her BFA from Atlanta College of Arts and holds an MFA in Photography from Parsons School of design.  Her work has most recently been presented in exhibitions at Fortnight Institute\, New York; Half Gallery\, New York and FLAG Art Foundation\, New York. The artist lives and works in Jersey City\, NJ. \n  Save  
URL:https://artinamericaguide.com/event/danielle-mckinney-midnight-oil/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210624
DTEND;VALUE=DATE:20210814
DTSTAMP:20260406T193228
CREATED:20210707T173325Z
LAST-MODIFIED:20210707T173459Z
UID:82772-1624492800-1628899199@artinamericaguide.com
SUMMARY:Social Works | Curated by Antwaun Sargent
DESCRIPTION:Gagosian is pleased to present Social Works\, a group exhibition curated by Antwaun Sargent with participating artists David Adjaye\, Zalika Azim\, Allana Clarke\, Kenturah Davis\, Theaster Gates\, Linda Goode Bryant\, Lauren Halsey\, Titus Kaphar\, Rick Lowe\, Christie Neptune\, Alexandria Smith\, and Carrie Mae Weems. \nSocial Works considers the relationship between space—personal\, public\, institutional\, and psychic—and Black social practice. With a wide range of material and theoretical approaches\, the work on view is united by a conscious engagement with today’s cultural moment\, in which numerous social factors have converged to produce a heightened urgency for Black artists to utilize space as a community-building tool and a means of empowerment. \nKnown for his masterful use of light\, shadow\, and space\, as well as his integration of diverse forms\, David Adjaye approaches architecture as a way to promote inclusive accessibility and to reflect upon the human legacies embedded in the built past. Asaase (2021)\, his first large-scale autonomous sculpture\, is a maze of nested earthen walls that climb to a conical vertex\, referencing historic works of West African architecture such as the Tiébélé royal complex in Burkina Faso and the walled city of Agadez in Niger. \nTheaster Gates’s installation is dedicated to the legendary DJ Frankie Knuckles\, the “Godfather of House Music” whose pioneering sounds shaped the Black- and queer-led 1980s house music scene. A collaboration with the Rebuild Foundation—Gates’s Chicago-based nonprofit organization focused on art\, cultural development\, and neighborhood transformation—the work features a special display of over five thousand records from Knuckles’s personal archive\, many of which will be digitized as they play in the gallery. \n\nThroughout her fifty-year career which includes opening Just Above Midtown\, one of the first galleries in New York to focus on work by artists of color\, in 1974\, Linda Goode Bryant has created spaces that allow Blackness to resonate across personal\, official\, and public domains. Made in collaboration with architect Elizabeth Diller\, Goode Bryant’s Are we really that different? (2021)—an installation featuring an operational farm and a new video—brings together her work as a filmmaker and gallerist with Project EATS\, the urban farming organization she founded in 2009\, highlighting the symbiotic\, and often parasitic\, relationships between humans and nature that arise in the modern industrial world. \nLauren Halsey draws on Afrofuturism\, funk\, and her South Central Los Angeles roots to construct radical visions of urban life. Halsey’s “box” sculptures comprise acrylic blocks emblazoned with colorful fragments of commercial signage\, graffiti\, and other examples of the community-based hieroglyphics that give visual life to her neighborhood. They acknowledge South Central’s past as well as its imagined future\, but also conjure an improvisational fantasy space where imagination\, celebration\, and self-reinvention are collective phenomena. \nTitus Kaphar’s art deconstructs existing representations and styles\, seeking to dislodge history from its status as “the past” in order to understand its continued impact on the present. In 2015\, Kaphar cofounded NXTHVN\, a nonprofit arts hub in Dixwell\, New Haven\, Connecticut\, that provides fellowships\, residencies\, and professional development opportunities to artists\, curators\, and students. For Social Works\, Kaphar presents his painting A bitter trade (2020)\, which he whitewashed for a live NXTHVN event in 2020. \nAlongside Kaphar’s painting is a selection of diverse artworks by five artists\, all former NXTHVN Studio Fellows\, that offer fresh meditations on the Black body’s use of space. Overlaying literary and archival materials atop photographs\, Zalika Azim explores personal and collective narratives as an avenue for investigating their larger effects on memory\, lineage\, possibility\, and belonging. Allana Clarke’s sculptures and performances destabilize ideas of beauty\, care\, and labor\, seeking to replace them with an unbounded approach to physical and psychological existence. Weaving the written word—both materially and conceptually—into intricate drawings\, Kenturah Davis underlines the fundamental role that language plays in the shaping of personal and public identity. Christie Neptune’s photography and video works capture precise moments\, drawing attention to the charged interactions between society’s structures and those that they categorize and constrain. Populating shaped canvases with sleek forms that recall the medium of collage\, Alexandria Smith’s dreamlike allegorical paintings visualize the many unspoken roles\, contradictions\, and uncertainties impressed upon the Black female body. \nRick Lowe’s abstract paintings allude to a phenomenon that he terms “domino culture”: the social spark and unique joining of lives that comes about through the game. Lowe\, who founded the art-based community platform Project Row Houses in the Third Ward of Houston\, Texas\, brings his approach to social commitment to a new series of canvases that memorialize the 1921 Tulsa\, Oklahoma\, massacre—where white supremacists razed the city’s Greenwood District\, the prosperous neighborhood known as “Black Wall Street”—and commemorate the resilience of the survivors who rebuilt their hometown from the ground up. \nIn Carrie Mae Weems’s photographic series Roaming (2006) and Museums (2006–)\, the artist—clad in a flowing black dress and facing away from the camera—appears at numerous sites: Roman palazzos\, rustic paths\, and stately museum facades. Poetic and emotionally charged\, the images meditate on the “edifices of power” that racialize\, sexualize\, and confine the human body. Yet Weems’s presence holds a calm dominion over these expansive spaces; she inhabits and confronts each site with quiet dignity\, asserting her indelible freedom to roam. \n\nImage:\nInstallation view\, Social Works curated by Antwaun Sargent at Gagosian 555 West 24th Street\, New York\, June 24 – August 13\, 2021.\nPhoto: Rob McKeever. Courtesy Gagosian. \n\n\n  Save  
URL:https://artinamericaguide.com/event/social-works-curated-by-antwaun-sargent/
LOCATION:Gagosian 555 West 24th St\, 555 W. 24th St\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210624
DTEND;VALUE=DATE:20210807
DTSTAMP:20260406T193228
CREATED:20210707T170353Z
LAST-MODIFIED:20210707T170425Z
UID:82752-1624492800-1628294399@artinamericaguide.com
SUMMARY:Frank Gehry | Spinning Tales
DESCRIPTION:  \n“When I built the first model of the fish\, I saw in it the movement that I was looking for. It was startling that a static object could express motion in such a dynamic way.”\n—Frank Gehry \nGagosian is pleased to present Spinning Tales\, an exhibition of new work by renowned architect Frank Gehry. It pairs large-scale elaborations on the Fish Lamps series with a new installation\, Wishful Thinking (2021)\, and is Gehry’s eighth exhibition with the gallery since 1999. \nCelebrated for his groundbreaking architectural designs\, Gehry has also produced significant bodies of sculpture and furniture\, from Easy Edges (1969–73) and Experimental Edges (1979–82)—chairs and tables made from layers of corrugated cardboard—to bentwood furniture items designed for Knoll (1989–92). The Fish Lamps evolved from a 1983 commission by the Formica Corporation to utilize ColorCore\, a type of plastic laminate. After accidentally breaking off a shard of the material\, Gehry was inspired by its scale-like appearance; molding wire armatures into piscine forms\, he affixed ColorCore fragments to them. \nIn the main gallery\, three outsize\, internally illuminated Fish Lamps sculptures are suspended from the ceiling in dynamic\, twisting poses\, as if swimming through water. In these works\, Gehry has used polyvinyl and copper for the first time. These central forms are surrounded by lively\, colorful sculptures that are more baroque in their ornamentation. While these sculptures are autonomous works\, the “perfect form” of the creature that they emulate reappears throughout Gehry’s architectural oeuvre\, lending itself to the undulating profiles of buildings including the Guggenheim Bilbao\, Spain (1997)\, and the Walt Disney Concert Hall\, Los Angeles (2003). \n\nFilling the upstairs gallery is the immersive installation Wishful Thinking\, based on a scene from Alice’s Adventures in Wonderland. Gehry renders the Mad Hatter’s tea party as a group of ten surreal figures\, twice life-size. Fashioned from brilliantly painted metal\, Gehry’s abstracted interpretations of Carroll’s original characters surround an internally lit table\, the glowing heart of the scene. Three overlapping woven steel “tapestries” of trees evoke the episode’s forest setting\, while a mirror on the opposite wall implicates the viewer. The crumpled surfaces of Wishful Thinking’s figures establish a new visual connection with some of Gehry’s best-known designs. \n\nImage:\nInstallation view\, Frank Gehry: Spinning Tales at Gagosian Beverly Hills\, June 24 – August 6\, 2021.\n© Frank Gehry. Photo: Joshua White. Courtesy Gagosian. \n\n\n  Save  
URL:https://artinamericaguide.com/event/frank-gehry-spinning-tales/
LOCATION:Gagosian Beverly Hills\, 456 North Camden Drive\, Beverly Hills\, CA\, 90210\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210624
DTEND;VALUE=DATE:20210807
DTSTAMP:20260406T193228
CREATED:20210707T170032Z
LAST-MODIFIED:20210707T170103Z
UID:82751-1624492800-1628294399@artinamericaguide.com
SUMMARY:Nancy Rubins | Fluid Space
DESCRIPTION:“I realized that this stuff has been around a long time\, and it’s passed through this odd transition. Before it was in the earth\, it was floating as a molecule in outer space—it was part of somebody’s star\, or part of somebody’s exploding planet.”\n—Nancy Rubins \nGagosian is pleased to present Fluid Space\, an exhibition of recent sculptures and drawings by Nancy Rubins. \nSince the late 1970s\, Rubins has transformed industrial and found objects—everything from television sets and airplane parts to canoes and carousel animals—into engineered abstractions following rhizomatic patterns. Her first public project\, Big Bil-Bored (1980) was commissioned for the Cermak Plaza shopping center in Berwyn\, Illinois\, and she has continued to work on a large scale ever since; Big Pleasure Point\, a structure composed of more than sixty small water vessels\, was installed outside New York’s Lincoln Center for the Performing Arts in 2006. \nIn Fluid Space (2019–)\, the series from which the exhibition takes its title\, Rubins uses the same cast metal animals that appeared in her Diversifolia series (2016–18)\, now sliced into fragments that expose their seams and undersides\, calling further attention to the shape-shifting potential of the metal itself. These quasi-organic structures bloom from tables and stools\, recalling works such as Table & Airplane Parts (1990–2011)\, which incorporate architectural foundations from which disparate elements emerge. \n\nIn sculptures such as Fizzy’s Nebuli and Noir’s Cluster (both 2019)\, parts of the cast animals are bound together by webs of tensile cables\, producing configurations that are no longer legible as fauna\, reading instead as structures that approximate rosebuds or ivy tendrils. The sculptures’ titles also emphasize their correspondence with cosmic and cellular phenomena. In these and other works\, Rubins testifies to her chosen materials’ resilience while also hinting at ongoing processes of change. \nAlso on view are large-scale and smaller unmounted drawings on paper\, fixed directly to the wall in Rubins’s customary manner. She covers the entire surface of the thick paper with graphite\, producing a dense\, shiny\, steel-gray expanse that bears traces of her hand and gives the impression of bottomless depth. In the larger drawings\, multiple sheets of paper are combined and folded so that they arc away from the wall\, echoing the forms of some sculptures. \n\nImage:\nInstallation view\, Nancy Rubins: Fluid Space at Gagosian Beverly Hills\, June 24 – August 6\, 2021.\n© Nancy Rubins. Photo: Joshua White. Courtesy Gagosian.\n \n\n\n  Save  
URL:https://artinamericaguide.com/event/nancy-rubins-fluid-space/
LOCATION:Gagosian Beverly Hills\, 456 North Camden Drive\, Beverly Hills\, CA\, 90210\, United States
CATEGORIES:Exhibition
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GEO:34.0696996;-118.4047633
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Gagosian Beverly Hills 456 North Camden Drive Beverly Hills CA 90210 United States;X-APPLE-RADIUS=500;X-TITLE=456 North Camden Drive:geo:-118.4047633,34.0696996
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210622T180000
DTEND;TZID=America/Halifax:20210622T200000
DTSTAMP:20260406T193228
CREATED:20210603T210024Z
LAST-MODIFIED:20210603T210024Z
UID:81453-1624384800-1624392000@artinamericaguide.com
SUMMARY:Discovering Your Creative Photographic Path-Remote Learning
DESCRIPTION:These Zoom sessions will fully reflect the same content as with the on-ground workshops offered by the FMoPA institute. \nMost beginning photographers tend to randomly capture images of everything they see and experience\, resulting in confusing portfolios of single photographs and a lack of strong intellectual and aesthetical bodies of work. This intensive 3-weeks workshop is designed to encourage all students to find their unique creative voices\, resulting in solid directions for the future and applicable projects for everyone regardless of experience. \nCreative photography is a process\, one that utilizes a simple approach to establishing photography projects\, otherwise known as concepts. Four keywords\, WHY\, WHAT\, HOW and WHO serve as the foundation in forming intellectually and aesthetically resolved bodies of fine artwork. Finding your own creative voice is the result of applying this simple method to your photography projects\, not an elusive born talent\, but rather a process that involves writing simple artist statements\, researching a particular subject matter or techniques and experimenting with the aesthetics of an idea\, your idea. After an initial review of images\, each student will be encouraged to pursue a single idea or project\, resulting in a fully resolved mini body of work by the end of the workshop. Sequencing of images\, simple artist statements and presentation ideas will be explored throughout. \n  Save  
URL:https://artinamericaguide.com/event/discovering-your-creative-photographic-path-remote-learning-5/
LOCATION:Florida Museum of Photographic Arts\, 400 N Ashley Dr Cube 200\, Tampa\, FL\, 33602\, United States
CATEGORIES:Virtual Events + Viewing Rooms
GEO:27.9472272;-82.4606362
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Florida Museum of Photographic Arts 400 N Ashley Dr Cube 200 Tampa FL 33602 United States;X-APPLE-RADIUS=500;X-TITLE=400 N Ashley Dr Cube 200:geo:-82.4606362,27.9472272
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210622
DTEND;VALUE=DATE:20210718
DTSTAMP:20260406T193228
CREATED:20210625T153416Z
LAST-MODIFIED:20210625T153416Z
UID:82134-1624320000-1626566399@artinamericaguide.com
SUMMARY:Katharine Dufault: To Be In The Same World
DESCRIPTION:The selection of recent paintings by Katharine Dufault seen in her solo exhibition at The Painting Center display a deep connection to nature as a source of inspiration. Encountering these quiet confident paintings one can imagine that the title of the exhibition\, To Be In The Same World\, reveals the artist’s deep connection to the natural world beyond the mere depiction of nature and that this connection feels both poetic and transcendental. \nDufault demonstrates a skillful and reductive approach to landscape. The results which appear deceptively simple display flattened graphic elements of trees\, horizon and sky. It is no easy task to render the deep space of a mountain valley with surrounding hills and attendant copse of trees in a manner that strips the whole scene down to its very bones as seen in Full Moon On Quiet Trees. But the viewer is rewarded with Dufault’s practice of employing color as content and shape as feeling. The results feel insightful and personal. \nThese paintings\, which cross boundaries into complete abstraction and back again in their pictorial range\, speak to the universal and aspirational impact the natural could can have on our collective waking and unconscious mind. There is a certain mild invitation for the viewer to enter the scene and fill in the brushwork with one’s own content and feeling. That the artist might have felt rapture while encountering a scene out in the wild is of no help to us in seeing what she has seen\, or feeling what she has felt. But viewing the paintings she has brought back from her imagination transport us with her in the idealizing desire to hold still in our mind that which a cannot be held at all. These pictures are remarkable in their modest power of suggestion. \nWhen considering Dufault’s landscape artworks I am reminded of the painter Milton Avery (1885-1965) and his wife the painter Sally Michel (1902 – 2003) who both expressed their interest in color as content and shape as feeling with their explorations in landscape\, still life and portraiture. Their bold reductive and indelible artworks were in turn inspired by Matisse in ways that remove formal distractions in a composition and focus instead on the primacy of form and color. Avery’s work had influenced many of the abstract expressionists who championed radical approaches to rendering paintings that were closer to visual poetry than a slavish devotion to literal representation. One can see that legacy of vision here as well. \nThe title of the exhibition\, To Be In The Same World is also the name of a poetry anthology by the poet Peter Kane Dufault (1923 – 2013). His poems were published in signifiant periodicals and were celebrated and highly regarded yet he remained relatively unknown throughout his career. He was the artist’s father-in-law and her familiarity with the poet’s work reveals a personal approach to how these paintings might render a visual kind of poetry. The artist has stated her resonance with many of the poems. Such as Acer Americanus – \nIs this all there is —\na ubiquitous Carbon driving\ninto the highest forks of the maples\nand the highest offices hunting\nempires of sunlight and water or money and blood\nfor ballast against the moon?\nOr have I been too long under these trees? \nKatharine Dufault’s deft handling of paint reveals her poetic predilections such as in Midwinter ll\, Morning Gesture and Poet’s Walk\, three paintings depicting the structure of trees in striking ways. Although small in scale\, Midwinter ll and Morning Gesture present intimate backlit senes where the simple idea of trees has been transfigured into the sinew of single gestures from a brush\, poetry indeed. Larger in scale\, Poet’s walk presents a harrowing verdant green path though a pink floored forest of bare trees\, a di Chirico like space of hard shadows in washes and stripes and bright light\, daring us to walk forward and accept whatever fate has waiting beyond. The Moon appears in a dozen or so of the paintings\, as a familiar sojourner halting the motion of the senes while casting its pale crepuscular illumination. It is a signifier of time\, here seen at its fullest yet bound to circle though the sky in phases\, moving tides and bodies. We see the moon here again\, holding still that which cannot be held within an intimate frame. Ms. Dufault shows us her vision of the natural world as a way to know one’s own feelings about existing in that world. That is to say that Ms. Dufault embraces being out there as a means to find one’s place within ourselves. Along with other evocative landscapes and several expressive portraits\, To Be In The Same World shows an artist reveling in the poetry of painting. \n-Henry Mandell\, Oregon Coast 2021 \nFor more information\, visit www.katharinedufault.com \n  Save  
URL:https://artinamericaguide.com/event/katharine-dufault-to-be-in-the-same-world/
LOCATION:The Painting Center\, 547 W 27th\, Suite 500\, New York\, New York\, 10001\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210622
DTEND;VALUE=DATE:20210718
DTSTAMP:20260406T193228
CREATED:20210625T152531Z
LAST-MODIFIED:20210625T152911Z
UID:82132-1624320000-1626566399@artinamericaguide.com
SUMMARY:Anki King: Waiting
DESCRIPTION:The Painting Center is pleased to present Waiting\, a group of recent figurative works by painter Anki King\, on view from June 22 to July 17\, 2021 in the Project Room. \nGrowing up in a small town in Norway\, as a child\, King heard stories about trolls\, nisse\, and other magical beings who lived in the forest. The magic and mystery\, color\, and general feeling of that place are still very much a part of who she is and it shows in her work. The imagery in these recent paintings is discovered through the process of creation. King works on loose canvas stretched and stapled to the studio wall and often starts by smearing bright patches of thin paint over the whole surface. \nThe physicality of King’s work is equally adventurous. The rugged texture and blue light in this series of paintings have a strong connection to the nature where she grew up. These are not surfaces painted by design\, but rather arrived at through a process of trial and error. There is no uniform format or size to these paintings. For over twenty years\, she has been in the perpetual condition of challenging herself to do things differently from one painting to the next. At the same time\, she has been building a robust toolbox of painterly technique all her own by making changes\, waiting and watching for the unexpected to suggest itself. \nMost of the figures in this exhibit appear covered by a sheet. The shroud can be protection\, or a way of creating distance\, and also makes for an alluring mystery. Even though they are faceless\, the figures still communicate directly and urgently with the viewer\, almost challenging those who look their way.  There is no movement in the figure\, no wind catching their sheets\, but the brushwork is lively and tactile and allows for motion in the paint itself. Time is required in the meeting with these characters\, they give up their secrets slowly. If one is willing to pause\, there might be a whisper of meaning\, a chance to connect and gain understanding. \nAnki King has exhibited frequently in the US and abroad. In 2010 she won the London International Creative Competition. In 2019 she was featured as one of nineteen Norwegian contemporary artists in Kunstnerliv\, which was voted the best art book of the year in Norway. She will represent Norway in the 19th Asian Art Biennale 2021\, in Bangladesh. She is also featured in the documentary Artists in NYC\, available on Amazon. \nFor more information\, visit www.ankiking.com. \n  Save  
URL:https://artinamericaguide.com/event/anki-king/
LOCATION:The Painting Center\, 547 W 27th\, Suite 500\, New York\, New York\, 10001\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2017/04/ThreeFigures32x66oiloncanvas2019.jpg
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