BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Art in America Guide - ECPv6.7.0//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-WR-CALNAME:Art in America Guide
X-ORIGINAL-URL:https://artinamericaguide.com
X-WR-CALDESC:Events for Art in America Guide
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/Halifax
BEGIN:DAYLIGHT
TZOFFSETFROM:-0400
TZOFFSETTO:-0300
TZNAME:ADT
DTSTART:20230312T060000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0300
TZOFFSETTO:-0400
TZNAME:AST
DTSTART:20231105T050000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0400
TZOFFSETTO:-0300
TZNAME:ADT
DTSTART:20240310T060000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0300
TZOFFSETTO:-0400
TZNAME:AST
DTSTART:20241103T050000
END:STANDARD
TZID:America/Chicago
BEGIN:DAYLIGHT
TZOFFSETFROM:-0600
TZOFFSETTO:-0500
TZNAME:CDT
DTSTART:20230312T080000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0500
TZOFFSETTO:-0600
TZNAME:CST
DTSTART:20231105T070000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260403T230943
DTEND;TZID=America/New_York:20250920T170000
DTSTAMP:20260403T230943
CREATED:20250722T184747Z
LAST-MODIFIED:20250722T184747Z
UID:114023-0-1758387600@artinamericaguide.com
SUMMARY:August-September @ Art Works!
DESCRIPTION:Throughout August Art Works is open to the public\, offering a variety of engaging exhibits. Adam and Anita Bradley present life-size figurative sculptures and paintings capturing a chaotic world. Mike Bily’s exhibit investigates ecosystems; Sharon Denmark captures light flowing through glass. Rachel Rowden exhibit is a portal of mysteries and Rebecca Visger provides a view from behind the wheel. Blake Bottoms exhibit is featured in the Community Bridge Project. \n  \nJoin us for a fun-filled scavenger hunt with prizes\, perfect for both the young and the young at heart. The activity culminates with prizes for all who participate. We also offer figure drawing sessions on the 1st and 3rd Sundays and Queer Life Drawing at Gold Lion Community Café on August 20th.  \n  \nBradley + Bradley: The Weight of Vanishing Shadows \nAdam and Anita Bradley explore the human condition through their unique mediums. Adam presents life-sized figurative sculptures in wood\, steel\, ceramics\, and smaller bronze pieces\, reflecting themes of anxiety\, loss\, and grief. Anita complements this with layered paintings and mixed media collages\, capturing the struggle for order in a chaotic world. Their intertwined approaches invite contemplation of deep human experiences. \n  \nThe exhibition will be in the Jane Sandelin Gallery at Art Works and will continue through September 20\, 2025. \n  \n  \nArtifacts by Anne Chamblin \nAnne Chamblin’s work is about merging sight and feeling. For her\, painting is a way to process what she experiences. She brings spaces\, places\, and faces to life on canvas\, turning bodies into landscapes and using layers to hint at the passage of time. Anne constantly reworks her paintings\, always keeping a bit of the past to shape the present. Her journey is grounded in everyday experiences\, resulting in unique\, relatable art. \n  \nThe exhibit will be in the Centre Gallery at Art Works through September 20\, 2025. \n  \n  \n  \n  \n  \nBetween Worlds by Hannah Anderson \n  \nAmerican abstract artist Hannah Anderson (b. 1953)\, raised in the simplicity of a Quaker household\, rediscovered her love for painting in 1990 with a Crayon watercolor set. Self-taught and inspired by contemporary artists\, her work reflects the light and dark periods of her life\, blending elements of nature and archetypal symbols from healing traditions. Her debut exhibit\, Between Worlds\, explores the liminal space between worlds and relationships. Hannah resides in Richmond\, Virginia\, and finds inspiration in Taos\, New Mexico. \n  \nThe exhibit will be in the Corner Gallery at Art Works through September 20\, 2025. \n  \n\nMental Health Matters: Celebrating Resilience Through Art All Media Show\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 and all mediums. \n  \nIn August the theme is Mental Health Matters: Celebrating Resilience Through Art. The community has donated terrific items that we will be auctioning to benefit NAMI\, and Art Works will donate the sales from the All Media Show to NAMI. \nWonJung Choi an international artist and educator\, will be the juror for the exhibit. Wonjung Choi is a Korean-born\, Virginia-based artist whose multidisciplinary work delves into the complexities of identity formation in a globalized world. See more on WonJung’s website: Click here. \n  \nCall for entries is July 15  – August 10\, 2025\, and may be submitted through the online form. The exhibit will be in the Port Gallery at Art Works through September 18\, 2025. Check our website for details on submitting artwork:  Call for Entries \n  Save  
URL:https://artinamericaguide.com/event/august-september-art-works-2/
LOCATION:Art Works\, 320 Hull Street\, Richmond\, VA\, 23224\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/07/PR-2025.08-Anne-Chamblin-scaled.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/New_York:20260403T230943
DTEND;TZID=America/New_York:20250926T200000
DTSTAMP:20260403T230943
CREATED:20250903T144946Z
LAST-MODIFIED:20250903T144946Z
UID:114439-0-1758916800@artinamericaguide.com
SUMMARY:4th Friday Art Shows and Opening Reception @ Art Works!
DESCRIPTION:4th Friday September 26th at Art Works \n  \nJoin us on September 26\, 2025 from 6 p.m. to 8 p.m. for an exciting opening reception of our new exhibits at Art Works. Meet the talented artists\, and enjoy live music\, refreshments\, and libations sponsored by RVA Thriving Artists.  The featured artists are Adam Reinhart\, Jen Cook-Asaro\, Sarah Miller\, Tatiana Grace\, Kenneth Lee\, and experiment with interactive art by RVA Game Jams. \n  \nThis event is free and open to the public. Convenient and free parking is available. The exhibits will continue through October 18\, 2025. \n  Save  
URL:https://artinamericaguide.com/event/4th-friday-art-shows-and-opening-reception-art-works-56/
LOCATION:Art Works\, 320 Hull Street\, Richmond\, VA\, 23224\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/08/PR-2025.09-Game-Jam-scaled.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/New_York:20260403T230943
DTEND;TZID=America/New_York:20250927T180000
DTSTAMP:20260403T230943
CREATED:20250811T200044Z
LAST-MODIFIED:20250811T200044Z
UID:114212-0-1758996000@artinamericaguide.com
SUMMARY:Heather Stivison\, “Ebb & Flow”\, a Solo Exhibition
DESCRIPTION:In this her third New York City solo exhibition\, Heather Stivison explores the intersection of environmental science and visual art with a series of immersive paintings of the ocean. \nStivison paintings capture the essence of water—something clear and colorless\, with its shape formed entirely by the external forces of objects\, land\, wind\, gravity. Searching for water’s most primary qualities\, she uses light\, color\, form\, shape\, line\, to engender a sense of water. Fluidity\, reflections\, rhythms are evident in her ocean surface paintings. Stivison is fascinated by the reflections and patterns created by the coastal ocean surface. She paints variations on patterns\, exploring how much she can change them and still maintain the sense that the subject is surface water. \nCurator and director of Manhattan Arts International Renee Phillips writes: \n“Stivison ventures beyond nature’s physical boundaries into abstraction with the profusion of free-flowing biomorphic patterns and tonal ranges. In her paintings the innate attributes of water evolve into metaphors\, symbolism and visual poetry.” \nThe exhibition includes a massive 110-inch quadriptych that explores the sense of weightlessness and mystery that she finds in the imagining unknown ocean depths. Other paintings explore surface water patterns as abstract design. \nIndependent curator Kathy Imlay writes: \n“Stivison’s paintings have a luminous glow—accomplished by the artist building up layer upon layer of viscous paint\, which she pours\, smears\, scrapes and otherwise manipulates to create fields of color that conjure the watery depths of the ocean or intergalactic space\, depending on the palette.” \nSome of the paintings on view are the result of her multi-year\, grant funded collaboration with Noah Germolus\, a scientist at Woods Hole Oceanographic Institute who was researching ocean chemistry. Stivison created two paintings about him and his work\, and four five-foot paintings that interpret his research data in paint. \nThe collaboration led to a unique special feature of this exhibition. After Stivison interpreted his data in paint\, he in turn\, interpreted four of her paintings in music. The exhibition includes an on-demand sound installation of original jazz music composed and performed by Germolus. \n  Save  
URL:https://artinamericaguide.com/event/heather-stivison-ebb-flow-a-solo-exhibition/
LOCATION:Pleiades Gallery\, 547 W 27th St. Suite 304\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/08/stivison-heather_Coastal-Surface-Community_48x60_Oil-over-Acrylic-on-Canvas.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260403T230943
DTEND;TZID=America/New_York:20251018T170000
DTSTAMP:20260403T230943
CREATED:20250903T144946Z
LAST-MODIFIED:20250903T144946Z
UID:114443-0-1760806800@artinamericaguide.com
SUMMARY:September - October Exhibits @ Art Works!
DESCRIPTION:Now showing six new exhibits. The featured artists are Adam Reinhart\, Jen Cook-Asaro\, Sarah Miller\, Tatiana Grace\, Kenneth Lee\, and experiment with interactive art by RVA Game Jams. Also see 80+ working artist studios. \nVisit us Tuesdays through Sundays 11am- 5pm. Admission is free and open to the public. Convenient and free parking is available. The exhibits will continue through October 18\, 2025. \n  Save  
URL:https://artinamericaguide.com/event/september-october-exhibits-art-works-4/
LOCATION:Art Works\, 320 Hull Street\, Richmond\, VA\, 23224\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/08/PR-2025.09-Game-Jam-1-scaled.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/New_York:20260403T230943
DTEND;TZID=America/New_York:20251122T170000
DTSTAMP:20260403T230943
CREATED:20250908T192551Z
LAST-MODIFIED:20250908T192551Z
UID:114572-0-1763830800@artinamericaguide.com
SUMMARY:October - November Exhibits @ Art Works!
DESCRIPTION:Now showing six new exhibits. The featured artists are Blake Seals\, Felicia L. Reed\, Adam Reinhard\, Sorvino\, and Tobi Holtslag. Also see 80+ working artist studios. \nVisit us Tuesdays through Sundays 11am- 5pm. Admission is free and open to the public. Convenient and free parking is available. The exhibits will continue through November 22nd 2025. \n  Save  
URL:https://artinamericaguide.com/event/october-november-exhibits-art-works-5/
LOCATION:Art Works\, 320 Hull Street\, Richmond\, VA\, 23224\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/09/PR-2025.10-Chris-Semtner-3-scaled.jpg
ORGANIZER;CN="Art Works":MAILTO:jessie@artworksrva.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/New_York:20260403T230943
DTEND;TZID=America/New_York:20260221T180000
DTSTAMP:20260403T230943
CREATED:20260120T172859Z
LAST-MODIFIED:20260120T172859Z
UID:115685-0-1771696800@artinamericaguide.com
SUMMARY:Robert Braczyk: Cardinal Directions
DESCRIPTION:Exhibition Dates: January 27 – February 21\, 2026\nOpening Reception: Thurs.\, January 29\, 2026\, 5PM-8PM\nArtist Talk: Saturday\, February 14\, 2026\, 3PM-4PM\nGallery Hours: Tuesday – Saturday\, 11AM-6PM \nBowery Gallery is pleased to present “Cardinal Directions\,” an exhibition of new sculpture by Robert Braczyk.  \nFor many years a prize-winning figurative sculptor\, in recent years Braczyk has turned to abstraction. In his new work—most about 24 inches high—he assembles various tree elements into vertical compositions that echo figural forms\, but whose abstract vocabulary of open volumes and discontinuous contours suggests the possibility of multiple allusions. Each work evinces a powerful spatial tension between the cardinal point from which it is begun and the complex three-dimensional image that Braczyk builds with primary thrust\, axis\, and meridian.  \nBraczyk’s trajectory from figure to abstract figure may be seen as a temporal through line connecting the events of a life. The artist’s comment that he brings all his life’s experiences into the studio reminds us that in the long arc of his career\, the spatial and temporal are never far apart. \nView the exhibition website. \n  \nBowery Gallery\n547 W. 27th Street\, Suite 508\nNew York\, NY 10001 \n  Save  
URL:https://artinamericaguide.com/event/robert-braczyk-cardinal-directions/
LOCATION:Bowery Gallery\, 547 W 27TH ST Suite 508\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/01/Braczyk_Reel_for_eVite-and_Web_landing-page-scaled.jpg
ORGANIZER;CN="Bowery Gallery":MAILTO:info@bowerygallery.org
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/New_York:20220722T110000
DTEND;TZID=America/New_York:20240804T180000
DTSTAMP:20260403T230943
CREATED:20220622T153511Z
LAST-MODIFIED:20240229T212126Z
UID:94138-1658487600-1722794400@artinamericaguide.com
SUMMARY:Evergreen: Art from the Collection
DESCRIPTION:Evergreen: Art from the Collection celebrates SJMA’s collection as both a gift to and a product of its community. This dedicated gallery space\, which provides long-term access to the Museum’s collection\, honors the community members who rallied together to establish the Museum; the artists who trust us to care for their visions; the generous donors who helped to build the collection; the generations of students who have visited; the volunteers and staff who have contributed; and the breadth of community experiences that give ongoing meaning to the works. \nLocated in the Museum’s historic building—formerly the city’s post office and library—Evergreen highlights the Museum’s growing collection and the numerous San José stories it tells. The gallery features such works as rafa esparza’s Yosi con Abuela (2021)\, a recently acquired portrait on adobe of the East San José poet and activist Yosimar Reyes with his grandmother. Also on view are Resident Alien (1988) by Hung Liu\, the beloved Bay Area artist and longtime friend of SJMA\, and Louise Nevelson’s monumental Sky Cathedral (1957–58)\, a centerpiece of the Museum’s collection. The gallery also includes access points to the free digital collection catalog 50×50: Stories of Visionary Artists from the Collection\, which highlights the stories and impact of artists in the Museum’s collection. \n  Save  
URL:https://artinamericaguide.com/event/evergreen-art-from-the-collection/
LOCATION:San Jose Museum of Art\, 110 S. Market Street\, San Jose\, CA\, 95113\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/06/4l2a0282_1.jpeg
GEO:37.3327419;-121.8905201
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=San Jose Museum of Art 110 S. Market Street San Jose CA 95113 United States;X-APPLE-RADIUS=500;X-TITLE=110 S. Market Street:geo:-121.8905201,37.3327419
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230128
DTEND;VALUE=DATE:20231002
DTSTAMP:20260403T230943
CREATED:20230123T193027Z
LAST-MODIFIED:20230123T193027Z
UID:101496-1674864000-1696204799@artinamericaguide.com
SUMMARY:Andrea Chung: if they put an iron circle around your neck I will bite it away
DESCRIPTION:In a new multiroom installation\, artist Andrea Chung confronts the legacy and trauma of slavery from the perspective of an Afrofuturist utopia. \nFor this work\, Chung activates the possibility of a new world\, a “Black Atlantis” called Drexciya\, to subvert the horrors of the transatlantic slave trade. Drexciya is an underwater world populated by the amphibious offspring of women thrown from slave ships during the Middle Passage. It was conceived by the eponymous and enigmatic electronic music duo active in Detroit in the 1990s and early 2000s. \nChung’s installation is a meditation on the laws of Black physics. It highlights the ways Black people relate and respond to time and space in order to navigate a world full of dangerous and harmful systems. Within her evocation of this watery realm we can inhabit imagined pasts\, presents\, and futures to craft alternative realities forged by liberation\, adaptation\, resilience\, defiance\, and survival. \nImage: Andrea Chung\, Filthy Water Cannot Be Washed\, 2017; cyanotype and watercolor; 88 x 240 in. Courtesy of the artist. \n  Save  
URL:https://artinamericaguide.com/event/andrea-chung-if-they-put-an-iron-circle-around-your-neck-i-will-bite-it-away/
LOCATION:John Michael Kohler Arts Center\, 608 New York Avenue\, Sheboygan\, WI\, 53081\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/01/ex.chu_.2023.5006.jpg
ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230131T110000
DTEND;TZID=America/New_York:20230728T170000
DTSTAMP:20260403T230943
CREATED:20230110T165222Z
LAST-MODIFIED:20230110T165222Z
UID:101392-1675162800-1690563600@artinamericaguide.com
SUMMARY:When We All Stand
DESCRIPTION:The exhibition\, When We All Stand\, focuses on the collective power of the arts to address complex issues in society and demonstrates the ability of art and artists to chart a path for social change.  Artists often lead the charge and expose truths that may otherwise be ignored. The artists in this exhibition take a stand and call out injustices through their art and activism on issues such as immigration\, gender\, reproductive rights\, mass incarceration\, voting rights\, racial bias\, gun violence and promises unfulfilled. They take action by creating national campaigns for justice\, organizing public art protests\, connecting with their local community\, or joining forces with national organizations. Some make demands on government\, politicians\, policies\, or institutions while others make demands on society and individuals to join them in the fight for justice; still others focus on cultural development as a process that cultivates democracy and unity. They all combine the making of art with public service that has a grassroots approach in the hope of mobilizing their communities and the nation to ignite movement\, create awareness\, and inspire others to stand with them.  Artists included in the exhibition are Emma Amos\, Molly Crabapple and the Equal Justice Initiative\, For Freedoms\, Miguel Luciano\, Michele Pred\, Hank Willis Thomas\, and Sophia Victor. \nThe Hofstra University Museum of Art’s programs are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature. \nAdmission is free. \nGallery Hours: \nEmily Lowe Gallery\nBehind Emily Lowe Hall\, South Campus \nTuesday-Friday\, 11 a.m.-4 p.m. • Saturday and Sunday\, noon-4 p.m. \n  Save  
URL:https://artinamericaguide.com/event/when-we-all-stand/
LOCATION:Emily Lowe Gallery at Hofstra University\, 112 Hofstra University\, Hempstead\, NY\, 11549\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2023/01/When-We-all-Stand-Flyer-1.31.23-7.28.23.png
ORGANIZER;CN="Hofstra University Museum of Art":MAILTO:museum@hofstra.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230217T080000
DTEND;TZID=America/Halifax:20230723T170000
DTSTAMP:20260403T230943
CREATED:20230109T180809Z
LAST-MODIFIED:20230109T180809Z
UID:101311-1676620800-1690131600@artinamericaguide.com
SUMMARY:Thinking Small: Dutch Art to Scale
DESCRIPTION:Thinking Small: Dutch Art to Scale explores an intriguing selection of objects from the 17th-century Netherlands that were designed to elicit slow\, intimate\, and contemplative engagement on the part of their original audiences. This student-curated exhibition features small-scale works in various media drawn from the rich holdings of the Yale University Art Gallery and other collections across campus\, as well as the Center for Netherlandish Art at the Museum of Fine Arts\, Boston\, and a private collection. Amid the global expansion of Dutch commerce in this period\, diagrams and maps miniaturized large geographic areas\, and botanical books bore witness to their makers’ meticulous study of the natural world. Paintings filled with minute details enticed viewers to move close and scrutinize the image\, while medals that were meant to be held in the hand served as cherished commemorative tokens. In their size or intricacy\, the objects in Thinking Small compel viewers to reconsider their relationship to the world around them. \n  Save  
URL:https://artinamericaguide.com/event/thinking-small-dutch-art-to-scale/
LOCATION:Yale University Art Gallery\, 1111 Chapel St\, New Haven\, CT\, 06510\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/01/ag-obj-9892-0001-pub.jpg
ORGANIZER;CN="Yale University Art Gallery":MAILTO:artgalleryinfo@yale.edu
GEO:41.30839;-72.930958
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Yale University Art Gallery 1111 Chapel St New Haven CT 06510 United States;X-APPLE-RADIUS=500;X-TITLE=1111 Chapel St:geo:-72.930958,41.30839
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230217T100000
DTEND;TZID=America/Chicago:20230910T170000
DTSTAMP:20260403T230943
CREATED:20220708T163336Z
LAST-MODIFIED:20220708T163336Z
UID:94620-1676628000-1694365200@artinamericaguide.com
SUMMARY:Awful Bigness
DESCRIPTION:Clyfford Still spent his childhood and adolescence in the West and saw how the boundless plains could offer generous bounty in times of plenty or pitilessly starve in dust and wind. In an interview\, he referred to that experience as one that taught him to respect the “awful bigness of the land\, the men and the machines.” In subsequent years\, he worked on an enormous scale\, and each time\, he had to confront the awful bigness of the vast expanse of blank canvas. \nOrganized by the Clyfford Still Museum’s associate curator\, Bailey Placzek\, in collaboration with CSM’s director\, Joyce Tsai\, Awful Bigness fills the Museum’s largest\, skylit galleries and celebrates Still’s biggest\, most ambitious works. This installation follows a chronological display of Still’s works in CSM’s first four rooms\, which overviews Still’s groundbreaking path to abstraction. \n  Save  
URL:https://artinamericaguide.com/event/awful-bigness/
LOCATION:Clyfford Still Museum\, 1250 Bannock St.\, Denver\, CO\, 80204\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/07/1956PH-1077_1_Regester2013_MR-scaled.jpg
ORGANIZER;CN="Clyfford Still Museum":MAILTO:press@clyffordstillmuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230303T100000
DTEND;TZID=America/Halifax:20230730T170000
DTSTAMP:20260403T230943
CREATED:20230302T214349Z
LAST-MODIFIED:20230302T214349Z
UID:102046-1677837600-1690736400@artinamericaguide.com
SUMMARY:From the Andes to the Caribbean: American Art from the Spanish Empire
DESCRIPTION:Visit our galleries for FREE on Sundays. Check the visit page for all free admission opportunities at the Harvard Art Museums. \nDiscover a more complete story of art from the Spanish Empire—and a broader definition of American art—through an unparalleled collection of Spanish colonial paintings. \nThe Spanish empire and its patent mercantile companies were the dominant colonial force in America from 1492 to 1832. Five years before Portugal established American settlements and nearly a century before Britain and France claimed land in the hemisphere\, wealth from America’s colonial territories (viceroyalties) of New Spain and Peru made Spain the richest nation on Earth. Though Spain is no longer an empire\, its colonial past continues to inform the art and culture of the Americas. \nFrom the Andes to the Caribbean presents 26 paintings from the Carl & Marilynn Thoma Foundation—the premier U.S. private collection of Spanish colonial paintings from South America and the Caribbean—together with works from the Harvard Art Museums. The exhibition emphasizes three key themes related to culture and empire: the political and spiritual work of Catholic icons\, the ways in which empire begets hybrid cultural identities\, and the relationship between labor\, wealth\, and luxury. Oil paintings from present-day Bolivia\, Ecuador\, Peru\, Puerto Rico\, and Venezuela are presented alongside works on paper and design objects made with Cuban and Honduran mahogany\, Mexican cochineal\, and Peruvian silver\, underlining the great diversity of works of art broadly referred to as either “Viceregal\,” “Spanish colonial\,” or simply “American.” \n  Save  
URL:https://artinamericaguide.com/event/from-the-andes-to-the-caribbean-american-art-from-the-spanish-empire-2/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2023/03/Andes-Hero_1200_1200.png
ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230303T100000
DTEND;TZID=America/Halifax:20230730T170000
DTSTAMP:20260403T230943
CREATED:20230302T214349Z
LAST-MODIFIED:20230302T214349Z
UID:102048-1677837600-1690736400@artinamericaguide.com
SUMMARY:From the Andes to the Caribbean: American Art from the Spanish Empire
DESCRIPTION:Visit our galleries for FREE on Sundays. Check the visit page for all free admission opportunities at the Harvard Art Museums. \nDiscover a more complete story of art from the Spanish Empire—and a broader definition of American art—through an unparalleled collection of Spanish colonial paintings. \nThe Spanish empire and its patent mercantile companies were the dominant colonial force in America from 1492 to 1832. Five years before Portugal established American settlements and nearly a century before Britain and France claimed land in the hemisphere\, wealth from America’s colonial territories (viceroyalties) of New Spain and Peru made Spain the richest nation on Earth. Though Spain is no longer an empire\, its colonial past continues to inform the art and culture of the Americas. \nFrom the Andes to the Caribbean presents 26 paintings from the Carl & Marilynn Thoma Foundation—the premier U.S. private collection of Spanish colonial paintings from South America and the Caribbean—together with works from the Harvard Art Museums. The exhibition emphasizes three key themes related to culture and empire: the political and spiritual work of Catholic icons\, the ways in which empire begets hybrid cultural identities\, and the relationship between labor\, wealth\, and luxury. Oil paintings from present-day Bolivia\, Ecuador\, Peru\, Puerto Rico\, and Venezuela are presented alongside works on paper and design objects made with Cuban and Honduran mahogany\, Mexican cochineal\, and Peruvian silver\, underlining the great diversity of works of art broadly referred to as either “Viceregal\,” “Spanish colonial\,” or simply “American.” \n  Save  
URL:https://artinamericaguide.com/event/from-the-andes-to-the-caribbean-american-art-from-the-spanish-empire/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2023/03/Andes-Hero_1200_1200-1.png
ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230303T100000
DTEND;TZID=America/Halifax:20230730T170000
DTSTAMP:20260403T230943
CREATED:20230302T214350Z
LAST-MODIFIED:20230823T152227Z
UID:102035-1677837600-1690736400@artinamericaguide.com
SUMMARY:From the Andes to the Caribbean: American Art from the Spanish Empire
DESCRIPTION:Visit our galleries for FREE on Sundays. Check the visit page for all free admission opportunities at the Harvard Art Museums. \nDiscover a more complete story of art from the Spanish Empire—and a broader definition of American art—through an unparalleled collection of Spanish colonial paintings. \nThe Spanish empire and its patent mercantile companies were the dominant colonial force in America from 1492 to 1832. Five years before Portugal established American settlements and nearly a century before Britain and France claimed land in the hemisphere\, wealth from America’s colonial territories (viceroyalties) of New Spain and Peru made Spain the richest nation on Earth. Though Spain is no longer an empire\, its colonial past continues to inform the art and culture of the Americas. \nFrom the Andes to the Caribbean presents 26 paintings from the Carl & Marilynn Thoma Foundation—the premier U.S. private collection of Spanish colonial paintings from South America and the Caribbean—together with works from the Harvard Art Museums. The exhibition emphasizes three key themes related to culture and empire: the political and spiritual work of Catholic icons\, the ways in which empire begets hybrid cultural identities\, and the relationship between labor\, wealth\, and luxury. Oil paintings from present-day Bolivia\, Ecuador\, Peru\, Puerto Rico\, and Venezuela are presented alongside works on paper and design objects made with Cuban and Honduran mahogany\, Mexican cochineal\, and Peruvian silver\, underlining the great diversity of works of art broadly referred to as either “Viceregal\,” “Spanish colonial\,” or simply “American.” \n  Save  
URL:https://artinamericaguide.com/event/from-the-andes-to-the-caribbean-american-art-from-the-spanish-empire-3/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230310T110000
DTEND;TZID=America/New_York:20231015T180000
DTSTAMP:20260403T230943
CREATED:20230612T205617Z
LAST-MODIFIED:20230612T211124Z
UID:103918-1678446000-1697392800@artinamericaguide.com
SUMMARY:Sadie Barnette: Family Business
DESCRIPTION:Sadie Barnette’s multimedia practice explores her own family history as it mirrors a collective history of repression and resistance in the United States. In a new commission for the ongoing Visualizing Abolition collaboration with the Institute of the Arts and Sciences at University of California\, Santa Cruz\, Barnette proposes an alternate history of Black America\, one shaped by state-sanctioned terror but also by love\, support\, celebration\, and the fullness of human relationships. \n  Save  
URL:https://artinamericaguide.com/event/sadie-barnette-family-business/
LOCATION:San Jose Museum of Art\, 110 S. Market Street\, San Jose\, CA\, 95113\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/06/SJMA_SBarnette_Glen-Cheriton-Impart-Photography_20.jpg
GEO:37.3327419;-121.8905201
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=San Jose Museum of Art 110 S. Market Street San Jose CA 95113 United States;X-APPLE-RADIUS=500;X-TITLE=110 S. Market Street:geo:-121.8905201,37.3327419
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230310T180000
DTEND;TZID=America/Halifax:20230813T170000
DTSTAMP:20260403T230943
CREATED:20220823T191418Z
LAST-MODIFIED:20220823T191418Z
UID:97002-1678471200-1691946000@artinamericaguide.com
SUMMARY:Jacolby Satterwhite: Spirits Roaming on the Earth
DESCRIPTION:This exhibition maps conceptual artist Jacolby Satterwhite’s extraordinary creative trajectory across multiple materials\, genres\, and modes of thinking. Drawing on a broad set of real and fantastical references and diverse influences that include modernism\, video gaming\, queer theory\, mythology\, and Black culture\, Satterwhite creates digital worlds of resilience\, reinvention\, and celebration. His intricately detailed animations and live action films of real and imagined worlds—populated by the avatars of Satterwhite and his friends—serve as the stage for the artist’s surreal and poetic world-building. \nIn the first major survey of his work\, CAM will present a wide range of Satterwhite’s media in the form of 3D-animated films\, immersive audio and video installations\, sculptures\, and new media works. The exhibition will be accompanied by the published monograph Jacolby Satterwhite: How lovly is me being as I am\, edited by Elizabeth Chodos and Andrew Durbin with narration by Sasha Bonét; essays by Malik Gaines\, Jane Ursula Harris\, and Legacy Russell; an interview with the artist by Kimberly Drew; and book design by Sonia Yoon. \nJacolby Satterwhite (b. 1986\, Columbia\, South Carolina; lives and works in Brooklyn) received his BFA from the Maryland Institute College of Arts\, Baltimore\, and his MFA from the University of Pennsylvania\, Philadelphia. Satterwhite’s work has been presented in numerous exhibitions and festivals internationally\, including most recently at the Miller Institute for Contemporary Art at Carnegie Mellon University (2021); Haus der Kunst\, Munich (2021); the Gwangju Biennale\, Gwangju (2021); the Wexner Center for the Arts\, Columbus\, Ohio (2021); The Fabric Workshop and Museum\, Philadelphia (2019); Pioneer Works\, New York (2019); the Whitechapel Gallery\, London (2019); the Museum of Modern Art\, New York (2019); the Minneapolis Institute of Art (2019); the Museum of Contemporary Art\, Chicago (2018); La Fondation Louis Vuitton\, Paris (2018); the New Museum\, New York (2017); the Public Art Fund\, New York (2017); the San Francisco Museum of Art (2017); and the Institute of Contemporary Art\, Philadelphia (2017). He was awarded the United States Artist Francie Bishop Good & David Horvitz Fellowship in 2016. His work is included in the collections of the Museum of Contemporary Art Kiasma\, Helsinki; the Museum of Modern Art\, New York; the Studio Museum in Harlem\, New York; and the Whitney Museum of American Art\, New York\, among others. In 2019\, Satterwhite collaborated with Solange Knowles on her visual album\, When I Get Home. \nJacolby Satterwhite: Spirits Roaming on the Earth is organized by the Miller Institute for Contemporary Art at Carnegie Mellon University and curated by Elizabeth Chodos\, Director. The Contemporary Art Museum St. Louis exhibition is organized by Wassan Al-Khudhairi\, Chief Curator. \nThe exhibition is generously supported in part by the Whitaker Foundation. \nImage: Jacolby Satterwhite\, We Are In Hell When We Hurt Each Other\, 2020. Video still from HD digital video. Courtesy the artist and Mitchell-Innes & Nash\, New York. \n  Save  
URL:https://artinamericaguide.com/event/jacolby-satterwhite-spirits-roaming-on-the-earth/
LOCATION:Contemporary Art Museum St. Louis\, 3750 Washington Boulevard\, St. Louis\, MO\, 63108\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/08/Jacolby-Satterwhite_We-Are-In-Hell-When-We-Hurt-Each-Other_2020_1-scaled.jpg
ORGANIZER;CN="Contemporary Art Museum St. Louis":MAILTO:info@camstl.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230311T100000
DTEND;TZID=America/Halifax:20230917T160000
DTSTAMP:20260403T230943
CREATED:20230302T190314Z
LAST-MODIFIED:20230302T190314Z
UID:102033-1678528800-1694966400@artinamericaguide.com
SUMMARY:Moisés Salazar Tlatenchi:  A Quién le Importa
DESCRIPTION:A nonbinary artist and first-generation Mexican American raised by undocumented parents\, Moisés Salazar Tlatenchi infuses their work with their lived experience. \n  \nSalazar’s art frequently addresses the lack of agency and freedom the marginalized face in physical and theoretical spaces\, and the trauma and barriers specific to queer and immigrant bodies. They create works using materials and techniques—such as faux fur\, glitter\, and sequins\, crochet\, and tufting—that honor Salazar’s familial cultural heritage and speak to the legacy of queer craft. \n  \nFor A Quién le Importa\, Salazar reimagines the gallery as a sanctuary of inclusivity and acceptance\, filling it with mixed-media paintings and soft sculptures exploring alternative forms of identity\, belonging\, and community through the lens of queer kinship. The exhibition’s title is taken from a pop anthem beloved by the world’s Spanish-speaking LGBTQ community that celebrates self-affirmation and openness about one’s sexuality. Drawing from the song’s fierce spirit of pride\, self-respect\, and liberation\, Salazar’s glittering\, jewel-like portraits of their queer kin extol the joy that comes from the mutual support and love provided by friends and chosen family. \n\nImage: Moises Salazar\, Angel\, 2022; faux fur\, glitter on board\, and sequin applique; 36 x 24 in. Courtesy of the artist and Mindy Solomon Gallery. \n  Save  
URL:https://artinamericaguide.com/event/moises-salazar-tlatenchi-a-quien-le-importa/
LOCATION:John Michael Kohler Arts Center\, 608 New York Avenue\, Sheboygan\, WI\, 53081\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2023/03/ex.sal_.2023.5002.png
ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230318T100000
DTEND;TZID=America/Halifax:20240609T170000
DTSTAMP:20260403T230943
CREATED:20230316T154058Z
LAST-MODIFIED:20230316T154058Z
UID:102487-1679133600-1717952400@artinamericaguide.com
SUMMARY:Bosco Sodi: Origen
DESCRIPTION:Visit our galleries for FREE on Sundays. Check the visit page for all free admission opportunities at the Harvard Art Museums. \nA new installation of sculptures by Mexican-born artist Bosco Sodi (b. 1970) places 14 of the artist’s handmade clay spheres at the Harvard Art Museums and marks the first-ever presentation of art on the museums’ outdoor Broadway terrace. Sodi’s practice explores the earth’s elements\, marrying age-old traditions of sculpting clay with a contemporary vision of creating simple universal forms that prompt reflection. Drawing on centuries-old techniques passed through the Zapotec culture\, Sodi works with Oaxacan artisans\, using local clay to sculpt each sphere\, drying it outside for up to eight months\, and then firing it in a kiln built upon a beach. The resulting terracotta forms reveal the effects of nature’s forces—the sun\, sea air\, and fire—as demonstrated by the cracks\, chips\, and blackened and crusty patches that distinguish each sphere. In a first for a U.S. installation of the artist’s work\, Sodi will also unveil three gold-glazed spheres as part of his site-specific arrangement. Moving from outside to inside the museums\, these gold spheres connect to and engage with the meditative atmosphere evoked by the installation of Buddhist figures in Gallery 1610. \n  Save  
URL:https://artinamericaguide.com/event/bosco-sodi-origen/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/03/Bosco-Sodi.jpg
ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230318T100000
DTEND;TZID=America/Halifax:20240609T170000
DTSTAMP:20260403T230943
CREATED:20230320T150548Z
LAST-MODIFIED:20230320T150548Z
UID:102492-1679133600-1717952400@artinamericaguide.com
SUMMARY:Bosco Sodi: Origen
DESCRIPTION:Visit our galleries for FREE on Sundays. Check the visit page for all free admission opportunities at the Harvard Art Museums. \nA new installation of sculptures by Mexican-born artist Bosco Sodi (b. 1970) places 14 of the artist’s handmade clay spheres at the Harvard Art Museums and marks the first-ever presentation of art on the museums’ outdoor Broadway terrace. Sodi’s practice explores the earth’s elements\, marrying age-old traditions of sculpting clay with a contemporary vision of creating simple universal forms that prompt reflection. Drawing on centuries-old techniques passed through the Zapotec culture\, Sodi works with Oaxacan artisans\, using local clay to sculpt each sphere\, drying it outside for up to eight months\, and then firing it in a kiln built upon a beach. The resulting terracotta forms reveal the effects of nature’s forces—the sun\, sea air\, and fire—as demonstrated by the cracks\, chips\, and blackened and crusty patches that distinguish each sphere. In a first for a U.S. installation of the artist’s work\, Sodi will also unveil three gold-glazed spheres as part of his site-specific arrangement. Moving from outside to inside the museums\, these gold spheres connect to and engage with the meditative atmosphere evoked by the installation of Buddhist figures in Gallery 1610. \n  Save  
URL:https://artinamericaguide.com/event/bosco-sodi-origen-2/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/03/Bosco-Sodi-1.jpg
ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230321
DTEND;VALUE=DATE:20240205
DTSTAMP:20260403T230943
CREATED:20221208T214310Z
LAST-MODIFIED:20221208T214310Z
UID:100862-1679356800-1707091199@artinamericaguide.com
SUMMARY:Calling on the Past: Selections from the Collection
DESCRIPTION:Calling on the Past invites visitors to experience the Smart Museum’s collection anew\, through a sensory exploration of color\, texture\, and form. \nIn lieu of customary chronological or geographical divisions\, such as those that have often guided the display of the collection in the past\, this installation draws on the breadth and depth of the Museum’s holdings to situate key works side by side across centuries. From antiquities to contemporary painting and sculpture\, the cross-historical selection of objects speaks to the varied materials\, ideas\, and questions artists continue to explore\, while emphasizing the editing of history. \nCalling on the Past is inspired in part by art historian George Kubler’s seminal text The Shape of Time: Remarks on the History of Things (1962)\, which argues the art of the past is in constant conversation with the present. Kubler replaces the notion of art historical styles with the understanding that time is both linear and looped\, and artists have been revisiting the same sets of questions across the ages. Rather than emphasizing objects’ original context\, this exhibition inserts them into imaginative groupings\, unraveling historical hierarchies and encouraging us to see the collection with fresh eyes. \n  Save  
URL:https://artinamericaguide.com/event/calling-on-the-past-selections-from-the-collection/
LOCATION:Smart Museum of Art\, 5550 S. Greenwood Avenue\, Chicago\, IL\, 60637\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/12/Fallah-2018_0046-web.jpg
GEO:41.7934642;-87.6002004
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Smart Museum of Art 5550 S. Greenwood Avenue Chicago IL 60637 United States;X-APPLE-RADIUS=500;X-TITLE=5550 S. Greenwood Avenue:geo:-87.6002004,41.7934642
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230324
DTEND;VALUE=DATE:20231204
DTSTAMP:20260403T230943
CREATED:20230109T180703Z
LAST-MODIFIED:20230213T154532Z
UID:101317-1679616000-1701647999@artinamericaguide.com
SUMMARY:In a New Light: Paintings from the Yale Center for British Art
DESCRIPTION:In a New Light: Paintings from the Yale Center for British Art presents a selection of YCBA artworks in the Yale University Art Gallery’s Louis Kahn building while the YCBA’s own iconic Kahn building is closed for its next phase of conservation. The nearly sixty works on view span four centuries of British landscape and portraiture traditions. Highlights include Joseph Mallord William Turner’s Dort or Dordrecht: The Dort Packet-Boat from Rotterdam Becalmed (1818); several of John Constable’s atmospheric Cloud Studies (1821–25); James McNeill Whistler’s Nocturne in Blue and Silver (1872–78); and Francis Bacon’s Study of a Head (1952). The exhibition offers a rare opportunity to see these and other artworks from the YCBA’s collection in a new setting\, yet one that—like the YCBA itself—displays the notable elements of Kahn’s simple but elegant museum architecture: basic geometric forms\, natural materials in muted palettes\, and galler­ies filled with diffuse daylight. \n  Save  
URL:https://artinamericaguide.com/event/crafting-worldviews-art-and-science-in-europe-1500-1800/
LOCATION:Yale University Art Gallery\, 1111 Chapel St\, New Haven\, CT\, 06510\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/01/ycba_4f227f08-7842-46cc-b05a-e3c6a4614cc1-copy.jpg
ORGANIZER;CN="Yale University Art Gallery":MAILTO:artgalleryinfo@yale.edu
GEO:41.30839;-72.930958
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Yale University Art Gallery 1111 Chapel St New Haven CT 06510 United States;X-APPLE-RADIUS=500;X-TITLE=1111 Chapel St:geo:-72.930958,41.30839
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230325
DTEND;VALUE=DATE:20230821
DTSTAMP:20260403T230943
CREATED:20230323T210804Z
LAST-MODIFIED:20230327T175724Z
UID:102670-1679702400-1692575999@artinamericaguide.com
SUMMARY:Strange Weather: From the Collections of Jordan D. Schnitzer and His Family Foundation
DESCRIPTION:Strange Weather: From the Collections of Jordan D. Schnitzer and His Family Foundation features 89 exceptional artworks spanning five decades\, from 1977 to 2021\, that have been drawn together for how they creatively call attention to the impact and history of forced migrations\, industrialization\, global capitalism\, and trauma on humans and the contemporary landscape. This intergenerational exhibition brings some of the most influential contemporary artists together for the first time\, resulting in a show that should not be missed! \nThe artists in the exhibition utilize a range of aesthetic strategies\, including abstraction\, portraiture\, figurative painting\, landscape\, and installation\, to explore the current atmospheric strangeness. Exhibition highlights include a large-scale painting by world renowned Kehinde Wiley that monumentalizes issues of identity and nature\, a suite of three prints by Julie Mehretu that were created in 2005 in response to the aftermath of Hurricane Katrina\, a large-scale installation by Nicola López that show startlingly dystopian urban landscapes\, and a photographic series by Wendy Red Star that link weather patterns to the consumption and commodification of Native American culture. Additional highlights include important paintings and prints by Terry Winters and a massive 40-foot sculpture by Leonardo Drew that uses abstraction to explore a visual erosion of time and the cyclical nature of life. Together\, these and other works make the body and the land legible as paired sites of contestation\, offering profound insights about the connections between aesthetics\, history\, and our tempestuous climate. \n  Save  
URL:https://artinamericaguide.com/event/strange-weather-from-the-collections-of-jordan-d-schnitzer-and-his-family-foundation/
LOCATION:Bellevue Arts Museum\, 510 Bellevue Way NE\, Bellevue\, WA\, 98004\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/03/Wiley.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230413T100000
DTEND;TZID=America/Halifax:20230820T160000
DTSTAMP:20260403T230943
CREATED:20230502T182133Z
LAST-MODIFIED:20230502T182133Z
UID:103156-1681380000-1692547200@artinamericaguide.com
SUMMARY:A/I Highlights
DESCRIPTION:In 1974\, Ruth DeYoung Kohler II founded the Arts/Industry residency in partnership with Kohler Co. Today\, the program annually hosts twelve artists who make new works of art in the company’s factory in Kohler\, Wisconsin. The artists work in studios located on the factory floor\, alongside Kohler Co. associates who offer support and information as the residents encounter industrial machines and materials that advance their artistic practice. \nArts/Industry Highlights presents handwritten letters\, postcards\, sketches\, and photos dating from the late 1970s to the late 1990s to contextualize the meaningful relationships Ruth and Kohler Co. associates developed with the artists-in-residence. These records reveal evidence of friendships that were built during and continued long after a resident’s time in Kohler\, and how those affinities contributed to the significance of the artworks created. \nNot only do these materials affirm community building within the history of the Arts/Industry program\, their presentation honors the kinds of interactions that give shape to kinship. \nImage: Casey O’Conner\, detail of untitled sketch for the Children’s Studio washroom\, 1998. \n  Save  
URL:https://artinamericaguide.com/event/a-i-highlights/
LOCATION:John Michael Kohler Arts Center\, 608 New York Avenue\, Sheboygan\, WI\, 53081\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/05/ex.ai_.2023.0001-728x563-1.jpg
ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230506T000000
DTEND;TZID=America/Halifax:20230728T000000
DTSTAMP:20260403T230943
CREATED:20230510T172623Z
LAST-MODIFIED:20230510T172623Z
UID:103439-1683331200-1690502400@artinamericaguide.com
SUMMARY:Mark Handforth: Half-Sleep-City
DESCRIPTION:Luhring Augustine is pleased to announce Half-Sleep-City\, an exhibition of new works by Mark Handforth. Marking the artist’s first solo show with the gallery\, the exhibition will be on view in our Tribeca location from May 6 to July 28. Complementing the presentation\, Handforth’s new public sculpture\, Franklin Street Four\, will be installed across the street through November 2023. \n  Save  
URL:https://artinamericaguide.com/event/mark-handforth-half-sleep-city/
LOCATION:Luhring Augustine Tribeca\, 17 White Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/05/Mark-Handforth_LAT-2023_install-03.jpg
ORGANIZER;CN="Luhring Augustine":MAILTO:info@luhringaugustine.com
GEO:40.7190306;-74.0054491
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Luhring Augustine Tribeca 17 White Street New York NY 10013 United States;X-APPLE-RADIUS=500;X-TITLE=17 White Street:geo:-74.0054491,40.7190306
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230506T000000
DTEND;TZID=America/Halifax:20231117T000000
DTSTAMP:20260403T230943
CREATED:20230512T201102Z
LAST-MODIFIED:20230512T201102Z
UID:103441-1683331200-1700179200@artinamericaguide.com
SUMMARY:Mark Handforth "Franklin Four"
DESCRIPTION:Luhring Augustine is delighted to announce that Mark Handforth’s public sculpture\, Franklin Street Four\, will be installed in Tribeca’s Barnett Newman Triangle as part of NYC Parks’ Art in the Parks program from May – November 2023. \n  Save  
URL:https://artinamericaguide.com/event/mark-handforth-franklin-four/
LOCATION:Barnett Newman Triangle\, White\, Church\, Sixth Street\, New York\, 10011\, United States
CATEGORIES:Event
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2023/05/02.23.2023-Franklin-Street-Four-revised-mock-up.png
ORGANIZER;CN="Luhring Augustine":MAILTO:info@luhringaugustine.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230513T100000
DTEND;TZID=America/Halifax:20231008T170000
DTSTAMP:20260403T230943
CREATED:20230502T182207Z
LAST-MODIFIED:20230502T182207Z
UID:103168-1683972000-1696784400@artinamericaguide.com
SUMMARY:Kea Tawana: I Traveled into the Future in a Dream
DESCRIPTION:Kea Tawana (c. 1935–2016) is known for creating the Ark\, an 86-foot-long\, three-story ship she built in Newark\, New Jersey\, starting in 1982\, with the intention of making it her home. \nFor decades prior\, she had collected salvaged wood\, glass shards\, and other materials from abandoned buildings in the city’s Central Ward. Incorporating those materials\, she built the Ark on an empty lot; it was still unfinished when the city condemned it in 1987. Unable to find a new location\, Tawana dismantled her ship in 1988. She spent the decades after the Ark’s destruction traveling\, eventually settling and dying in Port Jervis\, New York. \nThe Arts Center recently acquired the contents from her small apartment there\, which included about thirty handmade boxes containing collaged and tied “encyclopedic files” and personal effects; Tawana’s blueprints for utopic\, unrealized building projects; handmade stained-glass windows; and hundreds of sketches and manuscripts. \nKea Tawana: I Traveled into the Future in a Dream represents the first museum show of Tawana’s work\, and the first exhibition outside of the northeastern United States. Many of the objects are on view for the first time. It recontextualizes her work and life in several ways\, including her long-running and largely unknown roles as architect\, community activist\, historian\, educator\, and craftsperson. \nImage: Kea Tawana\, untitled\, n.d.; glass and wood; 21 x 17 x 1/2 in. Kea Tawana’s work presented in cooperation with PCK Media\, Gallery Aferro\, and the Clement A. Price Institute on Ethnicity\, Culture\, and the Modern Experience at Rutgers University. \n  Save  
URL:https://artinamericaguide.com/event/kea-tawana-i-traveled-into-the-future-in-a-dream/
LOCATION:John Michael Kohler Arts Center\, 608 New York Avenue\, Sheboygan\, WI\, 53081\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2023/05/ex.taw_.2023.5003-1201x1478-1.png
ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230519T100000
DTEND;TZID=America/Halifax:20230811T180000
DTSTAMP:20260403T230943
CREATED:20230505T183632Z
LAST-MODIFIED:20230719T152402Z
UID:103319-1684490400-1691776800@artinamericaguide.com
SUMMARY:Robert Arneson\, ‘Astonishing Possibilities for Self-Expression’
DESCRIPTION:The George Adams Gallery is pleased to present Robert Arneson: Astonishing Possibilities for Self-Expression\, the most comprehensive survey of the late artist’s use of the self as subject matter in over twenty-five years. Encompassing works on paper and sculptures in both ceramic and bronze\, the exhibition includes work dating from the mid-1960s through his death in 1992. For an artist who is perhaps best known for his self-portraits\, the exhibition shows how Arneson’s approach evolved through the decades and the range of expressive potential he found within his self. \n  \nThe most substantial and varied portion of Robert Arneson’s prodigious output are those works in which he made use of himself as the subject. While Arneson’s self-portraits are of outsized significance when considering his oeuvre as a whole\, it is insufficient to say that the self-portrait was Arneson’s primary concern as an artist\, or even that he saw himself as the most important of his many and varied subjects. In fact\, it wasn’t until the mid ‘60s\, already established in his career\, that he even attempted a subject as “serious” as himself – and then not until the early ‘70s that self-portraits became a recognizable aspect of his art making. These portraits were a natural extension of his ongoing exploration of ceramic forms that he defined as the kind of ubiquitous\, quotidian objects that surround us. What more ubiquitous\, for an artist in the studio\, than oneself? As he pointed out to an interviewer in 1974\, “the person you know best\, [is] the person you’ve been dealing with all your life.” Looking at images of Arneson in the studio around this time\, you see him working on these busts while surrounded by a set of mirrors that allowed him to study a gesture or expression from multiple angles. That his subject was so often his self was almost beside the point – just as clay was his preferred medium\, so was the expressive potential of the body and face. \n  \nArneson’s first self-portrait is broadly recognized to be Portrait of an Artist Losing His Marbles from 1965 (currently on view at the Museum of Arts and Design\, New York). The sculpture was an attempt to make a “serious work of art in clay\,” however repeated firings eventually caused it to crack; to salvage the piece\, he epoxied marbles into the crack\, resulting in a tongue-in-cheek visual pun in line with the pop-funk objects he was making at the time. He was evidently thinking about self-portraits before ’65 though\, a number of drawings from the mid-60s either obliquely include his own image or are direct studies of himself\, as are the pair from 1964 on view in this exhibition. It would not be until 1971 that Arneson returned to the kind of life-sized portrait bust that he struggled with in Portrait of an Artist – yet the subject remained on his mind. The quasi-conceptual (and often experimental) sculptures\, paintings and drawings he made between ’65-’71 often allude to the self\, or the artist and his process. Body parts such as fingers\, feet\, noses and so forth\, show up disembodied or as vestiges\, in marks like foot- or finger-prints. By the time he embarked on his next self-portrait bust (Smorgi Bob\, the Cook in 1971 – now in the collection of SFMoMA)\, he was prepared to tackle the complexity and range the subject could afford him. \n  \nThe first of the new busts were sophisticated in their technique and irreverent in their content\, featuring the artist in turn sticking out his tongue\, being brutally murdered\, screaming\, or picking his nose. Delta Bob (1972)\, done in milky white porcelain\, is supremely cool with his dark glasses and disembodied hand casually holding a cigar. Arneson had been gaining national attention since the early ‘60s and was already recognized as a major figure in American ceramics – he would have his first museum retrospective in 1974. In self-portraits he found a mode through which he could distill the humor\, technical prowess\, artistic know-how and ne’er-do-well attitude he had cultivated into one\, singular expression. He later suggested that he was “attempting to get beyond likeness to a state of psychological presence in these portrait busts.” Certainly\, despite the realism they express\, Arneson’s portraits\, particularly of himself\, do not attempt to provide a likeness so much as capture a psychological state of being\, an approach which certainly was impacted by his participation in the 1969 Whitney exhibition\, Human Concern / Personal Torment. As Arneson’s busts grew in size and ambition through the 1970s\, we see his head crushed\, masked\, split\, distorted and multiplied\, each physical transformation illustrating an equivalent mental state. The portraits are unusually active\, with Arneson’s preferred mode of representation showing him as licking\, poking\, biting\, smoking\, kissing\, grinning or otherwise caught mid-action. Clay\, in this case\, was a fitting material for Arneson to work in as it lent itself well to the kinds of manipulations he subjected his image to\, going so far as grotesquely stretching his face like a hunting trophy\, as in Head Skinned and Bleached (1986). Though it was the “psychological presence” of the self that Arneson sought to explore\, the means through which he did so went beyond the physical limitations of the body to an almost grammatical understanding of the self. \n  \nThis preoccupation carries over into other media as well\, in particular works on paper where Arneson seemed most comfortable in addressing his audience. While drawing was a continual (and vital) part of his practice\, it wasn’t until around 1980 that he began to make large\, complex works on paper that stood distinct from his sculptures. In the case of the self-portrait drawings\, Arneson confronts the viewer with the same intensity and directness one can imagine he gave to his own reflection\, the audience becoming an interloper within this private moment. Yet in these drawings he moves beyond the observed into hyperbole\, skillfully imagining his own head as mutable as its sculptural doppelgangers. This suggests a synergy between the two mediums; Arneson frequently made sketches and studies for his three-dimensional works before\, during and after their completion. Often featuring notes and collaged elements\, these studies demonstrate the conceptual underpinnings of their sculptural counterparts. The multiplication that results increasingly became a tool Arneson employed directly in the work\, where not only could he engage with himself in the making of the work but also explore in three dimensions what would otherwise be an internal dialogue. That dialogue is most visible in the sculptural work done in the last two years of his life\, many of which were done in bronze. The inherent multiplicity of the casting process only amplifies the reflexive and introspective nature of Arneson’s portraits and he exploited this quality in pieces like Poised to Infinity (1991)\, where shrinking copies of his own head are stacked in a precarious tower. Similarly\, his series of double portraits\, in their quietly humorous pairings of aggressor-victim\, embody the full range of human emotion. \n  Save  
URL:https://artinamericaguide.com/event/robert-arneson-astonishing-possibilities-for-self-expression/
LOCATION:George Adams Gallery\, 38 Walker Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/05/RAs292-scan-scaled.jpg
ORGANIZER;CN="George Adams Gallery":MAILTO:info@georgeadamsgallery.com
GEO:40.7503804;-74.003922
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=George Adams Gallery 38 Walker Street New York NY 10013 United States;X-APPLE-RADIUS=500;X-TITLE=38 Walker Street:geo:-74.003922,40.7503804
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230520T100000
DTEND;TZID=America/Halifax:20230813T170000
DTSTAMP:20260403T230943
CREATED:20230510T011904Z
LAST-MODIFIED:20230510T012003Z
UID:103339-1684576800-1691946000@artinamericaguide.com
SUMMARY:American Watercolors\, 1880–1990: Into the Light
DESCRIPTION:Discover how American watercolorists from Winslow Homer to Hannah Wilke leveraged the imaginative and experimental capacity of the medium to create marvelously diverse works over more than a century. \nOn view at the Harvard Art Museums from May 20 to August 13\, 2023\, the exhibition presents more than a hundred compelling and rarely seen watercolors by both well-known and historically underrepresented American artists. All works are drawn from the Harvard Art Museums’ deep and diverse holdings. Expanding the canon and including many new acquisitions on view for the first time\, the exhibition seeks to inspire conversations and enrich today’s practitioners. \nStaged across three adjacent galleries\, the exhibition presents works by roughly 50 artists\, including Romare Bearden\, Charles Burchfield\, Alexander Calder\, Dorothy Dehner\, Beauford Delaney\, Charles Demuth\, Lyonel Feininger\, Zelda Fitzgerald\, Sam Francis\, Helen Frankenthaler\, Winslow Homer\, Edward Hopper\, Jasper Johns\, John La Farge\, Sol LeWitt\, John Marin\, Alfonso Ossorio\, Maurice Prendergast\, Mark Rothko\, John Singer Sargent\, Bill Traylor\, Richard Tuttle\, James Abbott McNeill Whistler\, Hannah Wilke\, Richard Foster Yarde\, and many others. \n  Save  
URL:https://artinamericaguide.com/event/american-watercolors-1880-1990-into-the-light/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2023/05/John-Marin-Seascape_1200_1200-1.png
ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230520T100000
DTEND;TZID=America/Halifax:20240421T160000
DTSTAMP:20260403T230943
CREATED:20230502T182207Z
LAST-MODIFIED:20230502T182207Z
UID:103170-1684576800-1713715200@artinamericaguide.com
SUMMARY:Sharing The Same Breath
DESCRIPTION:In her 2021 essay “A Family Reunion Near the End of the World\,” botanist Robin Wall Kimmerer contemplates our kinship with nature and proposes a road map for deepening our care and respect for all living things. \n“Being a relative\,” she writes\, “is more than shared blood from a common past. Real kinship arises when we realize that we have a common future\, that our fates are linked.” She goes on to suggest\, “Real kinship comes when you live it. It’s not a noun\, but a verb\, it’s not a thing\, it’s what you do.” \nThe cultivation of kinship with the living world is the foundation for Sharing the Same Breath. The exhibition brings together nine artists who consider the world’s complex web of relations through artworks that emphasize human\, nonhuman\, and interspecies forms of kinship and connectivity. These relationships are explored through a wide range of mediums including sculpture\, photography\, drawing\, video\, film\, and installation. Together the works form a kincentric viewpoint that challenges narratives of human exceptionalism and encourages us to regard our symbiotic relationship and shared fate with our more-than-human family with greater attention and care. \nArtists in the exhibition include Juan William Chávez\, David Freid\, Lindsey French\, Emilie Louise Gossiaux\, Nina Katchadourian\, Cannupa Hanska Luger\, Marie Watt\, William Wegman\, and Dyani White Hawk. \nImage: Emilie L. Gossiaux\, True Love Will Find You in the End\, 2021; polystyrene foam\, aluminum pipes\, papier-mâché\, epoxy resin\, and acrylic matte medium. Courtesy of the artist and Mother Gallery. Photo: Ronald Amstutz. \n  Save  
URL:https://artinamericaguide.com/event/sharing-the-same-breath/
LOCATION:John Michael Kohler Arts Center\, 608 New York Avenue\, Sheboygan\, WI\, 53081\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2023/05/ex.sha_.2023.5011-1440x1920-1.png
ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230603T110000
DTEND;TZID=America/New_York:20230917T170000
DTSTAMP:20260403T230943
CREATED:20230613T164047Z
LAST-MODIFIED:20230613T164047Z
UID:103929-1685790000-1694970000@artinamericaguide.com
SUMMARY:A Living Legacy: Recent Acquisitions in Contemporary Art
DESCRIPTION:Since its opening in 1952\, the Frye has maintained its dedication to the art and culture of the present through collecting and exhibiting contemporary art. This practice is guided by the example of museum founders Charles and Emma Frye\, who amassed a collection of paintings made within their own lifetimes\, often by purchasing works directly from living artists. Over the past fifteen years\, the museum has intentionally focused on broadening its holdings to include previously underrepresented identities\, perspectives\, and forms of expression. This ongoing work is an essential facet of the institution’s commitment to diversity\, equity\, and inclusion. \nA Living Legacy marks the Frye’s seventieth anniversary\, bringing together eight artworks—all acquired in 2022 and on view at the museum for the first time—by Amoako Boafo\, Sky Hopinka\, Gisela McDaniel\, Bony Ramirez\, Tschabalala Self\, Ann Leda Shapiro\, and Sadie Wechsler. Ranging from altered photographs to mixed-media assemblages\, the works expand or complicate narratives around genres such as landscape and portraiture traditionally associated with the Frye’s Founding Collection of nineteenth- and twentieth-century European and American art. The exhibition reflects the museum’s engagement with both local and global artists and celebrates the collection as a unique\, ever-evolving\, and always imperfect chronicle of artistic production: a living legacy of the Fryes’ visionary patronage. \n  Save  
URL:https://artinamericaguide.com/event/a-living-legacy-recent-acquisitions-in-contemporary-art/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/06/McDaniel_2022.006-scaled.jpg
ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
END:VEVENT
END:VCALENDAR