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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260406T225829
DTEND;TZID=America/New_York:20250920T170000
DTSTAMP:20260406T225829
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:20260406T225829
DTEND;TZID=America/New_York:20250926T200000
DTSTAMP:20260406T225829
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:20260406T225829
DTEND;TZID=America/New_York:20250927T180000
DTSTAMP:20260406T225829
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:20260406T225829
DTEND;TZID=America/New_York:20251018T170000
DTSTAMP:20260406T225829
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:20260406T225829
DTEND;TZID=America/New_York:20251122T170000
DTSTAMP:20260406T225829
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:20260406T225829
DTEND;TZID=America/New_York:20260221T180000
DTSTAMP:20260406T225829
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;VALUE=DATE:20231208
DTEND;VALUE=DATE:20261207
DTSTAMP:20260406T225829
CREATED:20240522T193731Z
LAST-MODIFIED:20240522T193731Z
UID:108575-1701993600-1796601599@artinamericaguide.com
SUMMARY:Isaac Julien: Lessons of the Hour — Frederick Douglass
DESCRIPTION:Sir Isaac Julien’s moving image installation Lessons of the Hour (2019) interweaves period reenactments across five screens to create a vivid picture of nineteenth-century activist\, writer\, orator\, and philosopher Frederick Douglass. Through critical research\, fictional reconstruction\, and a marriage of poetic image and sound\, Julien asserts Douglass’ enduring lessons of justice\, abolition\, and freedom that remain just as relevant today. \nLessons of the Hour features passages from Douglass’ key speeches\, including the titular “Lessons of the Hour\,” “What to the Slave Is the Fourth of July?” and “Lecture on Pictures.” \nJulien weaves together reenacted scenes from Douglass’ life and lectures\, filming at his historic home in Washington\, DC\, and a restaged studio of famed Black photographer J.P. Ball (1825–1904) as he makes a portrait of Douglass. Images of contemporary Baltimore—the city where Douglass was enslaved and escaped from bondage in 1838—including footage of fireworks and protests in 2015 following the death of Freddie Gray\, Jr. while in police custody\, are interspersed as the struggle to make good on America’s promise of equality continues. \nLessons of the Hour was jointly acquired by SAAM and the National Portrait Gallery in 2023. The 28-minute work debuted for Washington audiences December 8\, 2023\, and remains on public view through the 250th anniversary of the founding of the United States in 2026. \n  Save  
URL:https://artinamericaguide.com/event/isaac-julien-lessons-of-the-hour-frederick-douglass/
LOCATION:Smithsonian American Art Museum\, 750 9th St. N.W.\, Washington\, DC\, 20001\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/05/isaac-julien-1-scaled.jpg
ORGANIZER;CN="Smithsonian American Art Museum":MAILTO:americanartpressoffice@si.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20240303T100000
DTEND;TZID=America/Chicago:20250202T170000
DTSTAMP:20260406T225829
CREATED:20240301T154524Z
LAST-MODIFIED:20240301T154524Z
UID:107287-1709460000-1738515600@artinamericaguide.com
SUMMARY:Mad Dash: 50 Years of Arts/Industry
DESCRIPTION:Jack Earl\, one of the first Arts/Industry artists-in-residence\, said the Arts/Industry residency in the Kohler Co. factory felt like a “mad dash at something.” Mad Dash: 50 Years of Arts/Industry is a chronological installation of artworks\, letters\, photographs\, and promotional materials dating from 1974 to the present. It reveals the origin and history of Arts/Industry through the artists themselves.  \nEvery artist donates an object made during their residency to the John Michael Kohler Arts Center’s collection. Mad Dash presents artworks from this collection to encapsulate the experience of art making within Kohler Co. and highlight various stages of the artists’ careers.  \n  Save  
URL:https://artinamericaguide.com/event/mad-dash-50-years-of-arts-industry/
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/2024/02/ai.cla_.1978.0045-jpeg-_1200x811.jpg
ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240726T080000
DTEND;TZID=America/New_York:20280726T170000
DTSTAMP:20260406T225829
CREATED:20240703T180957Z
LAST-MODIFIED:20240703T180957Z
UID:109170-1721980800-1848243600@artinamericaguide.com
SUMMARY:Glenn Kaino: Bridge
DESCRIPTION:Glenn Kaino’s powerful aerial sculpture Bridge is comprised of 200 golden arms hanging from the ceiling of SAAM’s Luce Foundation Center. Each is a casting of the outstretched right arm of Tommie Smith\, the American winner of the men’s 200-meter race at the 1968 Olympic Games in Mexico City. During the medal ceremony\, Smith bowed his head and raised his black-gloved fist in a symbolic act of protest. Coming at a moment of turmoil in the United States\, where public unrest flared over the war in Vietnam\, racial discrimination and inequality\, and the assassinations of Martin Luther King Jr. and Robert F. Kennedy\, his gesture was an assertion of Black solidarity in the fight for human rights. Echoed by the American bronze medalist John Carlos\, it inspired social causes around the world and irrevocably changed Smith’s own life. \n  Save  
URL:https://artinamericaguide.com/event/glenn-kaino-bridge/
LOCATION:Smithsonian American Art Museum\, 750 9th St. N.W.\, Washington\, DC\, 20001\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/07/bridge.jpeg
ORGANIZER;CN="Smithsonian American Art Museum":MAILTO:americanartpressoffice@si.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240816T080000
DTEND;TZID=America/New_York:20250504T170000
DTSTAMP:20260406T225829
CREATED:20240717T190348Z
LAST-MODIFIED:20240717T190348Z
UID:109249-1723795200-1746378000@artinamericaguide.com
SUMMARY:Tuan Andrew Nguyen: The Island
DESCRIPTION:Artist Tuan Andrew Nguyen creates multimedia installations that blend fact\, memory\, myth\, and mysticism and use lush imagery to draw out these entanglements. By digging deep into archives and collaborating with communities\, his projects weave together many voices to reveal other truths about — and strategies of repair from — colonial violence. In this Washington\, DC debut\, his video work The Island (2017) is shown for the first time with Bidong Spirit I\, a sculpted headdress Nguyen created for the film. The titles of both artworks refer to the tiny Malaysian island of Pulau Bidong\, a primary destination for Vietnamese escaping by boat after the collapse of South Vietnam in 1975. \nArtist Tuan Andrew Nguyen creates multimedia installations that blend fact\, memory\, myth\, and mysticism and use lush imagery to draw out these entanglements. By digging deep into archives and collaborating with communities\, his projects weave together many voices to reveal other truths about — and strategies of repair from — colonial violence. In this Washington\, DC debut\, his video work The Island (2017) is shown for the first time with Bidong Spirit I\, a sculpted headdress Nguyen created for the film. The titles of both artworks refer to the tiny Malaysian island of Pulau Bidong\, a primary destination for Vietnamese escaping by boat after the collapse of South Vietnam in 1975. \n  Save  
URL:https://artinamericaguide.com/event/tuan-andrew-nguyen-the-island/
LOCATION:Smithsonian American Art Museum\, 750 9th St. N.W.\, Washington\, DC\, 20001\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/07/The-Island-scaled.jpg
ORGANIZER;CN="Smithsonian American Art Museum":MAILTO:americanartpressoffice@si.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240903
DTEND;VALUE=DATE:20250131
DTSTAMP:20260406T225829
CREATED:20240828T121635Z
LAST-MODIFIED:20250225T153434Z
UID:109745-1725321600-1738281599@artinamericaguide.com
SUMMARY:Focus Group
DESCRIPTION:Ronald Feldman Gallery is pleased to announce an exhibition of posters\, prints\, drawings\, paintings\, videos\, objects and/or mixed media by the following artists: \nElaine Angelopoulos\, Joseph Beuys\, Nancy Chunn\, Nancy Chunn/David McDevitt\, Chuck Close\, Shepard Fairey\, Rico Gatson\, Leon Golub\, Helen Mayer Harrison & Newton Harrison\, Jenny Holzer\, Robert Indiana\, Ilya Kabakov\, Deborah Kass\, Vitaly Komar\, Komar & Melamid\, Les Levine\, Roy Lichtenstein\, Chris Lord\, Alexander Melamid\, David Opdyke\, William Pope.L\, Robert Rauschenberg\, Ed Ruscha\, Julian Schnabel\, Andres Serrano\, Ben Shahn\, Federico Solmi\, Nancy Spero\, Kara Walker\, Andy Warhol\, Carrie Mae Weems\, William Wegman\, and Lou Woehrle. \nUnited by their assertive\, sometimes insistent\, political messages\, the fifty-two works by thirty-three artists included in this exhibition offer a select and lively perspective on American elections\, politicians and social power dynamics. Spanning more than five decades\, the works not only refer to political subjects and social issues specific to their time\, but also resonate with ideological and humanistic themes amazingly relevant today. \nThis exhibition invites the viewer to compare and contrast many visual strategies that explore issues of racism\, demagoguery\, oppression\, war\, climate change\, among others. Some artists employ tools such as satire\, propaganda\, and the portrayal of newsworthy events or utopian ideals. Others utilize more iconic subjects—such as U.S. presidents\, Uncle Sam\, the Oval Office\, and Old Glory—to celebrate\, examine\, and critique American governance and policy. \nSome noteworthy inclusions are: \n\nBen Shahn’s limited edition print Vote Johnson from 1964\, which depicts Barry Goldwater when Lyndon B. Johnson was running against him for VP. This work inspired Andy Warhol to create Vote McGovern in 1972\, with its giant\, green-faced image of Richard Nixon. Deborah Kass then picked up the mantel in 2016 when she created Vote Hillary\, with a similarly large portrayal of a raging Donald Trump. This exhibition is likely the first time that the above three works have been shown together.\nA never-exhibited work by Helen Mayer Harrison and Newton Harrison entitled The Seven Lagoons\, which concisely summarizes their major opus exploring sustainability and the impact of global warming. Pioneers in ecological art\, the artists created works focusing on earth-based solutions to human problems decades before this subject was part of the art world and\, later\, part of popular consciousness.\nLand of the Stupid by Nancy Chunn\, a painting depicting the 2000 presidential election which includes a silhouette of nine Supreme Court Justices telling voters to “Get Lost!”\n\n  \nWe hope Focus Group inspires viewers to formulate their own conclusions and then head to the polls to vote this November! \n“The artist’s job is to be a witness to his time in history.” \nRobert Rauschenberg \n“To make people free is the aim of art\, therefore art for me is the science of freedom.” \nJoseph Beuys \nGallery viewing hours are Tuesday through Thursday\, 1pm – 5pm\, or by appointment. \nFor more information\, contact Cat Zhou at (212) 226-3232 or catherine@feldmangallery.com \n  Save  
URL:https://artinamericaguide.com/event/focus-group/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/08/Warhol-Bald-Eagle-1983_TP-25-of-30.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240920
DTEND;VALUE=DATE:20250303
DTSTAMP:20260406T225829
CREATED:20240116T143333Z
LAST-MODIFIED:20240116T143333Z
UID:106709-1726790400-1740959999@artinamericaguide.com
SUMMARY:David Smith: The Nature of Sculpture
DESCRIPTION:David Smith: The Nature of Sculpture is the first exhibition to explore the artist’s deep engagement with the natural world as source\, subject and site for his art. Working in multiple media\, formats\, and scales\, David Smith’s adventurous approach to three-dimensional form has permanently expanded the vocabulary and range of sculptural practice. Celebrated as the first American artist to make welded metal sculptures\, and to incorporate industrial means in his work\, Smith’s early enlistment of nature as a material and prime setting for his art was equally innovative. Spanning Smith’s full career\, the exhibition will feature some 50 sculptures\, along with related paintings\, reliefs and works on paper to reclaim the primacy of nature within the artist’s richly inventive oeuvre. This exploration of sculpture and nature will have particularly strong resonance at Meijer Gardens\, where Smith’s work will be in direct dialogue with the natural environs\, including larger pieces situated outdoors to commune with the elements as the artist intended. \n  Save  
URL:https://artinamericaguide.com/event/david-smith-the-nature-of-sculpture/
LOCATION:Frederik Meijer Gardens & Sculpture Park\, 1000 East Beltline Ave NE\, Grand Rapids\, MI\, 49525\, United States
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240920T170000
DTEND;TZID=America/New_York:20250125T190000
DTSTAMP:20260406T225829
CREATED:20240912T183612Z
LAST-MODIFIED:20240912T183612Z
UID:109947-1726851600-1737831600@artinamericaguide.com
SUMMARY:An Other World
DESCRIPTION:An Other World marks the Tarble’s first major reinstallation of artworks from the permanent collection in five years. Reintroducing patrons to the institution’s dynamic and growing collection\, the exhibition includes both familiar masterpieces and significant recent acquisitions. As regional folk art selections commingle with works by acclaimed contemporary artists\, shared images of absurdist realities and speculative worlds emerge to present a unique perspective on the human experience.  \nArtists in this exhibition employ many methods to construct these intricate worlds\, including painting\, drawing\, printmaking\, collage\, sculpture\, bookmaking\, and animation. Cut paper\, sewn fabric piecework\, and miniature carved dioramas serve as the building blocks for maximalist and meticulously crafted landscapes that range from whimsical to exuberant\, mystical to anxious\, and other such spaces of in-betweenness.  \nAt the collective heart of the works on view is a celebration of collage: the finding and binding together of disparate elements to form new\, cohesive wholes. Each piece is a testament to the work of the artist’s hand\, highlighting the evidence of craft and the handmade. By foregrounding the creative process itself—that of trained and untrained artists—these works invite viewers to explore layers of meaning embedded within each piece.  \nFrom scenes of playful absurdity to contemplative reflections on the current state of the world\, the artworks in An Other World challenge conventional notions of space\, time\, and identity. They do not settle for mere critique\, though\, but instead suggest possibilities for the future—visions of freedom\, transformation\, and resilience that have been otherwise unexplored. In a world often marked by uncertainty\, these works offer glimpses of hope and inspiration\, reminding us of the boundless potential of human creativity. \n  \n  Save  
URL:https://artinamericaguide.com/event/an-other-world/
LOCATION:Tarble Arts Center\, 2010 9th Street\, Charleston\, IL\, 61920\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Tarble Arts Center":MAILTO:tarbleprograms@eiu.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240924
DTEND;VALUE=DATE:20250303
DTSTAMP:20260406T225829
CREATED:20240628T154332Z
LAST-MODIFIED:20240628T154332Z
UID:109155-1727136000-1740959999@artinamericaguide.com
SUMMARY:The 50th: An Anniversary Exhibition
DESCRIPTION:Drawing from across the breadth and depth of the collection\, this exhibition marks the Smart Museum of Art’s 50th anniversary and explores what makes and defines a university art museum. \n  Save  
URL:https://artinamericaguide.com/event/the-50th-an-anniversary-exhibition/
LOCATION:Smart Museum of Art\, 5550 S. Greenwood Avenue\, Chicago\, IL\, 60637\, United States
CATEGORIES:Exhibition
GEO:41.7934642;-87.6002004
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240924
DTEND;VALUE=DATE:20250728
DTSTAMP:20260406T225829
CREATED:20240628T154332Z
LAST-MODIFIED:20241112T212527Z
UID:109156-1727136000-1753660799@artinamericaguide.com
SUMMARY:Robert Earl Paige: Give the Drummer Some!
DESCRIPTION:For the Smart’s 50th anniversary\, South Side artist Robert Earl Paige creates a multi-part pattern-based installation and sprawling public art project that invites communities into a collective experience of space. \n  Save  
URL:https://artinamericaguide.com/event/robert-earl-paige-give-the-drummer-some/
LOCATION:Smart Museum of Art\, 5550 S. Greenwood Avenue\, Chicago\, IL\, 60637\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240928T090000
DTEND;TZID=America/New_York:20250608T170000
DTSTAMP:20260406T225829
CREATED:20240808T143536Z
LAST-MODIFIED:20241122T192921Z
UID:109552-1727514000-1749402000@artinamericaguide.com
SUMMARY:Recent Acquisitions | Frye Art Museum
DESCRIPTION:Recent Acquisitions presents newly acquired artworks by artists with deep connections to the Pacific Northwest. Some artists were born here\, others are transplants—all have meaningfully shaped our artistic community. Reflecting the artistic production in our region\, the gathered artworks defy genre conventions\, often pushing the boundaries of their mediums. Ellen Lesperance (born 1971\, lives and works in Portland\, Oregon) meticulously translates knitting patterns into paintings\, and Gretchen Frances Bennett (born 1960\, lives and works in Seattle) evokes the grain of lo-fi digital imagery through precise color pencil marks. Margie Livingston’s (born 1953\, lives and works in Seattle) “paint object” employs acrylic paint as sculptural material\, while Natalie Ball’s (born 1980\, lives and works in Chiloquin\, Oregon) assemblages incorporate the scents of their organic materials. The museum acquired many of the included artworks through its Local Ties initiative\, which furthers the Frye’s commitment to championing local artists. \n  Save  
URL:https://artinamericaguide.com/event/recent-acquisitions-2/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/08/Lesperance-1-scaled.jpeg
ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241005T090000
DTEND;TZID=America/New_York:20250202T170000
DTSTAMP:20260406T225829
CREATED:20240808T143536Z
LAST-MODIFIED:20240808T143536Z
UID:109550-1728118800-1738515600@artinamericaguide.com
SUMMARY:Hayv Kahraman: Look Me in the Eyes
DESCRIPTION:Hayv Kahraman: Look Me in the Eyes interrogates conditions of migration and immigration in the West. In her largest museum solo presentation to date\, Kahraman (born 1981\, Baghdad) draws upon her longstanding motif of heavily browed\, lidded eyes to expose the simultaneous surveillance and erasure of othered bodies. The exhibition features all new work encompassing paintings\, large-scale sculptures\, and a deeply personal audio installation. \nKahraman’s artwork balances autobiographical and collective experiences informed by her upbringing as an Iraqi/Kurdish refugee in Sweden. These aspects coalesce within female figures that appear throughout the exhibition—near\, but not quite\, self-portraits. At times\, blank\, white eyes offset their faces\, speaking to government tracking through iris recognition technology. Meanwhile\, disembodied eyes appear among plants highlighting how Western systems of botanical classification support racist hierarchies. Kahraman visually unites these disparate elements through marbling\, a centuries-old technique that forces her to relinquish artistic control. The patterns that emerge render each work unique—a potent metaphor for resisting assimilation and its insistence on sameness. \n\n\n  Save  
URL:https://artinamericaguide.com/event/hayv-kahraman-look-me-in-the-eyes/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241016T090000
DTEND;TZID=America/New_York:20250406T170000
DTSTAMP:20260406T225829
CREATED:20241205T204737Z
LAST-MODIFIED:20241205T204737Z
UID:110875-1729069200-1743958800@artinamericaguide.com
SUMMARY:Boren Banner Series: Natalie Krick
DESCRIPTION:In her new suite of collages\, Natalie Krick deconstructs pictures of Marilyn Monroe from Bert Stern’s book The Complete Last Sitting\, complicating the voyeuristic viewing imposed on its iconic subject.  \n  Save  
URL:https://artinamericaguide.com/event/boren-banner-series-natalie-krick/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/12/krick_two_patterns_overlap-scaled.jpg
ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241101T110000
DTEND;TZID=America/New_York:20250301T180000
DTSTAMP:20260406T225829
CREATED:20240119T150547Z
LAST-MODIFIED:20240229T212253Z
UID:106743-1730458800-1740852000@artinamericaguide.com
SUMMARY:Kambui Olujimi: North Star
DESCRIPTION:Kambui Olujimi: North Star is an immersive exhibition that brings together Kambui Olujimi’s multimedia inquiry into the possibilities of weightlessness. Olujimi’s projects re-imagine what is possible through history and everyday life. \n  Save  
URL:https://artinamericaguide.com/event/north-star-meditations-on-weightlessness/
LOCATION:San Jose Museum of Art\, 110 S. Market Street\, San Jose\, CA\, 95113\, United States
CATEGORIES:Exhibition
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GEO:37.3327419;-121.8905201
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241101T110000
DTEND;TZID=America/New_York:20250316T180000
DTSTAMP:20260406T225829
CREATED:20240119T150547Z
LAST-MODIFIED:20240229T212203Z
UID:106742-1730458800-1742148000@artinamericaguide.com
SUMMARY:Beta Space: Patty Chang and David Kelley
DESCRIPTION:For the eighth iteration of the Museum’s ongoing series “Beta Space\,” multidisciplinary artists Patty Chang and David Kelley will explore the ecological implications of deep-sea mining. \n  Save  
URL:https://artinamericaguide.com/event/beta-space-patty-chang-and-david-kelley/
LOCATION:San Jose Museum of Art\, 110 S. Market Street\, San Jose\, CA\, 95113\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241115T080000
DTEND;TZID=America/New_York:20250817T170000
DTSTAMP:20260406T225829
CREATED:20240522T193730Z
LAST-MODIFIED:20240522T193730Z
UID:108583-1731657600-1755450000@artinamericaguide.com
SUMMARY:Pictures of Belonging: Miki Hayakawa\, Hisako Hibi\, and Miné Okubo
DESCRIPTION:Pictures of Belonging is an unprecedented examination of these three trailblazing figures.  By tracing their artistic development before\, during\, and after the mass incarceration and displacement of Japanese Americans during World War II\, the exhibition offers a nuanced view of how these women continued to explore and experiment with new artistic expression throughout their lives. Created during tumultuous decades in modern U.S. history\, their paintings\, along with their stories of resilience\, remind us of art’s power in the face of adversity and challenge. \nThe exhibition includes works by Hisako Hibi and Miné Okubo recently acquired for SAAM’s collection\, part of a multi-year initiative to expand and enrich the representation of Asian American experiences\, perspectives\, and artistic accomplishment in public displays and new scholarship. \n  Save  
URL:https://artinamericaguide.com/event/pictures-of-belonging-miki-hayakawa-hisako-hibi-and-mine-okubo/
LOCATION:Smithsonian American Art Museum\, 750 9th St. N.W.\, Washington\, DC\, 20001\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Smithsonian American Art Museum":MAILTO:americanartpressoffice@si.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20241119
DTEND;VALUE=DATE:20250126
DTSTAMP:20260406T225829
CREATED:20241122T192403Z
LAST-MODIFIED:20241122T192403Z
UID:110743-1731974400-1737849599@artinamericaguide.com
SUMMARY:18 Women: 50 Years
DESCRIPTION:View the complete exhibition checklist \nMichael Rosenfeld Gallery is pleased to announce 18 Women: 50 Years\, a group exhibition of some of the most innovative artists of the twentieth century\, each of whom has been integral to the gallery’s thirty-five-year history. On view from November 19\, 2024 through January 25\, 2025\, the presentation features over forty works in painting\, sculpture\, collage\, assemblage\, ceramic\, and textile produced between 1918 and 1968 by Magdalena Abakanowicz\, Ruth Asawa\, Mary Bauermeister\, Lee Bontecou\, Claire Falkenstein\, Nancy Grossman\, Blanche Lazzell\, Louise Nevelson\, Agnes Pelton\, Irene Rice Pereira\, Anne Ryan\, Betye Saar\, Esphyr Slobodkina\, Toshiko Takaezu\, Lenore Tawney\, Alma Thomas\, Charmion von Wiegand\, and Claire Zeisler. In the spirit of the large group exhibitions of vanguard artists organized by legendary curator Dorothy C. Miller at the Museum of Modern Art\, 18 Women: 50 Years provides a representative showing of each featured artist and\, collectively\, a survey of the women artists consistently championed by the gallery’s program.\n\nThough much progress has been made in contextualizing women artists within the larger narrative of twentieth-century art\, 18 Women: 50 Years seeks to emphasize the diversity of practices among the artists on view. Featuring traditional oil-on-canvas paintings\, radically nontraditional found-object assemblages\, as well as a rich selection of works executed in mediums traditionally designated as craft and unjustly excluded from fine art settings\, the presentation highlights the originality of these artists’ conceptual\, material\, and stylistic approaches. Each featured artist asserted a singular voice within the arena of modernism and its descendants while resisting the patriarchal strictures of the creative and institutional circles in which they moved. Bringing together standout works representative of a range of movements and milieus\, 18 Women: 50 Years provides a vivid summary of these artists’ incomparable contributions to the history of twentieth-century art.\n  Save  
URL:https://artinamericaguide.com/event/18-women-50-years/
LOCATION:Michael Rosenfeld Gallery\, 100 11th Ave\, New York\, NY\, New York\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/11/18-Women-Installation-View-7-scaled.jpg
ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
GEO:40.7460874;-74.0076191
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Michael Rosenfeld Gallery 100 11th Ave New York NY New York United States;X-APPLE-RADIUS=500;X-TITLE=100 11th Ave:geo:-74.0076191,40.7460874
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241207T080000
DTEND;TZID=America/New_York:20250131T170000
DTSTAMP:20260406T225829
CREATED:20241205T204737Z
LAST-MODIFIED:20241205T204737Z
UID:110885-1733558400-1738342800@artinamericaguide.com
SUMMARY:The invention of myth | Luis González Palma
DESCRIPTION:The invention of myth is an online survey of available works drawn from the established 35 year career of Luis González Palma. The set samples from major movements and materials/processes\, but do not exhaust them. This online exhibition uses an arch of work to underscore pinnacle pieces\, signal ongoing intention and foreshadow new directions. \nEarly handprinted silver-prints have been much addressed\, and while they remain resonant\, are arguably over-represented by gallery exhibitions and museum collections. The artist’s more recent work is far evolved. Emotional\, philosophical\, phenomenological- the arch of work traced by this survey proofs evolution of a career now in full stride. \n  Save  
URL:https://artinamericaguide.com/event/the-invention-of-myth-luis-gonzalez-palma/2024-12-07/
CATEGORIES:Virtual Events + Viewing Rooms
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/12/Luis-Gonzalez-Palma-4970-original.jpg
ORGANIZER;CN="jdc Fine Art":MAILTO:info@jdcfineart.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241210T090000
DTEND;TZID=America/New_York:20250328T170000
DTSTAMP:20260406T225829
CREATED:20241202T215213Z
LAST-MODIFIED:20241209T044351Z
UID:110840-1733821200-1743181200@artinamericaguide.com
SUMMARY:Franz Kline | Richard Hambleton: Portraits and Shadows
DESCRIPTION:Franz Kline | Richard Hambleton: Portraits and Shadows \nDecember 2024 – March 2025 \nWoodward Gallery at Down Town Association\, 60 Pine Street\, NYC \n  \nThe culmination of Woodward Gallery’s 30th Anniversary year-long celebration is the much anticipated\, two-person exhibition\, featuring “Franz Kline | Richard Hambleton: Portraits and Shadows.” This comparison of work\, though a generation apart\, examines these artistic geniuses with so much in common. Curated by John Woodward\, this exhibition pairs rare\, intimate portraits by Abstract Expressionist Franz Kline (1910 – 1962) with never-before-seen shadow paintings by Conceptual Artist Richard Hambleton (1952 – 2017). The soul of the individual is strongly communicated in both styles. \n  \nKline attended Boston University (1931 – 1935)\,  Pennsylvania Academy of Fine Arts/PAFA\, (1935 – 1936)\, and the Leeds School of Art in England (1937 – 1938). Kline was a confirmed New Yorker\, but had roots that he never forgot in the gritty Coal Country of Eastern Pennsylvania. He studied at the Boston Art Students League\, which stressed figure drawing. His cartoon drawing was widely popular with faculty and students in High School\, but it was at the League that he mastered his style in character studies. \n  \nArt and beer were compatible for Kline. Often in the 1940s\, in the hopes of earning a few dollars\, he sketched people who\, like himself\, frequented the Cedar Bar and Minetta Tavern in NYC. His character drawings\, like “Nellie\,” done at the Minetta Tavern\, were not distorted as caricatures\, but heightened with Kline’s ability to select the most descriptive features of the sitting subject. \n  \nKline and Hambleton liked to paint at night\, always keeping late hours and sleeping during the daytime. Hambleton worked in darkness from an abandoned gas station (Avenue B and 2nd Street) while Kline found life at the Cedar Bar (24 University Place) and Minetta Tavern (113 MacDougal Street) to form his subjects when these portraits were created. \n  \nRichard Hambleton attended The Vancouver School of Art (later renamed the Emily Carr University of Art and Design) in Vancouver\, Canada (1971 – 1975)\, where he was exposed to a variety of art movements. He relocated to NYC in 1976\, where he lived for the rest of his life. In the early 1980s\, Richard traveled extensively to cities throughout the world\, placing hundreds of shadow figures and engaging the public to observe and accept the fragility of being. While still in school\, he learned an early folk art technique from an old woman in Vancouver\, to quickly cut black paper into a person’s silhouette. This led to the spontaneous Shadow Head Portraits that Richard realized he could paint for barter\, trade\, or quick cash.  \n  \nEach artist gave life to the character subjects in their portraits. Hambleton extracted a person’s kinetic energy by splattering paint\, capturing the personality of the real individual’s shadow. Richard trusted black paint to create the silhouettes that he became known for. Similarly\, Kline was dedicated to revealing beauty through portraiture. Both Kline and Hambleton successfully recorded the personality of their portraits\, but had different methods. Kline would draw his subject in the moment\, whereas Hambleton painted from memory. \n  \nBoth Franz and Richard began their successful art journeys with their first solo exhibitions in NYC— Kline at the Egan Gallery in 1950\, and Hambleton at Alexander Milliken Gallery in 1982. Considered the most prestigious cultural event in the world\, the Venice Biennale featured Kline in 1960\, and Hambleton in 1984. \n  \nKline and Hambleton were serious\, committed artists who both lived under extreme conditions\, sometimes even without food or water. Both artists generally isolated themselves to create\, but were often surrounded by muses. Yes\, Kline and Hambleton had magnetic personalities and were charismatic people\, but used portraiture as a medium to connect— many times\, in order to make money to survive. \n  \nThey never gave up their studios or the harsh conditions of NYC. Each was evicted multiple times for being unable to pay the rent. They continually had to find new space in which to create. Franz rolled newspapers to burn to stay warm in the colder seasons. Richard would maintain heat with a small space heater and a self-customized\, white lab coat. \n  \nIn a fascinating parallel of fate\, both artists within their respective periods\, were each able to befriend the two most influential artists of their times; Kline found Willem de Kooning and Jackson Pollock in the 1940s\, and Hambleton found Jean-Michel Basquiat and Keith Haring in the 1980s. Both artistic trios were successfully recognized in NYC and eventually\, worldwide. The 20th-century art patrons\, and founders of the Museum of Modern Art\, the Rockefellers purchased art from both Kline and Hambleton. Blanchett Ferry Rockefeller bought “Chief\,” named after a locomotive inspired by Kline’s childhood\, in 1952. David Rockefeller bought “Julia\,” named after the Woodward Gallery owners’ only daughter\, who was a child at the time\, in 2013. \n  \nIn 1959\, American photographer\, Irving Penn\, captured a group of invited artists\, including Franz Kline\, for “The New American Painting” exhibition at the MoMA\, NY. Later\, in 1984\, Timothy Greenfield-Sanders staged a nearly-identical photograph of the then-current artists\, “The New Irascibles\,” including Richard Hambleton\, for Arts Magazine and Art Forum. \n  \nAfter the end of their lives\, each artist was honored with a featured obituary in the New York Times: Franz Kline on May 15\, 1962\, and Richard Hambleton on November 4th\, 2017. Despite their differing eras\, both artists are now considered iconic figures of 20th-century American art. \n  \nThe presentation of works in “Franz Kline | Richard Hambleton: Portraits and Shadows” elucidates how each artist gave life to their portraits\, successfully recording the character of their subjects\, through observation and memory. \n  \nWoodward Gallery’s “Franz Kline | Richard Hambleton: Portraits and Shadows” exhibition is on view\, by appointment\, at 60 Pine Street\, at WoodwardGallery.net\, on Artsy.net\, and as a virtual Artsy Viewing Room. A digital catalogue will be published to coincide with this exhibition. Additionally\, this exhibition will travel to museums\, with locations to be announced. \n  \n  Save  
URL:https://artinamericaguide.com/event/franz-kline-richard-hambleton-portraits-and-shadows/
LOCATION:Woodward Gallery at Downtown Association\, 60 Pine Street\, NYC\, 60 Pine Street\, 3rd Floor\, New York\,\, NY\, 10005\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Woodward Gallery":MAILTO:art@woodwardgallery.net
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241231T110000
DTEND;TZID=America/New_York:20250125T180000
DTSTAMP:20260406T225829
CREATED:20241227T204100Z
LAST-MODIFIED:20241227T204100Z
UID:111271-1735642800-1737828000@artinamericaguide.com
SUMMARY:Dorothy Frey: Close To Home
DESCRIPTION:Exhibition Dates: December 31\, 2024 – January 25\, 2025 \nOpening Reception: Sat\, January 4\, 2025\, 3PM-6PM \nClosing Reception: Sat\, January 25\, 2025\, 3PM-5pm \nGallery Hours: Tuesday-Saturday\, 11PM-6PM  (Closed January 1st.) \nBowery Gallery presents Dorothy Frey’s second solo show\, “Close to Home” from December 31\, 2024\, through January 25\, 2025.                       \nDorothy Frey’s work explores the connection between memory\, place\, and personal history through intimate depictions of home interiors and still life arrangements. This series focuses on spaces that offer solace and familiarity\, capturing vignettes of furniture and keepsakes passed down through generations. These objects—moved from home to home throughout her life—carry deep emotional significance\, inspiring Frey to manipulate light and color to emphasize the relationships between past and present. \nKnown for landscape paintings inspired by her family’s multi-generational farm\, Frey has retreated indoors to document the domestic scenes that define her current environment. Her paintings celebrate the beauty and banality of the everyday\, where heirlooms and collectibles become not only fixtures of the home but symbols of connection\, legacy\, and belonging. Through this body of work\, Frey reflects on the quiet\, enduring presence of personal history within the spaces we inhabit. \nFounded in 1969\, Bowery Gallery has been showing contemporary art of the highest quality for more than six decades.  Bowery Gallery is a cooperative\, founded by artists and directed by the collective decision making of its member artists. From its beginnings\, Bowery Gallery has been a force for the expansion of art’s traditions in a venue unconstrained by commercial pressures.  Named after its original location\, Bowery Gallery is now located in the heart of the Chelsea art district. \nGeneral information: \nBowery Gallery \n547 West 27th Street\, Suite 508 (5th Floor) \nNew York\, NY 10001 \nGallery Hours: Tuesday – Saturday\, 11am – 6pm \n646-230-6655 \ninfo@bowerygallery.org  \nwww.bowerygallery.org \ndorothyfrey.com          \n  Save  
URL:https://artinamericaguide.com/event/dorothy-frey-close-to-home/
LOCATION:Bowery Gallery\, 547 W 27TH ST Suite 508\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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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:20250102T110000
DTEND;TZID=America/New_York:20250125T180000
DTSTAMP:20260406T225829
CREATED:20241227T204150Z
LAST-MODIFIED:20241227T204150Z
UID:111328-1735815600-1737828000@artinamericaguide.com
SUMMARY:2025 Winter Juried Exhibition
DESCRIPTION:2025 Winter Juried Exhibition \nGlenn Goldberg Juror \nBlue Mountain Gallery is pleased to present the work of 36 artists selected by Glenn Goldberg for this year’s winter juried exhibition. The artists\, drawn from three hundred applicants from across the country\, work in a wide range of media\, including oil\, acrylic\, pastel\, gouache\, photography and mixed media. The exhibition is accompanied by a fully illustrated catalogue and will remain on view through January 25\, 2025.\n  Save  
URL:https://artinamericaguide.com/event/2025-winter-juried-exhibition/
LOCATION:Blue Mountain Gallery\, 547 W 27th St\, Suite 200\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/12/web-final-5x4-collage-2025-winter-juried.jpg
ORGANIZER;CN="Blue Mountain Gallery":MAILTO:bluemountaingallery@verizon.net
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250109
DTEND;VALUE=DATE:20250216
DTSTAMP:20260406T225829
CREATED:20241211T193249Z
LAST-MODIFIED:20241211T193249Z
UID:110955-1736380800-1739663999@artinamericaguide.com
SUMMARY:Mariam Ghani: Counting\, Accounting\, Recounting
DESCRIPTION:RYAN LEE Gallery is pleased to announce Counting\, Accounting\, Recounting\, an exhibition by the artist\, writer\, and filmmaker Mariam Ghani (b. 1978). Centering around Ghani’s short film There’s a Hole in the World Where You Used to Be (2024) with accompanying sculptures\, the works in this exhibition translate the process of mourning people and places into tangible form as the artist seeks to account for loss and reckon with impermanence. By weaving together personal artifacts with cultural iconography\, Ghani’s work engages with the ways in which grief\, absence\, and the passage of time inform our perceptions of the world around us. Ghani says\, “There’s a Hole in the World Where You Used to Be is concerned with the way grief can feel simultaneously personal and political\, individual and collective; each absence felt as both a wound in the heart and a hole in the world.” \n  Save  
URL:https://artinamericaguide.com/event/mariam-ghani-counting-accounting-recounting/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250109
DTEND;VALUE=DATE:20250216
DTSTAMP:20260406T225829
CREATED:20241216T213443Z
LAST-MODIFIED:20241216T213443Z
UID:111197-1736380800-1739663999@artinamericaguide.com
SUMMARY:Susan English : Still Light
DESCRIPTION:Kathryn Markel Fine Arts is delighted to announce Still Light\, an exhibition of new work by Susan English. Still Light will be English’s fourth solo exhibition with the gallery. \nEthereal and minimal\, Susan English’s paintings play with light and space. She employs transparent pigments and layering to manipulate light and illuminate her color fields. Soft variations and subtle textures appear across the gauzy surfaces soothing and disrupting the meditative environment. Describing the importance of light in her work\,  English writes\, “Paintings\, in a sense\, are “still light”—light captured and distilled into permanence. My work is a response to my experience of light. Color is light and light is color. The color\, which is made by pouring layers of tinted transparent polymer onto panels or paper\, creates an event of still light. In this stillness\, there is something both timeless and calming.” \nEnglish pioneered a technique of pouring and manipulating tinted polymer that allows her to produce a wide variety of textures\, shades\, opacities and finishes. The fluid application of polymer creates opportunities for spontaneous marks as English balances between control and appreciating the unexpected. \nEnglish holds an MFA from Hunter College and has held solo exhibitions across New York State\, Connecticut\, California\, and Texas since 2001. She was awarded the NYSS Mercedes Matter Award in 2020\, and has completed several fellowships and residencies throughout her career. English’s work has been featured in The New York Times\, Widewalls Magazine\, Whitehot Magazine\, Chronogram\, Abstract Art Online\, The Philadelphia Inquirer\, and The Highlands Current. She lives and works in Cold Spring\, NY . \n  Save  
URL:https://artinamericaguide.com/event/susan-english-still-light/
LOCATION:179 10th Ave\, 179 10th Ave\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Kathryn Markel Fine Arts":MAILTO:markel@markelfinearts.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250109
DTEND;VALUE=DATE:20250216
DTSTAMP:20260406T225829
CREATED:20241216T213443Z
LAST-MODIFIED:20241216T213443Z
UID:111201-1736380800-1739663999@artinamericaguide.com
SUMMARY:Laura Bidwa : Each
DESCRIPTION:Kathryn Markel Fine Arts is pleased to present Each\, an exhibition of paintings by artist Laura Bidwa. This is her first solo exhibition with the gallery and will take place in the new “Pocket” gallery at the 179 10th Avenue location with an artist reception January 16th\, 6-8pm . \nBidwa’s recent paintings are composed of layers of oil\, latex\, and spray paints on panels that the artist applies with a confident and exuberant brush. Planes of color are disrupted by bold brushwork\, building organic forms carefully laid down\, which create distinct\, painterly shapes. The simplicity of the background creates the clarity necessary to highlight the eccentric use of color. \nThe paintings are packed with contradictions\, as they are both energetic and quiet\, textured and smooth. Surfaces are matte or gloss\, thin and thick.  In the artist’s own words\, “If it works\, I can draw a viewer into looking at a painting very carefully\, noticing the gesture of a brushstroke or a shape\, how the paint’s edges change\, how the surface of the oil paint is matte or slightly less matte or shiny\, how the colors shift as the paint is thicker or thinner. I hope the viewer is able to be lost in looking\, seeing one thing after another even in this simple object.” \nLaura Bidwa is based in Columbus\, Ohio and received her BFA in Painting in 1990 from Indiana University and her MFA in Painting and Drawing in 1996 from The Ohio State University. She has participated in several national and international residencies including at the Vermont Studio Center and in Dresden\, Germany through the Greater Columbus Arts Council. Bidwa has exhibited extensively across the U.S. and Europe in both commercial and nonprofit galleries as well as art fairs in New York\, Miami\, Los Angeles\, and San Francisco. Her work is included in over 100  private\, public\, and corporate art collections. \n  Save  
URL:https://artinamericaguide.com/event/laura-bidwa-each/
LOCATION:179 10th Ave\, 179 10th Ave\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Kathryn Markel Fine Arts":MAILTO:markel@markelfinearts.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250109
DTEND;VALUE=DATE:20250216
DTSTAMP:20260406T225829
CREATED:20241219T212638Z
LAST-MODIFIED:20241219T212638Z
UID:111264-1736380800-1739663999@artinamericaguide.com
SUMMARY:go to the limits of your longing
DESCRIPTION:go to the limits of your longing \nJanuary 9 – February 15\, 2025 \nOpening reception: Thursday\, January 9\, 2025\, 6:00-8:00 pm \nIncluding work by Sadie Benning\, Tiffany Chung\, Martine Gutierrez\, \nLibby Heaney\, Annie Lapin\, Hung Liu\, Masako Miki\, Andrés Monzón-Aguirre\, Vian Sora\, Kathia St. Hilaire\, Katy Stone\, and Stephanie Syjuco \nRYAN LEE is pleased to present go to the limits of your longing. Taking its title from a poem by Rainer Maria Rilke\, this exhibition focuses on the idea of passages—moving towards something or somewhere\, through both time and space. This theme can encompass transformation\, migration\, spiritual rituals\, aging\, and family history\, among others. Voyages of this kind take place in a liminal space in between origin and destination\, a place with fuzzy\, slippery borders. Many of the works in this show lean into the playful side of the concept\, finding child-like joy in the messiness of the journey. \nA Chinese-born artist who lived in the United States\, Hung Liu’s painting Unit Cohesion (1993) touches on rituals of childhood but also references the military concept of “unit cohesion\,” which refers to the ways in which soldiers build trust in order to achieve their goals. In depicting children who are participating in grown-up military activities\, Liu also explores her own dual identity. She said\, “I am not really Chinese anymore but I am not one hundred percent American. I cannot get close to my own history\, but I cannot get rid of it.” \nKathia St. Hilaire’s work portrays tender images of family gatherings\, children at play\, celestial bodies\, scenes of death\, and distinct Haitian iconography. St. Hilaire grapples with histories that have been forgotten or actively suppressed. In recounting them\, she blends established facts with the larger-than-life legends of Haiti’s leaders in a manner she describes as “magical realist.” Contained within these vibrant\, dreamlike pictures are the past\, present\, and suggestions of possible futures. \nSome of the artists in this show focus on migration\, a difficult yet familiar journey that many families embark upon. The “migrants” in Stephanie Syjuco’s passport-style photos have covered their faces with fabric\, perhaps afraid that exposing their identities might be dangerous. This gesture\, while potentially protecting those pictured\, also serves to render them part of a faceless mass\, which is how migrants and refugees are often seen\, rather than as individual human beings. \nTiffany Chung’s map paintings layer different periods in the history of devastated topographies\, reflecting the impossibility of accurately creating cartographic representations of most places. Transgressing space and time\, these works unveil the connection between imperialist ideologies and visions of modernity. Her maps interweave historical and geologic events—and spatial and sociopolitical changes—with future predictions\, revealing cartography as a discipline that draws on the realms of perception and fantasy as much as geography. \nMasako Miki’s exploration of fluid identities is rooted in the Shinto animism of yōkai\, or “shape-shifters\,”—a pantheon of millions of deities that define a world of shifting boundaries and identities. Miki says\, “I want to emphasize that things are interrelated rather than disconnected. Shapeshifters manifest the idea of fluidity and transitional space. They are both animate and inanimate beings\, and also they can cross boundaries of both material and spiritual realms.” \nLibby Heaney’s Jellyfish out of water (2022) focuses on uncanny similarities between glass and quantum particles\, such as electrons. The sculpture explores a state of in-between\, where the glass assumes a slimy quality\, becoming a tactile\, ever-changing intervention in the gallery space. Slime is a recurring motif in Heaney’s practice symbolizing the unstable nature of reality and the monstrous nature of self. \nChallenging the construction of binaries through the blurring of their borders\, Martine Gutierrez insists that gender\, like all things\, is entangled—and argues against the linear framework of oppositional thinking. Her malleable\, ever-evolving self-image catalogs the confluence of seemingly disparate modes\, conveying limitless potential for reinvention and reinterpretation. Gutierrez says\, “My authenticity has never been to exist singularly\, whether in regard to my gender\, my ethnicity\, or my sexual orientation. My truth thrives in the grey area.” \nRooted in the material culture of the Northern Andes\, Andrés Monzón-Aguirre fuses traditional methods with modern elements and regional iconography\, creating culturally specific artworks that invite viewers to engage with narratives of memory and representation. The space between these cultural histories and the artist’s scattered lineage suggests a rupture of relations\, in which wandering yields fruitful possibilities of self-determining one’s own relationship to complex systems and histories. \nVian Sora’s painting process reflects a search for harmony and transcendence. While her canvases begin in a chaotic swirl of spray paint\, acrylics and pigments covering the canvas\, Sora wrests control creating specific forms and balance from the visual confusion. Though Sora’s paintings are largely abstract\, upon closer inspection\, they reveal half-hidden figures and suggest landscapes of lush fertility and terrible decay\, cycles of life and death\, yet infused with hope. \nKaty Stone’s work balances a sense of monumentality and durability with motion and fragility. Each layered\, cascading work consists of scores of drawn and hand-painted gestures that seem frozen in a moment of falling\, fluttering\, waving\, crashing or exhaling. Over her career\, she has developed an intricate vocabulary of line\, shape\, form and mark-making that blurs the boundaries between traditional techniques of drawing\, painting and sculpture. \nAnnie Lapin is known for her genre-bending paintings that draw from art history to examine a world overwhelmed by data\, divergent histories\, and conflicting truths. Drawing from a wide range of visual sources\, including the artist’s own photo archive\, online visual media\, and well-known paintings and photographs from throughout art history\, Lapin’s paintings merge fragmented cultural allusions with a gestural painterly intuition. \nSadie Benning incorporates sculptural elements into their paintings; often\, wood is cut into pieces\, coated with colored resin\, sanded\, then fit back together like a jigsaw puzzle. Unlike a jigsaw puzzle in which pieces fit perfectly together\, there is a gap between the pieces in Benning’s work—the original line becomes a space between the pieces where the blade has cut. The line is there and also not there; a space for light to move that speaks to the body and its continual state of flux. \nSadie Benning (b. 1973) has spent the last thirty years investigating cultural influences\, specifically in relation to identity\, language and memory. Benning has been creating experimental videos since their youth in the late 1980s and has expanded their rigorous practice in a fusion of painting\, sculpture\, installation\, and photography\, formed with both found and original objects. Concurrent layers exist within their sculptural paintings as transparencies\, analogue photos\, digital prints\, resin\, enamel\, and spray paint\, coated on wall-based panels. \nTiffany Chung (b. 1969) is noted for her cartographic drawings\, sculptures\, videos\, photographs\, and theater performances that examine conflict\, migration\, displacement\, urban progress and transformation in relation to history and cultural memory. Chung’s interest in imposed political borders and their traumatic impacts on different groups of human populations has underpinned her commitment to conducting an ongoing comparative study of forced migration—through both the current Syrian humanitarian crisis and the post-1975 mass exodus of Vietnamese refugees\, of which she herself was a part. \nMartine Gutierrez (b. 1989) is a transdisciplinary artist\, utilizing photography and video to subvert various performances of pop-cultural tropes in the exploration of identity—both personally and collectively intersectional to the ideologies of power\, beauty\, and heritage. Her amass of media—ranging from billboards to episodic films\, music videos and renowned magazine\, Indigenous Woman—produce the very conduits of advertising that sell the identities she disassembles. \nLibby Heaney is an artist with a PhD and a professional research background in quantum information science. She is widely known as the first artist to work with quantum computing as a functioning artistic medium. Heaney’s practice explores inherently magical\, queer\, non-local and hybrid concepts from quantum science to disrupt binary categories and hierarchies and foster radical interconnectedness. \nAnnie Lapin (b. 1978) creates paintings that reside in a world of multiplicities; digital histories and analog mark making come together to form landscapes that abide neither to the rules of the virtual nor to the physical. Initiating each painting with generous pours of paint and liquid graphite\, Lapin’s abstract marks become the armature around which pictorial space is built. Punched with trompe l’oeil forms\, photographic blur\, and references to the sublime imagery of Western landscape painting and photography\, the polyvalent scenes conjure a sense of mystery and fervor. \nHung Liu (b. 1948 – d. 2021) was a groundbreaking contemporary artist known for her powerful paintings based primarily on historical Chinese photographs\, and her installations addressing the racial and cultural complexities she witnessed upon immigrating to the United States at the age of 36. Interested in the political tensions between the so-called objective truths reflected in a photograph versus the mediated vision in a painting\, Liu began using photography in her painting practice in the mid-1980s. \nMasako Miki (b. 1973) is a multimedia artist whose work ranges from installation and large-scale sculpture to printmaking\, watercolor and felting. She bases her narrative on her own experiences of becoming bicultural in the United States at the age of eighteen. The artist frequently delves into the psychological aspects of how one processes new environments and cultures; ultimately her work merges two existing cultures into a new one. \nAndrés Monzón-Aguirre (b. 1987) is an artist working between New York City and Medellín who translates displacement and ancestral memory into ceramics\, sculpture and painting. Referencing specific indigenous iconographies of Colombia\, Monzón-Aguirre abstracts personal and collective imagery as an act of remembrance and an opportunity for healing. \nVian Sora (b. 1976) creates intensely autobiographical paintings filled with emotional complexity and tension\, bustling with a dynamic energy and struggle that reflect the artist’s personal journey to move beyond the collective trauma of violence and destruction that she experienced firsthand during decades of conflicts in Iraq. \nInformed by her experience growing up in Caribbean and African American neighborhoods in South Florida\, Kathia St. Hilaire (b. 1995) seeks to memorialize the communities that she has been a part of through innovative techniques and nontraditional materials. Through an interdisciplinary process\, her work affirms and memorializes historic and political issues that deal with both marginalized and privileged communities of neo-diaspora. \nKaty Stone (b. 1969) is best known for her large-scale installations and wall sculptures. Working primarily in aluminum\, Dura-Lar and plexiglass\, Stone creates hybrids of sculpture and painting that combine the visual language of organic forms with synthetic materials. From the cellular to the cosmic\, the artist draws from a wide range of natural bodies and conceptual source material that frequently lead to an artistic mediation on transience and permanence\, nature and artifice. \nStephanie Syjuco (b. 1974) is known for her investigative\, research-based practice encompassing photography\, sculpture\, and installation. Progressing from handmade and craft-inspired mediums to digital editing and archive excavations\, her work employs open-source systems\, shareware logic\, and capital flows to scrutinize issues related to economies and empire. Syjuco’s multimedia social practice ties pedagogy and research to study and highlight the tension between the authentic and the counterfeit across a wide range of media\, thus problematizing long-held assumptions about history\, race\, and labor. \n  \n  \nAbout RYAN LEE \nCelebrating emerging and established artists and estates\, RYAN LEE presents innovative and scholarly exhibitions across all spectrums of art practices\, including painting\, photography\, video\, sculpture\, and performance. The gallery takes chances on a wide variety of boundary-pushing artists; their work consistently transcends political\, cultural\, material\, or technical boundaries. In addition\, RYAN LEE has\, throughout its history\, demonstrated its long-standing interest and dedication to feminist\, Black and Asian American\, as well as queer narratives in the twentieth and twenty-first centuries. Founded in 2013 by Mary Ryan and Jeffrey Lee\, the gallery is led by partners of different generations and backgrounds with over six decades of combined experiences informing its unique approach. \n  Save  
URL:https://artinamericaguide.com/event/go-to-the-limits-of-your-longing/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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