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X-WR-CALDESC:Events for Art in America Guide
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20260404T071623
DTEND;TZID=America/Halifax:20230107T180000
DTSTAMP:20260404T071623
CREATED:20230109T180703Z
LAST-MODIFIED:20230109T180703Z
UID:101329-0-1673114400@artinamericaguide.com
SUMMARY:Joanne Freeman: New York Conversation
DESCRIPTION:Kathryn Markel Fine Arts is thrilled to announce New York Conversation\, an upcoming exhibition of new work by Joanne Freeman. New York Conversation is Freeman’s third solo exhibition with the gallery. The show will be accompanied by a group show curated by Freeman titled Betty and Veronica. They will run concurrently from January 5th – February 11th\, 2023. \n  \n“New York Conversation references my studio process\, and metaphorically describes the random thoughts\, snippets of conversation\, lyrics and memories that ebb and flow over the course of a painting. Visual signs\, nostalgia and the emotional residue of color\, guide my aesthetic choices\,” Freeman says. While intuitive\, Freeman’s stencil-like forms and irregular hard-edge curves harken Modernism and minimalist sensibilities. This is heightened by a palette of saturated primary colors\, or monochromatic works.   “My paintings reference forms found in architecture and design\,” she says.  “I create compositions based on loose geometry and layered saturated colors. The hard edge process of cutting shapes and layering color onto treated raw linen\, recalls qualities of mid-century low-tech graphics\, color field painting and collage\,” she continues.  \n  \nThe forms are hard-edged while still breathy and organic.  The subtle transparencies at the edges of the forms and the contrast of the brushstrokes across the tooth of linen reveal the artist’s hand. “When applying oil paint to linen I try to accentuate the inherent qualities of both mediums\,” she says. “ I consider both the transparency and opacity of the colors\, how they abut and overlap\, and how they respond to the textured tooth of the linen.” She is mindful of each medium’s materiality when painting.  Her saturated colors in either gouache or oil paint are absorbed by the handmade paper or linen\, enhancing the modernist flatness of her forms and use of space. “My reductive abstract paintings are about the beauty of singular color\, the impact of pure abstract forms and the quiet order that cuts through the noise\,” Freeman says.  \n  \nJoanne Freeman has had solo exhibitions in galleries around the United States\, and shown at The Queens Museum\, Zillman Art Museum University of Maine\, The Painting Center\, and the Cape Cod Museum of Art. She’s a 2021 recipient of the Pollock-Krasner Foundation Grant\, and the Vice President of the American Abstract Artists organization. She has her M.A in Studio Art from New York University\, and lives and works in New York City. \n  Save  
URL:https://artinamericaguide.com/event/joanne-freeman-new-york-conversation/
LOCATION:Kathryn Markel Fine Arts\, 529 West 20th\, Suite 6W\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/01/install5-scaled.jpg
ORGANIZER;CN="Kathryn Markel Fine Arts":MAILTO:markel@markelfinearts.com
GEO:40.9365358;-72.3040792
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Kathryn Markel Fine Arts 529 West 20th Suite 6W New York NY 10011 United States;X-APPLE-RADIUS=500;X-TITLE=529 West 20th\, Suite 6W:geo:-72.3040792,40.9365358
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20260404T071623
DTEND;TZID=America/Halifax:20230128T180000
DTSTAMP:20260404T071623
CREATED:20230109T180750Z
LAST-MODIFIED:20230109T180750Z
UID:101313-0-1674928800@artinamericaguide.com
SUMMARY:2023 Winter Juried Exhibitions
DESCRIPTION:BLUE MOUNTAIN GALLERY is pleased to present the work of 47 artists\, 51 pieces of artwork\, selected by Eric Holzman for this year’s winter juried exhibition. The artists\, drawn from over two hundred applicants from across the country\, work in a wide range of media\, including oil\, acrylic\, pastel\, gouache\, photography and mixed media.  \n​Heidi Alamanda \, Marilyn Allen\, Hilary Houston Bachelder\, James Baker\, Nina Kardon Baran\, Bob Barnett\, Raymond Berry\, Leslie Blackmon\, Pam Bowers\, Nancy Breakstone\, Karina Cavat\, Audrey Cohn-Ganz\, Elizabeth Courtney\, Anne Delaney\, Stephanie DeManuelle\, Kiran K Dhaliwal\, Janine Dunn Wade\, Melanie Essex\, Tom Fitzharris\, Meghan Fleming\, Nancy Granda\, Theresa Heidig Rooney\, Teresa Jade Jarzynski\, Moishe Kampin\, Sam Kelly\, Michele King\, Laura Levine\, Pattie Lipman\, Aaron Lubrick\, Manuel Alejandro Macarrulla\, James McKenna\, Elizabeth Meyersohn\, Mark. Milroy\, Blake Morgan\, Arnaldo J Rivera Rivera\, Gail Rodney\, Rebecca Gray Rolke\, Roxy Rubell\, Alyssa Schmidt\, Abbey Stace\, Leslie Ross Stephens\, Yuri Tayshete\, Preston Trombly\, Laura Vahlberg\, Ekaterina Vanovskaya\, Aidan White and Lenore Wolf. \n​Juror ERIC HOLZMAN has been painting and searching for connection in nature and other representational genres all his life. He is a romantic and a classicist who looks into the inner nature of things and tries to walk “The Beauty Way.” He was educated at Tyler School of Art\, Yale\, Skowhegan and the New York Studio School. Eric has taught at Pratt\, the New York Studio School\, and Bard College among others. He is a National Academician and has exhibited twice at the American Academy\, winning awards from both institutions.  Eric has also shown work at Lori Bookstein\, Tibor de Nagy\, Sideshow and Artist Equity\, all in NYC\, and at Gremillion Fine Art and Ellio Fine Art in Houston\, Texas. He has received many honors\, including grants and fellowships from the Guggenheim Foundation\, the NEA\, the Pollock Krasner Foundation\, the Gottlieb Foundation and the Louis Comfort Tiffany Foundation. Website: www.ericholzman.com \n\n  Save  
URL:https://artinamericaguide.com/event/2023-winter-juried-exhibitions/
LOCATION:Blue Mountain Gallery\, 547 W 27th St\, Suite 200\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/01/2023-artists-rectangle.jpg
ORGANIZER;CN="Blue Mountan Gallery":MAILTO:info@bluemountaingallery.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260404T071623
DTEND;TZID=America/New_York:20250920T170000
DTSTAMP:20260404T071623
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:20260404T071623
DTEND;TZID=America/New_York:20250926T200000
DTSTAMP:20260404T071623
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:20260404T071623
DTEND;TZID=America/New_York:20250927T180000
DTSTAMP:20260404T071623
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:20260404T071623
DTEND;TZID=America/New_York:20251018T170000
DTSTAMP:20260404T071623
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:20260404T071623
DTEND;TZID=America/New_York:20251122T170000
DTSTAMP:20260404T071623
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:20260404T071623
DTEND;TZID=America/New_York:20260221T180000
DTSTAMP:20260404T071623
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:20121022
DTEND;VALUE=DATE:20220101
DTSTAMP:20260404T071623
CREATED:20210527T152347Z
LAST-MODIFIED:20210527T152507Z
UID:81363-1350864000-1640995199@artinamericaguide.com
SUMMARY:LEO VILLAREAL: COSMOS
DESCRIPTION:An homage to the late Cornell astronomy professor Carl Sagan\, Cosmos is a site-specific installation by New York–based artist Leo Villareal (born 1967)\, a pioneer in the use of light-emitting diodes (LEDs) and computer-driven imagery. His signature pieces explore complex movement and dazzling patterns created by points of light using his own computer software. \n \nVillareal – Cosmos – Johnson Museum – Cornell final from Walter Patrick Smith\, AIA LEED A on Vimeo. \nPlanning for Cosmos began in November 2010\, when Villareal—along with the project architect\, Walter Smith\, and donors Lisa and Richard Baker—worked with Johnson Museum staff to determine the optimal location for the installation. The ceiling of the Sherry and Joel Mallin Sculpture Court was chosen for its high visibility not only on campus but also from the city of Ithaca. After studying the Museum’s architectural plans and considering structural and aesthetic aspects of the installation\, the artist’s team returned to Cornell in April 2012 to install a nine-foot-square mock-up. Installation of the final piece took several weeks\, with twelve thousand energy-efficient LEDs on a gridded framework attached to the ceiling of the sculpture court. A zero gravity bench was designed by the artist for viewers to fully immerse themselves in the viewing experience and to foster a more communal involvement with his installation. Villareal gave a public lecture to mark the opening of the installation. \nVillareal’s works reinterpret fundamental components of such twentieth-century art movements as pop\, minimalism\, conceptual\, and post-painterly abstraction while responding to the ingenuity and imagination that defines technology in the twenty-first century. Among his most notable site-specific works are the illumination of the exterior of the Brooklyn Academy of Music (2006)\, Multiverse in the Concourse walkway between the East and West Buildings at the National Gallery of Art (2008)\, and Sky at the Tampa Museum of Art (2009). His largest installation to date is The Bay Lights\, illuminating the West Span of the San Francisco Bay Bridge for its 75th anniversary in 2013. \nAndrea Inselmann\nCurator of Modern and Contemporary Art \n\nImage:\nLeo Villareal\nCosmos\, 2012\nWhite LED Lights\, custom software\, and electrical hardware; site-specific installation.\nAcquired through the generosity of Richard Baker\, Class of 1988\, and Lisa Baker.\n2012.056\nPhoto: James Ewing \n\n  Save  
URL:https://artinamericaguide.com/event/leo-villareal-cosmos/
LOCATION:Herbert F. Johnson Museum of Art\, Cornell University\, 114 Central Avenue\, Cornell University\, Ithaca\, NY\, 14853\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2021/05/cosmos-ewing-2169.jpeg
GEO:42.4507153;-76.4862114
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Herbert F. Johnson Museum of Art Cornell University 114 Central Avenue Cornell University Ithaca NY 14853 United States;X-APPLE-RADIUS=500;X-TITLE=114 Central Avenue\, Cornell University:geo:-76.4862114,42.4507153
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190329T100000
DTEND;TZID=America/Halifax:20190929T170000
DTSTAMP:20260404T071623
CREATED:20190418T204953Z
LAST-MODIFIED:20190509T150353Z
UID:51723-1553853600-1569776400@artinamericaguide.com
SUMMARY:A Nation Reflected: Stories in American Glass
DESCRIPTION:Featuring more than 100 objects drawn from the Yale University Art Gallery’s collection with select loans from the Yale Peabody Museum of Natural History\, A Nation Reflected: Stories in American Glass explores the myriad ways in which glass expresses the cultural\, technological\, and artistic aspirations of those who live and work in the United States. \nhttps://artgallery.yale.edu/exhibitions/exhibition/nation-reflected-stories-american-glass \n  Save  
URL:https://artinamericaguide.com/event/a-nation-reflected-stories-in-american-glass/
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/2019/04/turtle-americanglass.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:20190405
DTEND;VALUE=DATE:20191013
DTSTAMP:20260404T071623
CREATED:20190623T154048Z
LAST-MODIFIED:20190927T192809Z
UID:57561-1554422400-1570924799@artinamericaguide.com
SUMMARY:Project Wall: Stanley Whitney
DESCRIPTION:Representing his first commissioned public art project\, internationally recognized artist Stanley Whitney and Kansas City Art Institute alumnus will utilize the H&R Block Artspace Project Wall to deliver an emphatic message. \nKnown for his painterly\, abstract compositions of organic grids with vertical and horizontal bands and blocks in vibrant hues\, Whitney’s characteristic approach to painting is as an architect and builder of pictorial color. Parallel to this deep\, lifelong study\, however\, is a smaller and lesser known series of drawings by the artist with words and phrases that explore relationships between text and image and their attendant meanings. \nIn No to Prison Life\, Whitney worked with Guest Curator Larry Ossei-Mensah\, Museum of Contemporary Art Detroit (MOCAD) Susanne Feld Hilberry Senior Curator\, to create and contextualize a new work of art for his alma mater. Whitney’s Project Wall intentionally combines painting and drawing to register an urgent public protest against a U.S. judicial system that promotes arrest\, incarceration\, and other forms of imprisonment that often further damages lives. \nWhitney recently introduced the public to the phrase “No to Prison Life” as the title for a painting created for the international Documenta 14 exhibition in Athens\, Greece and Kassel\, Germany\, in 2017.  In this new context\, however\, the artist uses his agency to create a work that merges his stylistic painting with a provocative message and in so doing broadcasts an alert regarding the disproportionate number of African Americans in U.S. prisons. \n  Save  
URL:https://artinamericaguide.com/event/project-wall-stanley-whitney/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/06/No_to_Prison_Life_Billboard_lowres.jpg
ORGANIZER;CN="H&amp%3BR Block Artspace":MAILTO:mdcain@kcai.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190413
DTEND;VALUE=DATE:20190930
DTSTAMP:20260404T071623
CREATED:20190325T163941Z
LAST-MODIFIED:20190531T142938Z
UID:49545-1555113600-1569801599@artinamericaguide.com
SUMMARY:Sheila Hicks: Campo Abierto (Open Field)
DESCRIPTION:Grouping works of art from various periods\, Campo Abierto (Open Field) explores the formal\, social and environmental aspects of landscape that have been present\, yet rarely examined\, throughout Sheila Hicks’ expansive career. Prompting contemplations on collaboration\, dialogue and discussion\, the exhibition is rooted in the reconfiguration of Escalade Beyond Chromatic Lands (2016-2017)\, the artist’s vast installation produced for the Arsenale at the Venice Biennale in 2017. The exhibition brings together several large-format installations\, as well as more intimately-scaled works\, that utilize and transform the architecture of The Bass’ upstairs galleries. The selection of works in Campo Abierto (Open Field) foreground the museum’s context in South Florida\, a multilingual locus traversed by complex immigration waves and patterns\, alongside environmental concerns. \nSheila Hicks (b. 1934\, Hastings\, Nebraska) received her BFA and MFA degrees from Yale University. She received a Fulbright scholarship in 1957-58 to paint in Chile. While in South America\, she developed her interest in working with fibers. After founding workshops in Mexico\, Chile and South Africa\, and working in Morocco and India\, she now divides her time between her Paris studio and New York. Hicks has exhibited internationally in both solo and group exhibitions. Her work was included in the 57th Venice Biennale (2017)\, 77th Whitney Biennial (2014)\, and 30th São Paulo Biennial (2012). Recent solo presentations include: Lignes de Vie\, Centre Pompidou\, Paris (2018); Free Threads 1954-2017\, Museo Amparo\, Mexico (2017). In 2010 a major retrospective of her work\, Sheila Hicks: 50 Years\, debuted at the Addison Gallery of American Art and traveled to the Institute of Contemporary Art\, Philadelphia and the Mint Museum\, Charlotte\, North Carolina. Hicks’ work is in the collections of the Metropolitan Museum of Art and the Museum of Modern Art\, New York City; Museum of Fine Arts\, Boston; The Art Institute of Chicago; the Victoria & Albert Museum\, London; Stedelijk Museum\, Amsterdam; Centre Pompidou\, Paris; the Museum of Modern Art\, Tokyo; Museo de Bellas Artes\, Santiago; solo exhibitions at the Seoul Art Center\, Korea; Israel Museum\, Jerusalem. \n  Save  
URL:https://artinamericaguide.com/event/sheila-hicks-campo-abierto-open-field/
LOCATION:The Bass\, 2100 Collins Avenue\, Miami Beach\, FL\, 33139\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/03/Sheila_Hicks_Install_2.jpg
ORGANIZER;CN="The Bass":MAILTO:info@thebass.org
GEO:25.7971165;-80.1291596
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=The Bass 2100 Collins Avenue Miami Beach FL 33139 United States;X-APPLE-RADIUS=500;X-TITLE=2100 Collins Avenue:geo:-80.1291596,25.7971165
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190427
DTEND;VALUE=DATE:20191028
DTSTAMP:20260404T071623
CREATED:20190702T205121Z
LAST-MODIFIED:20190702T205121Z
UID:57918-1556323200-1572220799@artinamericaguide.com
SUMMARY:Recent Acquisition: Nicole Eisenman\, Sketch for a Fountain
DESCRIPTION:The Nasher Sculpture Center proudly unveils its recent acquisition\, Sketch for a Fountain\, a group of five sculptures by Nicole Eisenman.  Conceived for the 2017 Münster Sculpture Projects in Münster\, Germany\, the work is an ambitious\, contemporary reimagining of the timeless subject of fountain statuary. \n\n\nSketch for a Fountain was inspired by the long history of fountains\, one of the oldest forms of public art. Eisenman’s figures—larger-than-life\, of indeterminate gender\, and almost cartoonishly fleshy—exemplify the appeal of her humorous and humane aesthetic. Lounging and dozing\, they could be lingering in an arcadian reverie or sleeping off a bacchanal\, their torpor disturbed only by the gentle sprinkles of water spewing from different parts of their bodies\, which in places sprout elements that seem to be drawn to the dampness\, such as mushrooms and slugs. Eisenman’s figures evoke associations with a range of art historical precedents\, including Greco-Roman representations of hermaphrodites\, Paul Cézanne’s Bathers\, George Segal’s introspective figures\, and the whimsical public sculptures of Tom Otterness. \nKnown initially for her work in painting\, Eisenman made sculpture as a student at the Rhode Island School of Design and has recently begun to make a mark for herself in the medium.  An important precedent for her Münster project was the 2013 Carnegie International\, where\, along with a selection of her paintings\, she exhibited a group of sculptures in the museum’s sculpture court\, alongside Greco-Roman sculptures from the permanent collection\, and described her figures as “scruffy\, bohemian great-great-grandchildren of those gods.” Working largely in plaster\, with occasional items of assemblage\, Eisenman has focused primarily on figures and heads. \nInstalled in and around the pond in Nasher Garden\, Sketch for a Fountain expands the consideration of the figure and sculptural ensembles also on view there\, such as Segal’s Rush Hour and Magdalena Abakanowicz’s Bronze Crowd.  Three of the figures (those with water elements) were purchased through the Kaleta A. Doolin Acquisition Fund for Women Artists\, while two sculptures (those without water elements) come to the Nasher as a promised gift from the Green Family Collection. \n\n  Save  
URL:https://artinamericaguide.com/event/recent-acquisition-nicole-eisenman-sketch-for-a-fountain/
LOCATION:Nasher Sculpture Center\, 2001 Flora Street\, Dallas\, TX\, 75201\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/07/nicole-eisenman-fountain.jpg
GEO:32.7881901;-96.8002336
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Nasher Sculpture Center 2001 Flora Street Dallas TX 75201 United States;X-APPLE-RADIUS=500;X-TITLE=2001 Flora Street:geo:-96.8002336,32.7881901
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190427
DTEND;VALUE=DATE:20190930
DTSTAMP:20260404T071623
CREATED:20190919T160236Z
LAST-MODIFIED:20190926T161810Z
UID:59820-1556323200-1569801599@artinamericaguide.com
SUMMARY:Charles Capps: Prairie Print Maker
DESCRIPTION:This exhibition celebrates the work of Wichitan Charles “Chili” Capps\, one of eleven original members of the Prairie Print Makers. The Prairie Print Makers–founded in 1930 by many of our region’s best artists–worked to make fine art accessible to everyday Kansans and joined with other print societies to create a broad culture of print collecting throughout America. \n  \nImage: Charles M. Capps\, Mission at Trampas\, 1949. Etching and aquatint. 11 1/16 x 16 7/8 inches. Wichita Art Museum\, Bequest of Elizabeth T. Forter in memory of her mother\, Elizabeth Tusten Forter \n  Save  
URL:https://artinamericaguide.com/event/charles-capps-prairie-print-maker/
LOCATION:Wichita Art Museum\, 1400 West Museum Boulevard\, Wichita\, KS\, 67203\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/09/capps_mission.jpg
ORGANIZER;CN="Wichita Art Museum":MAILTO:pr@wichitaartmuseum.org
GEO:37.6949375;-97.3561859
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Wichita Art Museum 1400 West Museum Boulevard Wichita KS 67203 United States;X-APPLE-RADIUS=500;X-TITLE=1400 West Museum Boulevard:geo:-97.3561859,37.6949375
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190501
DTEND;VALUE=DATE:20200302
DTSTAMP:20260404T071623
CREATED:20200221T151638Z
LAST-MODIFIED:20200221T162417Z
UID:65494-1556668800-1583107199@artinamericaguide.com
SUMMARY:Harold Ancart | Subliminal Standard
DESCRIPTION:Brooklyn-based artist Harold Ancart (b. 1980\, Brussels\, Belgium) has created this painted concrete sculpture as an homage to the accidental abstract compositions that appear on New York City’s ubiquitous freestanding handball walls. The artist sees the mismatched repainting and partial repairs that mask graffiti and other wear on these courts as “subliminal\,” inadvertent masterpieces. He relishes their fortuitous connection to the canon of abstract art. \nHandball is an urban sport that was popularized by immigrants in the early 20th century\, but Subliminal Standard is not a typical handball court. It is Ancart’s most ambitious artwork to date – a newly-built structure with nuanced and compelling painted surfaces inspired by his fascination with seemingly quotidian found forms and patterns. Here\, the artist’s distinctive painting style extends beyond the frame of the canvas and outside the museum’s walls to interact with its setting in subtle ways. Ancart invites us to immerse ourselves in this extraordinary environment and to become part of its composition as we engage with our surroundings\, each other\, and art in a new way. In the game of handball\, all you need is a ball and a wall to play. Subliminal Standard proposes that we only need our imagination to perceive the unseen beauty that surrounds us every day. \nSubliminal Standard is curated by Associate Curator Daniel S. Palmer \n\nImage:\nHarold Ancart\nSubliminal Standard\nCadman Park Plaza\nPublic Art Fund\, 2019 \n\n  Save  
URL:https://artinamericaguide.com/event/harold-ancart-subliminal-standard/
LOCATION:Cadman Park Plaza\, Cadman Park Plaza E\, Brooklyn\, NY\, 11201
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2020/02/AncartH_3261.jpg-1600x1066-1.jpg
ORGANIZER;CN="Public Art Fund":MAILTO:info@publicartfund.org
GEO:40.6976723;-73.9906433
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cadman Park Plaza Cadman Park Plaza E Brooklyn NY 11201;X-APPLE-RADIUS=500;X-TITLE=Cadman Park Plaza E:geo:-73.9906433,40.6976723
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190516T080000
DTEND;TZID=America/Halifax:20191006T170000
DTSTAMP:20260404T071623
CREATED:20190626T130344Z
LAST-MODIFIED:20190626T130344Z
UID:57731-1557993600-1570381200@artinamericaguide.com
SUMMARY:Rina Banerjee: Make Me a Summary of the World
DESCRIPTION:Rina Banerjee: Make Me a Summary of the World is the first mid-career retrospective of the artist’s work. Co-organized by the Pennsylvania Academy of the Fine Arts\, Philadelphia\, and San José Museum of Art\, the exhibition presents almost twenty years of Banerjee’s large-scale installations\, sculptures\, and paintings—including a re-creation of her work from the 2000 Whitney Biennial; sculptures featured in the 2017 Venice Biennale; and recent work for the Prospect 4 New Orleans biennial. \nBanerjee creates vivid sculptures and installations made from materials sourced throughout the world. She is a voracious gatherer of objects—in a single sculpture one can find African tribal jewelry\, colorful feathers\, light bulbs\, Murano glass\, and South Asian antiques in conflict and conversation with one another. These sensuous assemblages reverberate with bright colors and surprising textures present simultaneously as familiar and unfamiliar. \nRina Banerjee: Make Me a Summary of the World focuses on four interdependent themes in Banerjee’s work that coincide with important issues of our time: immigration and identity; the lasting effects of colonialism and its relationship to globalization; feminism; and climate change. \n  Save  
URL:https://artinamericaguide.com/event/rina-banerjee-make-me-a-summary-of-the-world/
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/2019/06/48121628741_5a65d632c3_o.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:20190608T110000
DTEND;TZID=America/Halifax:20190921T190000
DTSTAMP:20260404T071623
CREATED:20190418T205027Z
LAST-MODIFIED:20190606T222753Z
UID:51712-1559991600-1569092400@artinamericaguide.com
SUMMARY:Fabulous Washington\, D.C.
DESCRIPTION:Works in Oil\, Acrylic\, Watercolor and Mixed Media by members of the Washington Society of Landscape Painters\, Gallery Artists and Guest Artists.  The imagery relates to the Washington\, D.C. area. \n  Save  
URL:https://artinamericaguide.com/event/fabulous-washington-d-c/
LOCATION:American Painting Fine Art\, 5125 MacArthur Blvd.\, NW\, Suite 17\, Washington\, DC\, DC\, 20016\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/04/Kushnir_Key_Bridge_8x12_op_022612IMG_3924.jpg
ORGANIZER;CN="American Painting Fine Art":MAILTO:americanpaintingdc@andreikushnir.com
GEO:38.9256488;-77.1017259
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=American Painting Fine Art 5125 MacArthur Blvd. NW Suite 17 Washington DC DC 20016 United States;X-APPLE-RADIUS=500;X-TITLE=5125 MacArthur Blvd.\, NW\, Suite 17:geo:-77.1017259,38.9256488
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190614
DTEND;VALUE=DATE:20190923
DTSTAMP:20260404T071623
CREATED:20190516T153437Z
LAST-MODIFIED:20190516T153437Z
UID:53505-1560470400-1569196799@artinamericaguide.com
SUMMARY:Tara Donovan: Fieldwork
DESCRIPTION:Fieldwork celebrates American artist Tara Donovan’s distinctive practice that transforms mundane materials like plastic straws\, index cards\, rubber bands\, Slinkys\, and Mylar into elaborate\, mind-bending objects evocative of the natural world. \nDonovan manipulates a material over and over again\, to see what it is capable of becoming\, where it might lead\, and how it migrates from an object of practical use to something surreal or sublime. In some instances\, she reworks a material into both two-dimensional and three-dimensional forms\, engaging with space and light in nuanced and unexpected ways. \nOrganized by the Museum of Contemporary Art Denver\, this exhibition presents\, for the first time\, wall-based and freestanding objects together\, demonstrating how fully the artist reimagines everyday materials. Taken together\, the works in this exhibition demonstrate how order and structure give way to unpredictability and how the mundane cedes to the marvelous. \nTara Donovan was born in 1969 in New York City\, where she currently lives and works. \nTara Donovan: Fieldwork is organized by the Museum of Contemporary Art Denver and curated by Nora Burnett Abrams\, Ellen Bruss Curator and Director of Planning at MCA Denver. The Smart Museum’s presentation is overseen by Alison Gass\, Dana Feitler Director\, and Jennifer Carty\, Associate Curator of Modern & Contemporary Art. \n  Save  
URL:https://artinamericaguide.com/event/tara-donovan-fieldwork/
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/2019/05/Tara-Donovan-MCAD-16.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:20190614
DTEND;VALUE=DATE:20191118
DTSTAMP:20260404T071624
CREATED:20190919T160206Z
LAST-MODIFIED:20190926T161836Z
UID:59824-1560470400-1574035199@artinamericaguide.com
SUMMARY:Will Barnet: Timeless Visions
DESCRIPTION:Will Barnet: Timeless Visions features seven works by one of America’s most evocative and haunting artists. Drawn from Barnet’s home life and often featuring his wife and daughter as models\, Barnet’s prints and paintings are quiet and personal but also powerfully transcendent. In each\, Barnet depicts what he knows intimately–his wife\, his daughter\, family pets\, the woods and coast of Maine–and uses it to explore such timeless themes as love\, intimacy\, solitude\, and death. \n  \nImage: Will Barnet\, Chess Game\, 1973. Oil on canvas\, 43 1/4 x 33 inches. Wichita Art Museum\, Museum purchase\, Friends of the Wichita Art Museum \n  Save  
URL:https://artinamericaguide.com/event/will-barnet-timeless-visions/
LOCATION:Wichita Art Museum\, 1400 West Museum Boulevard\, Wichita\, KS\, 67203\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/09/barnet_chess.jpg
ORGANIZER;CN="Wichita Art Museum":MAILTO:pr@wichitaartmuseum.org
GEO:37.6949375;-97.3561859
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Wichita Art Museum 1400 West Museum Boulevard Wichita KS 67203 United States;X-APPLE-RADIUS=500;X-TITLE=1400 West Museum Boulevard:geo:-97.3561859,37.6949375
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190626T120000
DTEND;TZID=America/Halifax:20190928T170000
DTSTAMP:20260404T071624
CREATED:20190927T202225Z
LAST-MODIFIED:20191001T001615Z
UID:60421-1561550400-1569690000@artinamericaguide.com
SUMMARY:Selections from the Collection: Printed Reflections
DESCRIPTION:H&R Block Artspace presents Selections from the Collection: Printed Reflections\, a small survey of works curated by H&R Block Fellow Isabel Vargas for the Cohen Resource Room featuring African American artists who have previously exhibited at the Artspace. This exhibition reflects on the ways in which these artists have impacted the Artspace and local and greater community through examinations of race and identity within their works. The exhibition features works by Rashawn Griffin\, Kahlil Irving\, and Paul Anthony Smith in context with work by Cara Walker from the Kansas City Art Institute’s teaching collection. \n  Save  
URL:https://artinamericaguide.com/event/selections-from-the-collection-printed-reflections/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/09/Rashawn-Griffin_litho_sm_nodeckle_white_srgb.jpg
ORGANIZER;CN="H&amp%3BR Block Artspace":MAILTO:mdcain@kcai.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190711T100000
DTEND;TZID=America/Halifax:20200105T170000
DTSTAMP:20260404T071624
CREATED:20190708T103257Z
LAST-MODIFIED:20190926T162359Z
UID:57963-1562839200-1578243600@artinamericaguide.com
SUMMARY:Hamilton and Burr: Who Wrote Their Stories?
DESCRIPTION:July 11\, 2019–January 5\, 2020\, Center Gallery\n\n\nThe hit Broadway musical Hamilton sparked renewed interest in the Founding Father and his relationship with Aaron Burr\, whom he infamously dueled with on July 11\, 1804. Opening on the 215th anniversary of the duel\, our exhibit picks up where Lin-Manuel Miranda’s musical left off and examines how Alexander Hamilton’s and Burr’s legacies were shaped by other Founding Fathers\, a wife\, a daughter\, historical documents\, and yes\, even an enormously successful\, modern-day musical. \nThe continuously interwoven fates and legacies of these two seemingly divisive figures\, provides an exciting opportunity to explore what stories get written\, which get remembered\, and why. \nOur story begins in the immediate aftermath of the shots in Weehawken\, New Jersey\, with original correspondence between Burr and Dr. David Hosack regarding Hamilton’s condition. An up-close look at Dr. Hosack\, Rev. Benjamin Moore\, and the events following the duel will begin to complicate our perceptions of Burr. \nThe exhibit then dives into the printed material and imagery surrounding these two figures to consider the ways in which Burr’s daughter\, Theodosia Burr Alston\, and Hamilton’s widow\, Elizabeth Schuyler Hamilton\, helped shape the print culture to craft legacies of both men. \nSetting the scene is an 18th-century velvet coat\, similar to the one that inspired Miranda’s vision for the musical—which serves as a reminder that historical narratives can always be re-explored\, reconsidered\, and rewritten. \nPhoto Credit: Courtesy of Winterthur \n\n  Save  
URL:https://artinamericaguide.com/event/hamilton-and-burr-who-wrote-their-stories/
LOCATION:Winterthur Museum\, Garden & Library\, 5105 Kennett Pike\, Wilmington\, DE\, 19807\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/07/SMALL_Hamilton_and_Burr.jpg
ORGANIZER;CN="Winterthur Museum%2C Garden &amp%3B Library":MAILTO:pressroom@winterthur.org
GEO:39.8087941;-75.6037258
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Winterthur Museum Garden & Library 5105 Kennett Pike Wilmington DE 19807 United States;X-APPLE-RADIUS=500;X-TITLE=5105 Kennett Pike:geo:-75.6037258,39.8087941
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190718T170000
DTEND;TZID=America/Halifax:20200119T170000
DTSTAMP:20260404T071624
CREATED:20190626T130416Z
LAST-MODIFIED:20190626T130416Z
UID:57728-1563469200-1579453200@artinamericaguide.com
SUMMARY:Beta Space: Pae White
DESCRIPTION:The work of internationally renowned artist Pae White transcends nearly all traditional boundaries—between art and design\, craft and fine art\, architecture and installation\, theory and practice. Her probing curiosity with the world manifests in her transformation of ordinary objects and phenomena—chandeliers\, clocks\, popcorn\, tapestries\, birdsongs\, fog\, smoke—into exhilarating experiences that defy logic yet remain oddly familiar. Always kinaesthetic—as much a bodily as visual experience that plays with the senses—her work is as alluring as it is ambiguous\, suggesting that things may not be as they may seem. The handmade nature of her work\, combined with sophisticated technologies and inventive processes\, allow for a high degree of improvisation. \nIn celebration of SJMA’s 50th anniversary\, White presents a compendium of new works and recent installations for the sixth iteration of the Museum’s exhibition series “Beta Space.” White’s peripatetic practice across various media and disciplines captures the spirit of this series: her work brims with artistic risk-taking and experimentation\, reflecting the wildly creative and innovative ethos of Silicon Valley. \nBeta Space: Pae White features newly made artworks that further White’s interest in shifting our associations and perceptions of everyday objects\, materials\, and phenomena. In addition\, the exhibition features two monumental installations that upend traditional ideas regarding architecture\, museum display practices\, fine art\, and craft. foreverago (2017) is the artist’s largest tapestry to date\, at 127 feet long. Shown in the United States for the first time\, it will meander through the gallery\, creating a sinuous wall-like structure that presents both the front and back of the weaving. Revolutionizing the genre of tapestry for the 21st century\, White relied on the help of skilled artisans while employing advanced digital imaging techniques to weave together colorful cotton\, cashmere\, and metallic threads\, and used custom software that randomizes distribution patterns to produce her seemingly chaotic scene. Part of the artist’s ongoing series “Bugz + Drugs\,” foreveragoexplodes with a cacophony of insects—ladybugs\, dragonflies\, grasshoppers\, and crickets—descending on plants known for their psychoactive\, calming effects: mushrooms\, poppies\, and cannabis. Renderings of antique Japanese kimono fabric samples and Byzantine icons further enhances an already rich and visually abundant composition. \nIn her intuitive approach to materials and images\, White maintains a critical eye on popular manifestations and wildly kitsch derivatives of high modernist ideals. In AGAMEMNOMICS (2013)\, she presents a massive assemblage of chess pieces of her own device. While scouring the design collections of the MAK Museum of Applied Arts in Vienna\, the artist encountered a trove of forgotten toys made by an unknown Viennese designer in the 1920s. From this group she fashioned a chess set and sent images of nine objects to artisans and fabricators in China\, Ethiopia\, Germany\, Lithuania\, and Mexico\, as well as to artists working in the Los Angeles area. Each workshop rendered interpretations of these objects in materials of their own specialty: glass\, wood\, clay\, porcelain\, plastic\, and rubber. Leaving her project to chance and spontaneity\, White rescued these toys from the confines of the design archive and cast them back into realms of the imagination and play. \n\n\n\n\n\n\n\nSponsored by the Richard A. Karp Charitable Foundation\, Doris and Alan Burgess\, Theres and Dennis Rohan\, Tad Freese and Brook Hartzell\, and Mary Mocas and Marv Tseu. Additional support provided by Hildy Shandell Beville and Ross Harwood Beville\, and from 1301PE\, Los Angeles.  \nSupported\, in part\, by a Cultural Affairs grant from the City of San José.\n\n\n\n\n\n\n\n  Save  
URL:https://artinamericaguide.com/event/beta-space-pae-white/
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/2019/06/40927607733_9a0dc4d92b_o-1.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:20190726T000000
DTEND;TZID=America/Halifax:20190909T000000
DTSTAMP:20260404T071624
CREATED:20190604T131202Z
LAST-MODIFIED:20190729T170504Z
UID:54897-1564099200-1567987200@artinamericaguide.com
SUMMARY:Tricknology: ektor garcia and Allison Janae Hamilton curated by Sanford Biggers
DESCRIPTION:Marianne Boesky Gallery is pleased to announce that it will present an exhibition this summer curated by artist Sanford Biggers\, featuring the work of Allison Janae Hamilton and ektor garcia—both of whom have long-standing relationships with Biggers. Hamilton and garcia are recognized for their complex\, narrative-infused tactile sculptures and installation pieces\, and this exhibition will explore the ways in which both artists use materials to evoke history and define new mythologies—aspects of this approach are also present in Biggers’ own practice. Tricknology will be on view at Marianne Boesky Gallery’s location in Aspen\, Colorado\, from July 26 through September 9. \n  Save  
URL:https://artinamericaguide.com/event/tricknology-ektor-garcia-and-allison-janae-hamilton-curated-by-sanford-biggers/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/06/Group_2019_MBG_Aspen_Tony_Prikryl_0.jpg
ORGANIZER;CN="Marianne Boesky Gallery":MAILTO:info@boeskygallery.com
GEO:40.7486417;-74.0041334
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Marianne Boesky Gallery 601 East Hyman Ave 2nd Floor Aspen CO 81611 United States;X-APPLE-RADIUS=500;X-TITLE=601 East Hyman Ave\, 2nd Floor:geo:-74.0041334,40.7486417
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190803
DTEND;VALUE=DATE:20200106
DTSTAMP:20260404T071624
CREATED:20190919T160343Z
LAST-MODIFIED:20191120T213519Z
UID:59816-1564790400-1578268799@artinamericaguide.com
SUMMARY:Light & Shadow: Alyson Shotz and Kumi Yamashita
DESCRIPTION:Light & Shadow: Alyson Shotz and Kumi Yamashita features the work of two sculptors who create work of ethereal beauty. Alyson Shotz strings silvered glass beads on steel thread and hangs her nets and skeins in floor-to-ceiling installations. A critic remarked that her work “approaches invisibility.” In it\, the solid materials of most sculptures are replaced by air and light. Kumi Yamashita presents ordinary objects that cast extraordinary shadows. Under raking light\, a wall with a seemingly random scattering of wooden numbers yields a child’s monumental profile. A carved exclamation point casts a shadow of a question mark. A chair casts a shadow of a seated woman. Remove the light\, and the art disappears. \nBoth artists create sculptures through labor-intensive handwork and trial and error experimentation. They are each concerned with expanding bits of matter into large installations\, the space-occupying potential of virtually weightless materials\, and the variability and mystery of experience. In Light and Shadow\, the Wichita Art Museum is delighted to present Shotz and Yamashita’s awe-inspiring environments to Wichita and the region. \nThe exhibition is guest curated by Vicki Halper\, former curator of the Seattle Art Museum. Halper also curated Australian Glass Art\, American Links\, and Cameo Glass in Context: Charlotte Potter and April Surgent. \n  \nImage: Kumi Yamashita\, 0 to 9\, 2011. Carved wood\, single light source\, and shadow\, 72 x 72 x 4 inches. Collection of the artist \n  Save  
URL:https://artinamericaguide.com/event/light-shadow-alyson-shotz-and-kumi-yamashita/
LOCATION:Wichita Art Museum\, 1400 West Museum Boulevard\, Wichita\, KS\, 67203\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Wichita Art Museum":MAILTO:pr@wichitaartmuseum.org
GEO:37.6949375;-97.3561859
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Wichita Art Museum 1400 West Museum Boulevard Wichita KS 67203 United States;X-APPLE-RADIUS=500;X-TITLE=1400 West Museum Boulevard:geo:-97.3561859,37.6949375
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190812
DTEND;VALUE=DATE:20191027
DTSTAMP:20260404T071624
CREATED:20190812T162703Z
LAST-MODIFIED:20190820T200604Z
UID:58903-1565568000-1572134399@artinamericaguide.com
SUMMARY:Albert Oehlen | New Paintings
DESCRIPTION:ALBERT OEHLEN\nNew Paintings \nSeptember 12–October 26\, 2019\nOpening reception: Thursday\, September 12\, 6–8pm \n“These paintings are made in such a way that they accept order only very reluctantly. Eventually there is some form of order\, but they strive against it.”\n
—Albert Oehlen \nGagosian is pleased to present a series of new paintings in watercolor on canvas by Albert Oehlen\, his first exhibition in Asia. \nOehlen approaches painting as a perceptual challenge\, a puzzle set within the unpredictable arena of the picture plane. He often imposes specific rules or limitations on his work—keeping to a certain palette or beginning with a straight line—as a way to interrogate the infinite possibilities that the act of painting presents. By continuously flipping between chaos and control\, he opens up new relationships between pictorial space\, color\, and gesture. \nIn these new paintings\, Oehlen emphasizes the importance of spontaneity within his artistic method. Diverging from his recent works created with oil or lacquer on aluminum or the aluminum composite Dibond\, Oehlen’s decision to use watercolor in this series marks a stylistic return to his hazy\, blended\, almost impressionistic oil paintings dating from 2016 and earlier. \nOehlen begins with a chalky white ground\, across which he flicks and stains splashes of fluid color. Hues dart between canvases: the same intense shade of magenta—a color he previously referred to as “hysterical” in the context of his Tree Paintings (2013–16)—meanders snakelike from painting to painting\, puncturing through the murky veil of watercolors in a vivid streak before resurfacing elsewhere as a series of dots peppered down the canvas. Oehlen revels in the dynamism of his lines\, allowing them to come to life and dictate each twist of his ever-shifting compositions. \nNevertheless\, Oehlen’s frenzied brushstrokes are tempered by moments of painterly control. Interspersed between splotches and swipes of color are lines\, curves\, and gradients\, all delineated with satisfying uniformity. While his paintings initially appear to lack geometric regularity\, they are in fact filled with clean-cut right angles—including a recurring L-shaped motif\, which recalls the artist’s yellow-and-black paintings from his 2018 exhibition SEXE\, RELIGION\, POLITIQUE. These forceful right angles—along with rectangular window-like apertures and eerie humanoid forms—are enshrouded deep within the canvas\, their watery facture only adding to their frustrating\, tantalizing ephemerality. Swallowed up by the slashes of pigment surrounding them\, these loose strands of figuration ultimately dissipate within a churning whirlwind of colors. \nThe exhibition will be accompanied by a fully illustrated catalogue with a text by art historian Christian Malycha. \n\nImage credit: \nALBERT OEHLEN\nUntitled\, 2019\nWatercolour on canvas\n84 1/4 x 72 1/4 x 1 1/8 inches\n214 x 183.5 x 2.9 cm\n© Albert Oehlen.\nCourtesy Gagosian.\nPhotographer: Jeff McLane. \n  Save  
URL:https://artinamericaguide.com/event/albert-oehlen-new-paintings/
LOCATION:Gagosian Hong Kong\, 12 Pedder Street\,\, Central Hong Kong\, Hong Kong Island\, Hong Kong
CATEGORIES:Exhibition
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GEO:22.2818636;114.1570102
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Gagosian Hong Kong 12 Pedder Street Central Hong Kong Hong Kong Island Hong Kong;X-APPLE-RADIUS=500;X-TITLE=12 Pedder Street\,:geo:114.1570102,22.2818636
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190813T000000
DTEND;TZID=America/Halifax:20200313T000000
DTSTAMP:20260404T071624
CREATED:20200226T170058Z
LAST-MODIFIED:20200304T202036Z
UID:65652-1565654400-1584057600@artinamericaguide.com
SUMMARY:Other People’s Parties
DESCRIPTION:In today’s hyperconnected social world\, images of others have become a ubiquitous part of everyday life\, but what is it about other people’s parties that intrigues us so much? Is it idle curiosity or something more? This exhibition\, featuring photography from artists such as Henri Cartier-Bresson\, Larry Fink\, Danny Lyon\, Mary Ellen Mark\, and Andy Warhol\, calls attention to the highs and lows of our most social occasions\, investigating the human impulse to capture party moments through photography and our desire to live vicariously through images of others. \n  \n\n\n\nAndy Warhol\, Andy\, Meeting at the Stoplight\, Cicero\, Illinois\, 1965\, 14 x 11 in. (To be matted: 20 x 16 in.)\n\n\n\n  \n  Save  
URL:https://artinamericaguide.com/event/other-peoples-parties/
LOCATION:David Filderman Gallery at Hofstra University\, 112 Hofstra University\, Hempstead\, New York
CATEGORIES:Exhibition
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GEO:40.7133721;-73.6015642
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=David Filderman Gallery at Hofstra University 112 Hofstra University Hempstead New York;X-APPLE-RADIUS=500;X-TITLE=112 Hofstra University:geo:-73.6015642,40.7133721
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190816T110000
DTEND;TZID=America/Halifax:20191006T160000
DTSTAMP:20260404T071624
CREATED:20190918T155103Z
LAST-MODIFIED:20190918T155428Z
UID:59646-1565953200-1570377600@artinamericaguide.com
SUMMARY:Michael Hower: Graffiti Scapes
DESCRIPTION:Michael Hower’s digital photographs are founded upon a fascination with abandoned buildings and landscapes. He photographs ghost towns and spaces consumed by graffiti such as Centralia\, Pennsylvania. This  ghost town sits atop a burning mine fire\, and the main road leading into town is covered with colorful tags and philosophical tidbits for three quarters of a mile: the infamous ‘Graffiti Highway.’ \nHower travels around the Mid-Atlantic to ghost towns\, skate parks\, train graveyards\, city alleys and wherever else graffiti dominates the landscape. Included in the exhibition will be a new photographic installation\, Concrete City\, which was inspired by the Pennsylvania ghost town which was abandoned in 1924. \n  Save  
URL:https://artinamericaguide.com/event/michael-hower-graffiti-scapes/
LOCATION:The Gallery at Penn College\, 1 College Avenue\, Williamsport\, PA\, 17701\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="The Gallery at Penn College":MAILTO:gallery@pct.edu
GEO:41.2349031;-77.0268503
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=The Gallery at Penn College 1 College Avenue Williamsport PA 17701 United States;X-APPLE-RADIUS=500;X-TITLE=1 College Avenue:geo:-77.0268503,41.2349031
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190819
DTEND;VALUE=DATE:20190922
DTSTAMP:20260404T071624
CREATED:20190820T142355Z
LAST-MODIFIED:20190820T200441Z
UID:59164-1566172800-1569110399@artinamericaguide.com
SUMMARY:Taryn Simon | A Burn Scar Visible from Space
DESCRIPTION:TARYN SIMON\nA Burn Scar Visible from Space\nAugust 19–September 21\, 2019 \nGagosian is pleased to present A Burn Scar Visible from Space\, photographs from Taryn Simon’s ongoing series Black Square\, begun in 2006. \nPink and yellow slips of paper announce the results of the ballot count in Haringey\, London\, for the European Union membership referendum; a billion-dollar Zimbabwean banknote marks the rapid decline of the nation’s currency; an empty 80-foot pedestal in New Orleans recalls the sanctioned removal of a statue of Confederate army commander Robert E. Lee by a crew wearing bulletproof vests; a charred palm tree\, brought to California from the Canary Islands to populate large residential estates\, has both fueled and survived a devastating wildfire; a Picturephone from 1964\, deemed unnecessary at the time of its release\, is an obsolete prototype for present-day video communication; and the dark power of 3-D printing is made clear with a gun named The Liberator\, the plans for which can be downloaded by anyone with a Wi-Fi connection. \nIn the Black Square photographs\, Simon presents objects\, documents\, and individuals in a black field given the same dimensions as Kasimir Malevich’s 1915 painting of the same name. Selected without any intentional categorization\, Simon’s subjects form a randomized index of human invention and activity. They are fragments of recent history—detached from context and freighted with anxiety. \nIn 1915\, World War I was far from over. Chlorine gas was used as a war weapon for the first time. Pluto was photographed\, though not yet discovered. It was the eve of the October Revolution. Malevich described his work—a thickly painted black square\, set within a white border—as the “icon of [his] era\,” an eclipse for the modern gaze. This description set his painting in direct opposition to (or\, perhaps\, in alignment with) popular religious icons. \nIn 2019\, icons are to be found not only in a church’s candlelit interior: political leaders\, scientists\, and activists are icons; the apps and logos on our phone screens are icons. In a mutating echo of Malevich’s Black Square\, every major cellular device and digital platform has its own version of a black square emoji\, but none agree on what it represents. \nWitnesses to both ingenuity and mortality\, most of the objects in Simon’s photographs will outlive us all. This is especially true for Black Square XVII\, an 80-by-80-by-80-cm cube containing a mass of vitrified nuclear waste that will remain in Russia’s State Atomic Energy Corporation until the year 3015\, when it will finally be safe for human observation. Charged with the uncertainties of the future\, Simon’s black squares reveal what we have done\, and ask what we’ll do next. \n\nImage credit: \nTARYN SIMON\nBlack Square XXIII. Phoenix canariensis\, a date palm native to\nthe Canary Islands\, is an invasive species in the state of\nCalifornia. The Los Angeles County Fire Department lists\nPhoenix canariensis as a fire hazard that should be removed\nfrom the vicinity of structures. The scale and severity of\nCalifornia’s fires have escalated markedly since the 1980s due\nto overgrowth resulting from aggressive fire suppression\ntactics\, climate change\, and increased residential construction\nin forested areas. The Woolsey Fire\, which began on\nNovember 8\, 2018\, burned 96\,949 acres of land in Los\nAngeles and Ventura counties\, leaving a burn scar that is\nvisible from space.\, 2019\nArchival inkjet print\n31 3/4 x 31 3/4 in\n80.6 x 80.6 cm\n© Taryn Simon\nCourtesy Gagosian \n  Save  
URL:https://artinamericaguide.com/event/taryn-simon-a-burn-scar-visible-from-space/
LOCATION:Gagosian Davies Street\, London\, 19 Davies St\,\, London\, Mayfair\, W1K 3DE\, United Kingdom
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190824T100000
DTEND;TZID=America/Halifax:20190921T180000
DTSTAMP:20260404T071624
CREATED:20190725T144801Z
LAST-MODIFIED:20190725T144801Z
UID:58530-1566640800-1569088800@artinamericaguide.com
SUMMARY:Look Both Ways: The Illicit Liaison Between Image and Information
DESCRIPTION:School of Visual Arts presents Look Both Ways: The Illicit Liaison Between Image and Information\, a new exhibition curated by Debbie Millman\, chair of the MPS Branding program at SVA. This exhibition brings together a wide range of typographic work from 60 individual artists\, including Jean-Michel Basquiat\, Shepard Fairey\, Dave Eggers\, Deborah Kass\, Jenny Holzer\, Miranda July\, Kim Gordon\, and more\, from Millman’s personal collection and beyond. Look Both Ways is free and open to the public\, and will be on view from August 24 through September 21 at the SVA Chelsea Gallery. A reception will take place on Friday\, September 6\, 6:00 – 8:00pm. \nLook Both Ways showcases the many ways in which words\, text and information influence art\, design\, literature and music. Bold typographic expression has become the cultural currency of communication and the centerpiece of connection. Objects and experiences all around us now contain an inscription\, an impression or a point of view. Our bodies\, clothing\, public events\, sports\, politics and even the products we consume have given people\, by way of social media and the Internet\, an instantaneous way to communicate globally. On an intimately personal level\, tattoos have assumed the atavistic power that religious amulets once had to convey messages about ourselves\, with the immediate power of images and words. This dynamic is evident today in all disciplines of visual communications\, reflecting the condition of our culture. \nThe works in this exhibition come largely from Millman’s own personal collection of text-based art. In addition to her work as an educator and leader at SVA\, Millman is an acclaimed designer\, writer\, and strategist and has been hosting her “Design Matters” podcast for more than 14 years. \n“I am thrilled to partner with SVA to share this selection of typography works from a group of innovative and outspoken artists\, several from my own personal collection\,” said curator and MPS Branding chair Debbie Millman. “This exhibition is a stark reminder of the power language has to rule all facets of culture. These works will undoubtedly incite many passionate discussions.” \n  Save  
URL:https://artinamericaguide.com/event/look-both-ways-the-illicit-liaison-between-image-and-information/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/07/e1348248094523236efd8b50afee473f5254ac7b.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190824T120000
DTEND;TZID=America/Halifax:20190921T180000
DTSTAMP:20260404T071624
CREATED:20190809T154512Z
LAST-MODIFIED:20190809T154512Z
UID:58878-1566648000-1569088800@artinamericaguide.com
SUMMARY:August - September Exhibits @ Art Works
DESCRIPTION:See 6 new art shows featuring: Michelle McGrath\, Kelly Johnston\, Glenda Creamer\, the August All-Media Show juried by Kristen Peyton\, and The James River Pix exhibit sponsored by JRAC! \nThe exhibits continue through September 21\, 2019. Admission is free and open to the public. \nExhibits include: \nTension by Michelle McGrath \nMcGrath incorporates rough textures and vibrant\, high contrast colors in her paintings and mixed media works. She finds beauty and intrigue in the gnarled roots of a tree; the crumbling plaster on a wall; and the wrinkled\, roughened hands of her grandmother. To explore these types of surfaces\, her materials are distorted by twisting\, ripping\, and pulling the pieces apart. For instance\, canvas is layered and stitched together in an uneven manner\, with knots and lumps added to the distressed surface. She views these distorted\, strained surfaces as different forces in her life that push or pull her in varied directions. \nThis exhibit will be in the Jane Sandelin Gallery. \nEmporium of Curiosities by Kelly Johnston \nKelly Johnston’s assemblage art is a treasure hunt and a great puzzle to her. She finds objects and while understanding their intended purpose\, she uses them completely out of context. She reassigns meaning to these found objects. An item is no longer a ruler; it is an arm or a leg. She is drawn to patterns\, textures and color and chooses items based on this. She prefers objects that are already broken. She says\, “Like a sculptor chips away at a block of marble to reveal the art inside…” This exhibit will be in the Centre Gallery\, East. \nArpeggio by Glenda Creamer \nGlenda Creamer says: “In music\, when the notes are played individually and sequentially to form a chord\, is called an arpeggio. When I paint\, I apply one color at a time to form a painting. Altogether the paintings work together to form a show. I hope that you can see how music influences my work.” Creamer earned a B.F.A. in Painting and Printmaking from Virginia Commonwealth University. The exhibit is in the Centre Gallery\, West. \nRVA River Pix 2019 \nThe James River is Richmond’s defining resource. All during the year\, the James River Advisory Council (JRAC) works to conserve\, preserve and promote the river with clean-ups\, holiday boating parades and stewardship awareness. Art Works is only two blocks from the James. We’ve asked photographers to capture images of the river in and around Richmond for the annual James River Days JRAC celebrations. Jessie Boyland curated this exhibition held in the Skylight Gallery. \n  Save  
URL:https://artinamericaguide.com/event/august-september-exhibits-art-works/
LOCATION:Art Works\, 320 Hull Street\, Richmond\, VA\, 23224\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Art Works":MAILTO:glenda@artworksrichmond.com
GEO:37.524914;-77.437258
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
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END:VCALENDAR