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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20260404T073057
DTEND;TZID=America/Halifax:20230107T180000
DTSTAMP:20260404T073057
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
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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:20260404T073057
DTEND;TZID=America/Halifax:20230128T180000
DTSTAMP:20260404T073057
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
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ORGANIZER;CN="Blue Mountan Gallery":MAILTO:info@bluemountaingallery.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260404T073057
DTEND;TZID=America/New_York:20250920T170000
DTSTAMP:20260404T073057
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
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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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260404T073057
DTEND;TZID=America/New_York:20250926T200000
DTSTAMP:20260404T073057
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:20260404T073057
DTEND;TZID=America/New_York:20250927T180000
DTSTAMP:20260404T073057
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:20260404T073057
DTEND;TZID=America/New_York:20251018T170000
DTSTAMP:20260404T073057
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:20260404T073057
DTEND;TZID=America/New_York:20251122T170000
DTSTAMP:20260404T073057
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:20260404T073057
DTEND;TZID=America/New_York:20260221T180000
DTSTAMP:20260404T073057
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:20260404T073057
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;VALUE=DATE:20190501
DTEND;VALUE=DATE:20200302
DTSTAMP:20260404T073057
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
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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:20190718T170000
DTEND;TZID=America/Halifax:20200119T170000
DTSTAMP:20260404T073057
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
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190813T000000
DTEND;TZID=America/Halifax:20200313T000000
DTSTAMP:20260404T073057
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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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190912
DTEND;VALUE=DATE:20200120
DTSTAMP:20260404T073057
CREATED:20191028T173714Z
LAST-MODIFIED:20191028T173714Z
UID:61005-1568246400-1579478399@artinamericaguide.com
SUMMARY:Hew Locke: Here’s the Thing
DESCRIPTION:The most comprehensive exhibition to date of work by British artist Hew Locke\, the artist explores the languages of colonial and postcolonial power and the symbols through which different cultures assume and assert identity. Activating his awareness of colonial impact\, Locke modifies historical source material and artifacts to focus attention on the United Kingdom\, its monarchy\, and his (then newly independent) childhood home of Guyana in South America. \n  Save  
URL:https://artinamericaguide.com/event/hew-locke-heres-the-thing/
LOCATION:Kemper Museum of Contemporary Art\, 4420 Warwick Blvd.\, Kansas City\, MO\, 64111\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190913
DTEND;VALUE=DATE:20200511
DTSTAMP:20260404T073057
CREATED:20190722T161205Z
LAST-MODIFIED:20190722T161515Z
UID:58469-1568332800-1589155199@artinamericaguide.com
SUMMARY:Michelle Lopez: Ballast & Barricades
DESCRIPTION:Image: Michelle Lopez\, Barricade\, 2018\, walnut\, paint\, steel\, reflective fabric\, paracord and rubble\, 57 x 80 1/2 x 62 inches. Courtesy of the artist and Simon Preston\, New York. \nMarking the first major institutional exhibition of Michelle Lopez\, the ICA has invited the Philadelphia-based artist to produce her most ambitious exhibition to date—a site-specific installation that reduces a city to rubble inside the museum. The exhibition will see the artist\, known for creating sculptural works that subvert histories of minimalism through a feminist lens and deconstructing symbols of nationalism\, power\, and identity through a process of formal reduction\, alchemy\, and violence\, expanding on her previous body of work\, House of Cards (2018). Barricades\, borders\, scaffolding\, and the remains of street protests responding to the destruction are suggested\, interpreted\, and meticulously crafted by hand. The work invokes an urban landscape fabricated out of real estate speculation and political discord\, causing it to precariously teeter on the brink of collapse. \n\n\n\nICA is producing the first publication devoted to the artist’s work in conjunction with the exhibition\, which opens at a critical moment in her career as she also prepares for a forthcoming project organized by the Philip Johnson Glass House. Michelle Lopez: Ballast & Barricades is organized by Dorothy and Stephen R. Weber (CHE’60) Curator Alex Klein. \n\n\n\n\n\n\n  Save  
URL:https://artinamericaguide.com/event/michelle-lopez-ballast-barricades/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/07/michelle-lopez.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190919
DTEND;VALUE=DATE:20200323
DTSTAMP:20260404T073057
CREATED:20190919T160931Z
LAST-MODIFIED:20191120T214706Z
UID:59843-1568851200-1584921599@artinamericaguide.com
SUMMARY:Storytelling: Highlights and Insights from the Wichita Art Museum Collection
DESCRIPTION:Every work of art has a story to tell. \nWhen John Steuart Curry was growing up in on his family farm near Dunavant\, Kansas\, he would often wander into the high fields of corn. “I remember\,” he wrote\, “wandering through them and being over-powered by the fear of being  lost in their green confines.” \nAt 35 years of age\, Curry returned to those fields to capture in his work the same sense of drama he felt\, “beneath our windblown Kansas skies.” For Curry\, Kansas Cornfield represented the story of his youth on a Kansas farm. \nWhen Curry’s Kansas Cornfield entered Wichita Art Museum’s permanent collection\, a new chapter in its tale was written and a new story began. The work was the first painting collected by the Wichita Art Museum. As the foundational work of art for the new museum\, the painting came to symbolize Wichita Art Museum’s commitment to both the highest caliber American art and to Kansas audiences. \nToday\, Kansas Cornfield has become a part of many visitors’ personal stories. Brett Zongker\, an Associated Press journalist based in Washington D.C.\, recently featured the painting on his popular Twitter feed. As a self-described “son of Kansas\,” the painting represents home to Zongker. \n\nMuseums\, by their very nature\, are repositories of incredible stories. The Wichita Art Museum has introduced its visitors to the best American artwork and has been a part of thousands of engaging stories. In celebration of the museum’s 80th anniversary in 2015\, Storytelling\, underwent a reinstallation of the permanent collection\, celebrating the histories\, mysteries\, and anecdotes that make the Wichita Art Museum collection unlike any other. \nEach and every one of Wichita Art Museum’s objects has a story to tell. What influenced its creation? Who is pictured? How did the work come to Wichita? Storytelling invites visitors to take another look at familiar favorites from the collection as well as important works that have been off view for many years. We hope that the artworks inspire a meaningful encounter with the past\, one that is relevant to everyone’s personal story today. \n\n  \nImage: John Steuart Curry\, Kansas Cornfield\, 1933. Oil on canvas\, 60 3/8 x 38 3/8 inches. Wichita Art Museum\, Roland P. Murdock Collection \n  Save  
URL:https://artinamericaguide.com/event/storytelling-highlights-and-insights-from-the-wichita-art-museum-collection/
LOCATION:Wichita Art Museum\, 1400 West Museum Boulevard\, Wichita\, KS\, 67203\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190919
DTEND;VALUE=DATE:20210920
DTSTAMP:20260404T073057
CREATED:20190919T155936Z
LAST-MODIFIED:20200722T160048Z
UID:59826-1568851200-1632095999@artinamericaguide.com
SUMMARY:Heritage of the West: Charles M. Russell
DESCRIPTION:Charles Russell was one of the great painters of the American West. With little formal training but much firsthand experience of his subject\, he captured the western landscape in all of its wild and nostalgic moments. \nIn 1880\, when he was only 16\, Russell went to Montana for the first time to work on a family friend’s ranch. Ranch life was not for Russell\, but he would stay in Montana for two years working for a hunter and trapper. \nHe began to draw and paint animals at this time and learned a great deal about their anatomy. In 1882\, he went to work as a night herder for a group of cowboys called the Judith Basin Roundup\, and on and off for the next 11 years he would work watching cattle by night and painting during the day. \n\nIn 1888\, Russell returned to St. Louis for a short time and submitted some of his art to Harpers Weekly\, where it was published. His work had become very popular in the Montana territory\, and he began to sell pieces and take commissions for works when he returned. \nWith the advent of the railroad to Montana\, the territory became more civilized\, and Russell mostly gave up cowboy life in order to become a full time painter of the life he had known in the West that was now slowly fading. \n\nImage: Charles M. Russell\, Smoking Cattle out of the Breaks\, 1912. Oil on canvas\, 30 1/4 x 33 inches. Wichita Art Museum\, M.C. Naftzger Collection \n  Save  
URL:https://artinamericaguide.com/event/heritage-of-the-west-charles-m-russell/
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
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190919
DTEND;VALUE=DATE:20210920
DTSTAMP:20260404T073057
CREATED:20190919T195116Z
LAST-MODIFIED:20190926T161526Z
UID:59865-1568851200-1632095999@artinamericaguide.com
SUMMARY:Pre-Columbian Art and Artifacts from the Museum’s Collection
DESCRIPTION:Wichita Art Museum’s unique collection of Pre-Columbian art and artifacts was collected by Haig Kurdian between 1954-1959 during expeditions into Mexico and Costa Rica. The collection is mostly pottery\, a few pieces of metal\, carved shells\, and precious stones. \nIn Mesoamerican culture\, pottery was appreciated as an artistic medium–a way people could express emotions and ideas–not solely as a utilitarian material. To make ceramic art\, these ancient peoples gathered clay from local sources and formed shapes using only their hands by pinching or coiling the clay. After shaping the objects\, they were placed in very hot\, open fires and baked until hard. \n“I particularly love that tripod bowl\, from Teotihuacan\, with the square legs. It’s a superb\, beautiful piece. To think that someone made that\, not on a potter’s wheel\, but by piling up coils of clay\, then working it and firing it. And it’s survived at least 2\,500 years. The other tripod bowl I love represents a squash and has parrot legs. That one is from Colima\,” Kurdian said. \n\nThe artifacts originated from various locations in Mexico including Colima\, Veracruz\, Valley of Mexico\, Oaxaca\, Michoacán\, and Guerrero. The collection includes artifacts from Costa Rica: including Atlantic Watershed\, Guanacaste-Nicoya Zone\, and the Diquis Zone. The objects date from 1000 B.C. to 1450 A.D. \nThe collection was given to the Wichita Art Museum by Haig\, Rima\, and Gregory Kurdian in 1977. Then in 1986\, Louise and S.O. Beren offered the Wichita Art Museum a selection of artifacts\, they had earlier received from Haig’s expeditions. \n\nImage: Mexican (Teotihuacan)\, Cylinder Tripod Vessel\, about 450-600 B.C. Terra cotta\, 7 x 6 1/2 inches. Wichita Art Museum\, Gift of Haig\, Rima\, and Gregory Kurdian \n  Save  
URL:https://artinamericaguide.com/event/pre-columbian-art-and-artifacts-from-the-museums-collection/
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:20190919
DTEND;VALUE=DATE:20210920
DTSTAMP:20260404T073057
CREATED:20190919T195153Z
LAST-MODIFIED:20190926T161925Z
UID:59861-1568851200-1632095999@artinamericaguide.com
SUMMARY:An American Salon: 19th-century Paintings from the Wichita Art Museum’s Permanent Collection
DESCRIPTION:The term salon style derives from the exhibition of the French Royal Academy of Painting and Sculpture\, which began in 1667 in Paris. \n\nIn order to display work by all the Academy’s students\, the paintings were hung as close as possible from floor to ceiling. In the nineteenth century\, this salon-style hanging became increasingly popular across Europe and in the United States. The gallery has been transformed into an American salon featuring remarkable 19th-century paintings from the museum’s permanent collection. \n\nImage: Titian Ramsay Peale\, Ruffled Grouse in a Landscape\, 1873. Oil on canvas\, 16 x 22 inches. Wichita Art Museum\, Museum purchase\, Wichita Art Museum Members Foundation \n  Save  
URL:https://artinamericaguide.com/event/an-american-salon-19th-century-paintings-from-the-wichita-art-museums-permanent-collection/
LOCATION:Wichita Art Museum\, 1400 West Museum Boulevard\, Wichita\, KS\, 67203\, United States
CATEGORIES:Exhibition
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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:20190919
DTEND;VALUE=DATE:20210922
DTSTAMP:20260404T073057
CREATED:20190919T155958Z
LAST-MODIFIED:20190926T161719Z
UID:59841-1568851200-1632268799@artinamericaguide.com
SUMMARY:No Idle Hands: Treasures from the Americana Collection at the Wichita Art Museum
DESCRIPTION:No Idle Hands gives museum visitors a chance to view the art and artifacts that reflect daily life in America’s early history. The exhibition features highlights from WAM’s newly acquired collection of more than 450 works of American folk art\, including some of the best furniture\, samplers\, hunting decoys and lures\, and corner store paraphernalia from the new collection. \nIt tells the story of America’s past while also foregrounding the beautiful materials and craftsmanship of many of these objects. \nWichita Art Museum’s curatorial staff organized the exhibition with local architect Dean Bradley\, of Platt\, Bradley\, Adams\, and Associates. As a specialist in residential architecture with a personal passion for history and preservation who also serves on the board of The Wichita-Sedgwick County Historical Museum\, Bradley designed a gallery installation evoking the stores and homes in which the works were originally used and cherished. Shop signs–including iconic striped barber poles–conjure up an image of Main Street. Portraits\, toys\, and miniatures–small\, hand-held portraits sometimes worn as jewelry–reference the life of the family and home. Each object–some rare and precious and others common fare—tells the story of the changes and continuities of daily life in America over the last 200 years. \n  Save  
URL:https://artinamericaguide.com/event/no-idle-hands-treasures-from-the-americana-collection-at-the-wichita-art-museum/
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
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190919T100000
DTEND;TZID=America/Halifax:20210919T170000
DTSTAMP:20260404T073057
CREATED:20190919T195137Z
LAST-MODIFIED:20200716T190252Z
UID:59863-1568887200-1632070800@artinamericaguide.com
SUMMARY:Catching Light: Selections from the Wichita Art Museum's Burnstein Collection
DESCRIPTION:Dr. Robert Burnstein\, a Detroit psychiatrist\, began collecting glass in the 1980s. He was attracted to American glass of the 19th and 20th centuries because\, as he stated\, “it was a time when handcrafted expertise and precision craftsmanship were the benchmarks of the American glass industry.” \nSoon he came to find that among American companies\, the glass produced by Steuben was unsurpassed in quality\, color intensity\, and breadth of design. \nTherefore\, he focused his collecting first on Steuben\, then on candlesticks in particular. He concentrated on candlesticks given their elegance of design and great variety of their colors and decorative techniques. Dr. Burnstein has presented his collection in honor of his parents\, Donald and Arlene Burnstein. \n  \nImage: Pairpoint Glass\, Candlestick (one of a pair)\, about 1920-1925. Blown glass\, 10 1/16 x 5 3/16 inches. Wichita Art Museum\, Gift of Robert S. Burnstein \n  Save  
URL:https://artinamericaguide.com/event/catching-light-selections-from-the-wichita-art-museums-burnstein-collection/
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/pairpoint_candlestick_blue.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:20190922T110000
DTEND;TZID=America/Halifax:20200809T170000
DTSTAMP:20260404T073057
CREATED:20191106T153642Z
LAST-MODIFIED:20191106T153642Z
UID:61311-1569150000-1596992400@artinamericaguide.com
SUMMARY:Almost Human: Digital Art from the Permanent Collection
DESCRIPTION:The technologies developed in Silicon Valley have intrigued and inspired artistic experimentation for more than three decades and pave a way toward the future. Almost Human: Digital Art from the Permanent Collection highlights artists who use digital and emergent technologies from custom computer electronics and early robotics to virtual reality and artificial intelligence. \nArtists in the exhibition include Andrea Ackerman\, Jim Campbell\, Ian Cheng\, Petra Cortright\, Mark Hansen and Ben Rubin\, Zara Houshmand and Tamiko Thiel\, Tony Oursler\, Alan Rath\, Jacolby Satterwhite\, Jennifer Steinkamp\, Diana Thater\, and Bill Viola. \n  Save  
URL:https://artinamericaguide.com/event/almost-human-digital-art-from-the-permanent-collection/
LOCATION:San Jose Museum of Art\, 110 S. Market Street\, San Jose\, CA\, 95113\, United States
CATEGORIES:Exhibition
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X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=San Jose Museum of Art 110 S. Market Street San Jose CA 95113 United States;X-APPLE-RADIUS=500;X-TITLE=110 S. Market Street:geo:-121.8905201,37.3327419
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20191012
DTEND;VALUE=DATE:20200217
DTSTAMP:20260404T073057
CREATED:20190930T154839Z
LAST-MODIFIED:20191120T214249Z
UID:60468-1570838400-1581897599@artinamericaguide.com
SUMMARY:What She Wore: Portraiture\, Fashion\, and Femininity
DESCRIPTION:Fashion and portraiture have always been intertwined. Particularly in images of women\, clothes are used as a shorthand to describe the sitter’s personality—is she respectable and old-fashioned\, over-the-top and risqué\, or no-nonsense and capable? \nWhat She Wore features nineteenth and twentieth-century portraits of women from the permanent collection\, wearing everything from evening gowns to shirtdresses. Each portrait explores different ideals and conceptions of femininity\, urging us to—in the words of Coco Chanel—“look for the woman in the dress. If there is no woman\, there is no dress.” \nWhat She Wore is generously supported by Anne K. Coffin. \n\nImage: Frederick Carl Frieseke\, The Yellow Tulip\, about 1902. Oil on canvas\, 31 1/2 x 24 3/4 inches. Wichita Art Museum\, Gift of William Connelly and Martha L. Walker \n  Save  
URL:https://artinamericaguide.com/event/what-she-wore-portraiture-fashion-and-femininity/
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/frieseke_yellow_tulip_resized.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:20191018T100000
DTEND;TZID=America/Halifax:20200209T170000
DTSTAMP:20260404T073057
CREATED:20190930T210630Z
LAST-MODIFIED:20191003T151557Z
UID:60561-1571392800-1581267600@artinamericaguide.com
SUMMARY:Robyn O'Neil: WE THE MASSES
DESCRIPTION:The Modern Art Museum of Fort Worth presents a 20-year survey of the work of Robyn O’Neil (American\, born 1977)\, on view in Fort Worth\, Texas\, October 18\, 2019\, through February 9\, 2020. Organized by the Modern’s associate curator Alison Hearst\, the exhibition Robyn O’Neil: WE\, THE MASSES explores the artist’s fruitful career from 2000 to the present and includes major multi-paneled drawings\, signature works of graphite on paper\, collages\, and the animated film WE\, THE MASSES\, 2011. This in-depth presentation is the first to examine O’Neil’s formal and conceptual developments over the past two decades. \n  Save  
URL:https://artinamericaguide.com/event/robyn-oneil-we-the-masses/
LOCATION:The Modern Art Museum of Forth Worth\, 3200 Darnell St\,\, Forth Worth\, TX\, 76107\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Modern Art Museum of Fort Worth":MAILTO:info@themodern.org
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20191019
DTEND;VALUE=DATE:20200426
DTSTAMP:20260404T073057
CREATED:20191121T183230Z
LAST-MODIFIED:20191121T183230Z
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SUMMARY:Can it Really be 20 Years\, Already?
DESCRIPTION:Can It Really Be 20 Years Already?\nArt in Our Times\, Contemporary Masters\, and Philanthropy \nNew 20th Anniversary Exhibition\nOctober 19\, 2019 – April 25\, 2020 \nThe Margulies Collection at the Warehouse\, a pioneering force in contemporary art in Miami\, presents its 20th Year Anniversary of public exhibitions. Since it’s inauguration in 1999 the Warehouse has welcomed visitors from South Florida and all over the world. The Warehouse exhibitions showcase art of our times featuring 20th & 21st century sculpture\, photography\, video\, painting and large-scale installations by international artists culled from the renowned collection of Martin Z. Margulies. With a stated mission of arts education\, the Warehouse has produced hundreds of programs for the community including guest speakers\, seminars\, publications\, internships and guided tours. \nThis season’s 20th year anniversary exhibition will include works by Magdalena Abakanowicz\, Radcliffe Bailey\, Eric Bainbridge\, Domenico Bianchi\, Gilles Barbier\, Florian Baudrexel\, William Beckman\, John Beech\, Jeff Brouws\, Peter Buggenhout\, Lawrence Carroll\, John Chamberlain\, Olafur Eliasson\, Willem de Kooning\, Donna Dennis\, Nathalie Djurberg\, Mark di Suvero\, William Eggleston\, Leandro Erlich\, Kota Ezawa\, Michael Heizer\, Thomas Hirschhorn\, Pieter Hugo\, Anselm Kiefer\, Justine Kurland\, Sol LeWitt\, Donald Lokuta\, Emil Lukas\, Danny Lyon\, Chema Madoz\, Ibrahim Mahama\, Mark Manders\, Barry McGee\, Dave Muller\, Wilhelm Mundt\, Jackie Nickerson\, Isamu Noguchi\, Tony Oursler\, Maurizio Pellegrin\, Michelangelo Pistoletto\, Pedro Cabrita Reis\, Jason Rhoades\, Nancy Rubins\, George Segal\, Richard Serra\, Cindy Sherman\, Shinique Smith\, Kenneth Snelson\, Jennifer Steinkamp\, Frank Stella\, Joel Sternfeld\, Kishio Suga\, William Tucker\, Paolo Ventura\, Eudora Welty\, Franz West\, and Lois Weinberger. \nRegular Hours: Tues–Sat 11am–4pm\nExtended Hours for Art Basel Miami Beach: Mon–Sat 9am–5pm; Sun 9am–2pm \n\nImage: \nJennifer Steinkamp\nBlind Eye 3\, 2019\nVideo installation\nDimensions variable\nImage courtesy Lehmann Maupin\, New York \n  Save  
URL:https://artinamericaguide.com/event/can-it-really-be-20-years-already/
LOCATION:The Margulies Collection at the Warehouse\, 591 NW 27th Street\, Miami\, FL\, 33127\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20191024
DTEND;VALUE=DATE:20200120
DTSTAMP:20260404T073057
CREATED:20191125T222428Z
LAST-MODIFIED:20191125T222428Z
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SUMMARY:Juan Roberto Diago
DESCRIPTION:Juan Roberto Diago\nSin Titulo (Untitled)\, 2011\nMixed media on canvas\n50.5 x 39.5 inches\nPrivate collection\n© Juan Roberto Diago \n\nThru Jan. 19: Juan Roberto Diago\, “Diago: The Pasts of this Afro-Cuban Present.” Featuring forty works made over the course of Diago’s vibrant career\, this exhibition offers a revisionist history of Cuba. \n  Save  
URL:https://artinamericaguide.com/event/juan-roberto-diago/
LOCATION:Lowe Art Museum\, 1301 Stanford Drive\, Miami\, FL\, 33134\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20191025T110000
DTEND;TZID=America/Halifax:20200119T170000
DTSTAMP:20260404T073057
CREATED:20190808T175819Z
LAST-MODIFIED:20190923T170323Z
UID:58848-1572001200-1579453200@artinamericaguide.com
SUMMARY:Treasures of the Spanish World
DESCRIPTION:October 25\, 2019 – January 19\, 2020 \nThe exhibition tells a rich story of the cultures of Spain across the past three millennia\, through some of the finest artworks from the Iberian Peninsula and the Spanish colonies. \nWith over 200 works of art and historical documents\, the highlights of the Hispanic Society of America in New York City (the premier collection of Hispanic arts and culture in the United States)\, Treasures of the Spanish World will feature works from Spain and Latin America\, including artifacts from Roman Spain; decorative arts and manuscripts of Islamic Spain; paintings\, sculpture\, decorative arts\, and works on paper from Medieval\, Golden Age\, and eighteenth-century Spain; Latin American colonial arts; and Spanish paintings of the nineteenth and early twentieth centuries. A significant number of these works have not been exhibited outside of the Hispanic Society\, and some have never before been exhibited. For our tristate audiences\, the exhibition offers an unprecedented look at the broad sweep of one of the greatest artistic traditions of Europe and the Americas. \nThe exhibition debuted at Museo Nacional del Prado in Madrid\, Spain\, and has since been seen in Mexico City and Albuquerque\, New Mexico. Additional support for the exhibition has been provided by the Klein Foundation and the Robert Lehman Foundation. \nTicketed – Members are FREE | General admission: $16 | Seniors (65+)\, Children 6-17\, Students (with valid ID): $8 | Children 5 & under are FREE \nThis special exhibit is FREE during extended hours (5:00-8:00 Thursday evenings)\, and also during Art After Dark events. \n  Save  
URL:https://artinamericaguide.com/event/treasures-of-the-spanish-world/
LOCATION:Cincinnati Art Museum\, 953 Eden Park Dr\, Cincinnati\, OH\, 45202\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20191026
DTEND;VALUE=DATE:20200203
DTSTAMP:20260404T073057
CREATED:20190701T185911Z
LAST-MODIFIED:20190701T185911Z
UID:57913-1572048000-1580687999@artinamericaguide.com
SUMMARY:Sightings: Anne Le Troter
DESCRIPTION:In her first U.S. commission\, French artist Anne Le Troter will consider the ethics of eugenics in a linguistic score and site-specific installation. \n\n\nSightings: Anne Le Troter will be part of the Nasher Sculpture Center’s Sightings series of smaller-scale exhibitions and installations that highlight new work of emerging or established artists. Born in Saint Etienne\, France in 1985\, Le Troter lives and works in Paris. Her body of work explores the rhythms and physicality of language through sound: “I arrange ‘language blocks’ one after the other\, reworking them\, using the constraints of each phrase: duration\, tone\, and breathing.” Le Troter’s process begins with spoken language: she collects found recordings—a telemarketer’s script or medical dictation\, for example—that she then edits and reconstructs as a linguistic score\, often combining a multitude of voices speaking in conversation\, in unison\, or discord. The artist then builds installations for her audio pieces that function as spaces to listen. These installations often include banal furniture evocative of transitional places—waiting rooms\, bus stations\, or office cubicles—and fall somewhere between décor and set design: “I am trying to set up environments that are as stable as possible\, to let the words develop. I’m also trying to make a place for the spectator.” \nFor the Nasher commission\, Le Troter is developing a sound piece that comprises hundreds of audio samples she collected from a U.S.-based cryobank\, a facility or enterprise that collects and stores human sperm from sperm donors for use by women who need donor-provided sperm to achieve pregnancy. In the recordings\, donors respond to questions on family\, life\, and their vision for the future\, while employees provide their impressions of donors’ genetic qualities\, hobbies\, values\, and physical traits. Altogether\, the samples form portraits of prospective donors\, which Le Troter distorts through the repetition of certain phrases\, utterances\, and pauses. \nInspired by such science fiction novels as H.G. Wells’s The Island of Doctor Moreau (1832) and Aldous Huxley’s Brave New World (1932)\, Le Troter’s sound installation will consider the ethics of eugenics and the role of language in the endless search for an absurdist ideal. \n\n  Save  
URL:https://artinamericaguide.com/event/sightings-anne-le-troter/
LOCATION:Nasher Sculpture Center\, 2001 Flora Street\, Dallas\, TX\, 75201\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20191101
DTEND;VALUE=DATE:20200202
DTSTAMP:20260404T073057
CREATED:20191125T183752Z
LAST-MODIFIED:20191127T184121Z
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SUMMARY:Michelle Concepción | Chaos to Order
DESCRIPTION:Michelle Concepcion (1970)\nINTERTWIST 3\, 2006  \nAcrylic on Canvas\n62 1/8 x 62 7/16 in. (157.8 x 158.59 cm)\nMCO0085 \n\nMichelle Concepción \nChaos to Order \nOn view: November 2019 – February 2020 \nOpening receptions:\nFriday\, Dec. 6th\, 6:30 – 10:00 pm\nFriday\, Jan. 3rd\, 6:30 – 10:00 pm\nFriday\, Feb. 7th\, 6:30 – 10:00 pm \n\nMichelle Concepción\, the artist who pioneered a technique that creates astonishing three-dimensional depth in flat\, two-dimensional paintings\, will exhibit “Chaos to Order” at ArtSpace/Virginia Miller Galleries in Coral Gables\, Florida from November 2019 through February 2020. \n“This exhibition is particularly interesting because it presents a selection of her work from different series over a 15-year period\,” according to Virginia Miller\, owner and director of greater Miami’s longest-established contemporary fine art gallery. \nContributing to the varying interpretations of Concepción’s subject matter is their illusion of depth and texture. \n“She developed a method of painting that creates a realistic appearance of depth and texture despite the flat surfaces of her canvases or works on paper\,” notes Miller. “It’s an amazing technique that simply can’t be appreciated from a photo or on a computer.” \nAccording to art critic Peter Frank\, “Each of us sees the myriad interplays of form\, color\, and shade that dominate Concepción’s paintings slightly differently\, perhaps\, but we all recognize that her forms float\, often one across another.” \n“Some of us are certain these shapes\, whatever they are\, are in motion\, while others among us see them fixed in the picture\, even establishing patterned rhythms.” \nAuthor and arts educator Thyrza Nichols Goodeve states that when she looks at the paintings of Michelle Concepción\, “Coordinates disappear as each canvas suggests a universe in motion\, where color and scale have no measure except the size of one’s imagination…. The interlocking layers of color\, texture\, paint\, shape\, and air seem to inhale and exhale into and out of one another\, freed of mass or recognizable temporality.” \nPearls the artist’s current series of abstractions on paper\, include both biomorphic forms and circular shapes reminiscent of asteroids\, with deeply dimensional picture planes. Her abstractions on canvas feature biomorphic forms\, but tend to be looser than her paintings on paper\, with luminous backgrounds enriched by underpainting. \nWhether on canvas or paper\, her abstractions\, evocative of cellular forms or ancient asteroids\, offer soft\, dreamy shapes that appear to be floating in a bottomless abyss\, visual meditations that invite the mind to wander among them. \nIn his review of one of the artist’s prior exhibitions at ArtSpace/Virginia Miller Galleries\, critic José Antonio Evora of El Nuevo Herald described Concepción’s paintings as an “indecipherable enigma\,” adding that they are “so enveloping that one is able to be submerged in their bubbles.” \nAccording to art historian Mayte Mari\, “her paintings rely on impressions and illusions” that evoke perceptions by surfacing and disappearing. Michelle Concepción\, Mari states\, “seems to explore the interior of organic worlds and to make them visible – as if through a microscope” – in order to elicit a secret from their “glittering surface of endlessly changing forms.” \nBorn in Puerto Rico in 1970\, Michelle Concepción received a Bachelor of Fine Arts degree from the School of the Art Institute of Chicago. She also studied at the University of Barcelona in Spain and the College of Art & Design (Hochschule für Gestaltung)\, in Offenbach\, Germany. \nConcepción’s paintings have been exhibited since 1988 in dozens of important public and private galleries as well as in major art fairs in New York\, Miami\, Santa Fe\, and Chicago as well as in Spain and Germany. At this time she has exhibitions scheduled in ArtSpace/Virginia Miller Galleries in Coral Gables\, Florida\, and Galerie Arte Giani in Frankfurt\, Germany. \nChaos to Order will be Concepción’s second one-person show at the gallery\, which presented her first U.S. solo exhibition in 2008 and has included her work in six group exhibitions since 2005. \nHer paintings are included in important private and public collections in Canada\, China\, Dubai\, Germany\, Spain\, Switzerland\, and the United States. \n\nAbout ArtSpace/Virginia Miller Galleries: \nNow in its 46th year\, ArtSpace/Virginia Miller Galleries is located at 169 Madeira Avenue in the heart of the restaurant district in downtown Coral Gables\, eight blocks north of Miracle Mile and just east of Ponce de Leon Boulevard. A virtual tour of the Concepción exhibition and details of each work will be placed on the gallery website. For more information\, call 305-444-4493. \n  Save  
URL:https://artinamericaguide.com/event/michelle-concepcion-chaos-to-order/
LOCATION:ArtSpace/Virginia Miller Galleries\, 169 Madeira Avenue\, Coral Gables\, FL\, 33134\, United States
CATEGORIES:Event
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20191101
DTEND;VALUE=DATE:20200201
DTSTAMP:20260404T073057
CREATED:20191206T141233Z
LAST-MODIFIED:20191206T141519Z
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SUMMARY:Refik Anadol | Infinite Space
DESCRIPTION:Refik Anadol\nInfinite Space\nCourtesy of ARTECHOUSE \n\nRefik Anadol\nInfinite Space \nAn immersive\, digital art exhibition by award-winning artist Refik Anadol invites visitors to explore the mind of a machine\, creating endless transformations and infinite possibilities using data visualization.  \n  Save  
URL:https://artinamericaguide.com/event/refik-anadol-infinite-space/
LOCATION:ARTECHOUSE\, 736 Collins Avenue\, Miami\, FL\, 33139\, United States
CATEGORIES:Exhibition
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GEO:25.7776418;-80.1326741
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=ARTECHOUSE 736 Collins Avenue Miami FL 33139 United States;X-APPLE-RADIUS=500;X-TITLE=736 Collins Avenue:geo:-80.1326741,25.7776418
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20191101T100000
DTEND;TZID=America/Halifax:20210228T170000
DTSTAMP:20260404T073057
CREATED:20190604T130854Z
LAST-MODIFIED:20201027T131202Z
UID:55333-1572602400-1614531600@artinamericaguide.com
SUMMARY:Place\, Nations\, Generations\, Beings: 200 Years of Indigenous North American Art
DESCRIPTION:Place\, Nations\, Generations\, Beings: 200 Years of Indigenous North American Art emphasizes a multiplicity of Indigenous voices and experiences through more than 75 artworks dating from the early 19th century to the present. This student-curated exhibition—the first exhibition of Indigenous art to bring together objects from the Yale University Art Gallery\, the Yale Peabody Museum of Natural History\, and the Beinecke Rare Book and Manuscript Library—showcases basketry\, beadwork\, textiles\, pottery\, drawings\, photography\, and wood carving by prominent artists such as Maria Martinez\, Marie Watt\, and Will Wilson\, among others. Guided by the four themes in its title\, the exhibition investigates the connections that Indigenous peoples have to their lands; the power of objects as expressions of sovereignty; the passing on of artistic practices and traditions; and the relationships that artists and nations have to animals\, plants\, and cosmological beings. The objects on view contribute to the larger narrative of American art and act as touchstones for further partnerships with Indigenous nations. \n\n\n\nExhibition made possible by the Andrew W. Mellon Foundation\, the Jane and Gerald Katcher Fund for Education\, and the Nolen-Bradley Family Fund for Education. Organized by Katherine McCleary\, B.A. 2018\, and Leah Shrestinian\, B.A. 2018\, with Joseph Zordan\, B.A. 2019. Assistance provided by Kaitlin McCormick\, the former Andrew W. Mellon Postdoctoral Fellow in Native American Art and Curation\, Department of American Paintings and Sculpture.\n\n\n  Save  
URL:https://artinamericaguide.com/event/place-nations-generations-beings-200-years-of-indigenous-north-american-art-2/
LOCATION:Yale University Art Gallery\, 1111 Chapel St\, New Haven\, CT\, 06510\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Yale University Art Gallery":MAILTO:artgalleryinfo@yale.edu
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END:VEVENT
END:VCALENDAR