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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20260403T174425
DTEND;TZID=America/Halifax:20230107T180000
DTSTAMP:20260403T174425
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:20260403T174425
DTEND;TZID=America/Halifax:20230128T180000
DTSTAMP:20260403T174425
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:20260403T174425
DTEND;TZID=America/New_York:20250920T170000
DTSTAMP:20260403T174425
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:20260403T174425
DTEND;TZID=America/New_York:20250926T200000
DTSTAMP:20260403T174425
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:20260403T174425
DTEND;TZID=America/New_York:20250927T180000
DTSTAMP:20260403T174425
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:20260403T174425
DTEND;TZID=America/New_York:20251018T170000
DTSTAMP:20260403T174425
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:20260403T174425
DTEND;TZID=America/New_York:20251122T170000
DTSTAMP:20260403T174425
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:20260403T174425
DTEND;TZID=America/New_York:20260221T180000
DTSTAMP:20260403T174425
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
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ORGANIZER;CN="Bowery Gallery":MAILTO:info@bowerygallery.org
GEO:40.7493621;-74.0047021
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Bowery Gallery 547 W 27TH ST Suite 508 New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=547 W 27TH ST Suite 508:geo:-74.0047021,40.7493621
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210806T110000
DTEND;TZID=America/Halifax:20220925T180000
DTSTAMP:20260403T174425
CREATED:20220511T143406Z
LAST-MODIFIED:20220511T143406Z
UID:93525-1628247600-1664128800@artinamericaguide.com
SUMMARY:Hito Steyerl: Factory of the Sun
DESCRIPTION:SJMA presents the landmark installation Hito Steyerl’s Factory of the Sun (2015)\, a joint acquisition between the Hammer Museum in Los Angeles\, the Museum of Contemporary Art in Chicago\, and SJMA. The critically acclaimed\, immersive video debuted at the 2015 Venice Biennale. It is inspired by a quote from Donna Haraway’s Cyborg Manifesto (1985)\, describing machines as “made of pure sunlight.” In the video\, Steyerl explains: “Our machines are made of pure sunlight. Electromagnetic frequencies. Light pumping through fiberglass cables. The sun is our factory.” The premise of machines made of pure sunlight is not a romantic one for the Berlin-based artist. Steyerl has long attuned herself to the power of image and their reproduction\, particularly documentary images\, to manipulate our worldview. \nFactory of the Sun tells a surreal story of workers whose forced dance moves in a motion capture studio are turned into artificial sunshine. The story is based on an actual YouTube phenomenon (her studio assistant’s brother whose viral homemade dance videos were used as a model for Japanese anime characters) and a news story about an experiment at CERN nuclear research facility that claimed to have measured a particle traveling faster than the speed of light. On screen\, Steyerl interweaves fact and fiction; a montage of YouTube dance videos\, drone surveillance footage\, real documentation of recent international student uprisings combines with video game characters\, fake news\, and dancing\, gold lamé-costumed avatars. In this imaginative reality spun from Haraway’s theory\, the motion capture studio’s glowing grid of blue LED lights extends beyond the screen into the gallery\, like a Star Trekkian “holodeck” able to materialize a different world in three dimensions. Modern warfare\, corporate culture\, and anti-capitalist resistance movements are played out by disembodied characters—avatars\, bots\, or proxies for the human viewers who watch the video from the vantage of reclined beach chairs. \n  Save  
URL:https://artinamericaguide.com/event/hito-steyerl-factory-of-the-sun/
LOCATION:San Jose Museum of Art\, 110 S. Market Street\, San Jose\, CA\, 95113\, United States
CATEGORIES:Exhibition
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GEO:37.3327419;-121.8905201
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:20211015
DTEND;VALUE=DATE:20230502
DTSTAMP:20260403T174425
CREATED:20210830T210225Z
LAST-MODIFIED:20221026T173030Z
UID:86151-1634256000-1682985599@artinamericaguide.com
SUMMARY:Debut
DESCRIPTION:Opening in fall of 2021\, Debut will feature artwork from the Spencer Museum’s collection that has never been exhibited in our building since it opened in 1978. The eclectic artwork assembled is explored through seven broad thematic sections. Debut will remain on view for the duration of Phase II renovation and the complete reinstall of our fourth-floor collection galleries. As we undergo these transformative changes\, Debut presents previously unseen works in conversation with more familiar art from the collection that is frequently used for teaching and research. This exhibition is supported by Friends of the Art Museum\, KU Student Senate\, and the Linda Inman Bailey Exhibitions Fund. \n  Save  
URL:https://artinamericaguide.com/event/debut/
LOCATION:Spencer Museum of Art\, University of Kansas\, 1301 Mississippi St.\, Lawrence\, KS\, 66045\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2021/08/2014.0090.jpg
ORGANIZER;CN="Spencer Museum of Art%2C University of Kansas":MAILTO:spencerart@ku.edu
GEO:38.9596803;-95.244588
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Spencer Museum of Art University of Kansas 1301 Mississippi St. Lawrence KS 66045 United States;X-APPLE-RADIUS=500;X-TITLE=1301 Mississippi St.:geo:-95.244588,38.9596803
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220208T110000
DTEND;TZID=America/Halifax:20220722T160000
DTSTAMP:20260403T174425
CREATED:20220124T163724Z
LAST-MODIFIED:20220325T141430Z
UID:91113-1644318000-1658505600@artinamericaguide.com
SUMMARY:Art of the Dogon
DESCRIPTION:Art of the Dogon features works by the Dogon people of Mali that are drawn from the Museum’s extensive and highly regarded collection of African Art. The Dogon live in one of West Africa’s most spectacular landscapes\, a row of cliffs known as the Bandiagara Escarpment\, located in the central plateau region of Mali. Their complex mythology and sophisticated visual arts capture the imagination. The sculptures\, masks\, jewelry\, and other works in the exhibition point to the significance of art in their daily life. \n  \nFunding has been provided by the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature. \n  \nAdmission is free. \n  Save  
URL:https://artinamericaguide.com/event/art-of-the-dogon/
LOCATION:David Filderman Gallery at Hofstra University\, 112 Hofstra University\, Hempstead\, New York
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/01/Dogon.jpg
ORGANIZER;CN="Hofstra University Museum of Art":MAILTO:museum@hofstra.edu
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:20220222T093000
DTEND;TZID=America/Halifax:20221231T163000
DTSTAMP:20260403T174425
CREATED:20210819T145416Z
LAST-MODIFIED:20210916T194455Z
UID:85468-1645522200-1672504200@artinamericaguide.com
SUMMARY:Still I Rise: The Black Experience at Reynolda
DESCRIPTION:“Into a daybreak that’s wondrously clear / I rise.” Maya Angelou’s poem “Still I Rise\,” published in 1978\, was an assertion of dignity and resilience in the face of oppression. In the 1980s\, Angelou used Reynolda as her stage sharing words of humanity\, survival\, and triumph. But before her\, numerous Black lives impacted and intersected with the story of Reynolda. Still I Rise: The Black Experience at Reynolda examines the lives of the Black women and men who helped shape Reynolda as it evolved from a Jim Crow era working estate into a museum for American art. \nFrom 1912 through the 1950s\, during one of the most repressive climates for Black people in North Carolina history\, Black men and women navigated Reynolda’s segregated spaces—farming the land\, constructing buildings\, and working as domestic staff within Reynolda’s walls. During this era\, segregation\, the exploitation of Black labor\, and laws that regulated Black behavior affected the lives of all individuals in the Reynolda story\, whether at Reynolda or at the R.J. Reynolds Tobacco Company. While the struggle for equality did not end with the Civil Rights Act of 1964\, the story of Reynolda pivoted to one of a public cultural institution. When it opened its doors in 1967\, Reynolda’s intersection with Black lives shifted as the young\, fledgling museum provided a venue for Black artists to celebrate their art. Artists such as Jacob Lawrence\, Romare Bearden\, and Maya Angelou transformed the historic setting into a stage for their art and teachings. Through art\, letters\, photographs\, and audiovisual recordings\, Still I Rise: The Black Experience at Reynolda examines Reyolda’s complicated past in a space designed for reflection and healing. \n  Save  
URL:https://artinamericaguide.com/event/still-i-rise-the-black-experience-at-reynolda/
LOCATION:Reynolda House Museum of American Art\, 2250 Reynolda Road\, Winston-Salem\, NC\, 27106\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2021/08/Still-I-Rise_Five-Row_Callout_20-1103-004.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220223T110000
DTEND;TZID=America/Halifax:20221017T180000
DTSTAMP:20260403T174425
CREATED:20210908T194918Z
LAST-MODIFIED:20210916T194455Z
UID:87388-1645614000-1666029600@artinamericaguide.com
SUMMARY:Useful and Beautiful: Silvercraft by William Waldo Dodge
DESCRIPTION:William Waldo Dodge moved to Asheville in 1924 as a trained architect and a newly skilled silversmith. When he opened for business promoting his handwrought silver tableware\, including plates\, candlesticks\, flatware (spoons\, forks\, and knives)\, and serving dishes\, he did so in a true Arts and Crafts tradition. The aesthetics of the style were dictated by its philosophy: an artist’s handmade creation should reflect their hard work and skill\, and the resulting artwork should highlight the material from which it was made. Dodge’s silver often displayed his hammer marks and inventive techniques\, revealing the beauty of these useful household goods. The silver works in this exhibition are drawn from the Museum’s Collection. \nThe Arts and Crafts style of England became popular in the United States in the early 1900s. Asheville was an early adopter of the movement because of the popularity and abundance of Arts and Crafts architecture in neighborhoods like Biltmore Forest\, Biltmore Village\, and the area around The Grove Park Inn. The title of this exhibition was taken from the famous quotation by one of the founding members of the English Arts and Crafts Movement\, William Morris\, who said\, “have nothing in your house that you do not know to be useful or believe to be beautiful.” Not only did Dodge follow this suggestion; he contributed to American Arts and Crafts silver’s relevancy persisting almost halfway into the 20th century. \nThis exhibition is organized by the Asheville Art Museum and curated by Whitney Richardson\, associate curator. \nImage: William Waldo Dodge\, Footed bowl with acanthus leaf decoration\, 1936\, hammered silver\, 6 × 15 ½inches. Gift of the William W. Dodge Family\, 2016.08.22.© Estate of the Artist\, image David Dietrich. \n  Save  
URL:https://artinamericaguide.com/event/useful-and-beautiful-silvercraft-by-william-waldo-dodge/
LOCATION:Asheville Art Museum\, 2 South Pack Square\, Asheville\, NC\, 28801\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2021/09/2016.08.22_New.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220304T080000
DTEND;TZID=America/Halifax:20220731T170000
DTSTAMP:20260403T174425
CREATED:20220214T165511Z
LAST-MODIFIED:20220214T165511Z
UID:92131-1646380800-1659286800@artinamericaguide.com
SUMMARY:White Shadows: Anneliese Hager and the Camera-less Photograph
DESCRIPTION:Explore how the innovative camera-less photography of German artist Anneliese Hager (1904–1997) relates to science and poetry\, in this first exhibition to focus on the role of women makers in the history of the photogram. \nDespite the cloud of Nazi censure hanging over mid-1930s Germany\, Anneliese Hager made significant contributions to the medium of camera-less photography and to the wider surrealist movement in Europe. The camera-less photograph\, or photogram\, is an image made by placing objects directly on (or in close proximity to) a light-sensitive surface and then exposing the assembled material to light. In its final form\, a photogram reverses light and dark: the longer the paper is covered\, and hence unexposed\, the brighter the covered parts will be\, and vice versa. Referring to that effect as “white shadows\,” Hager developed her experimental darkroom practice through her knowledge of and fascination with the natural sciences. Also a talented surrealist poet\, she often paired photograms she made using everyday domestic objects with the naturalistic vibrancy of her own words. \nUndoubtedly one of the most fervent and accomplished 20th-century makers of photograms\, Hager has remained virtually unknown\, in part because her early artwork was destroyed in the 1945 bombing of Dresden. Hager was among only three women and the sole photographer to exhibit in the now legendary CoBrA exhibition in Amsterdam in 1949. Like the medium in which she worked\, she was overshadowed by the rise of male painters on the international stage in the 1950s. The Harvard Art Museums’ 2018 exhibition Inventur—Art in Germany\, 1943–55 was the first to feature her work since Struktur und Geste\, organized by the Suermondt-Ludwig-Museum\, Aachen\, in 1988. \nHager is believed to have made up to 150 photograms over the span of her career; White Shadows will showcase 29 recently acquired photograms made by the artist between the late 1940s and the 1960s\, when she abandoned the medium. The exhibition\, which will incorporate examples of cyanotypes\, microphotography\, copy prints\, photograms\, and photographs\, will also feature works by Hager’s 19th-century predecessors\, such as Anna Atkins\, Ella J.C. Hurd\, and Philip Otto Runge\, as well as her contemporaries\, including Marta Hoepffner\, László Moholy-Nagy\, K.O. Götz\, Christian Schad\, Carl Strüwe\, Elfriede Stegemeyer\, Elsa Thiemann\, and Otto Umbehr (Umbo). In addition\, several key historical publications and selected materials from the artist’s estate (now housed in the Harvard Art Museums Archives) will be on display. \nHalfway through the exhibition’s five-month run\, cyanotypes by Anna Atkins and Ella J.C. Hurd will be exchanged for other examples by these artists\, due to the light-sensitive nature of the works. \nOrganized by the Harvard Art Museums. Curated by Lynette Roth\, the Daimler Curator of the Busch-Reisinger Museum at the Harvard Art Museums. \nSupport for this project was provided by the Daimler Curatorship of the Busch-Reisinger Museum Fund. Modern and contemporary art programs at the Harvard Art Museums are made possible in part by generous support from the Emily Rauh Pulitzer and Joseph Pulitzer\, Jr.\, Fund for Modern and Contemporary Art. \nShare your experience: #AnnelieseHager #HarvardArtMuseums \n  Save  
URL:https://artinamericaguide.com/event/white-shadows-anneliese-hager-and-the-camera-less-photograph/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
CATEGORIES:Exhibition
ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220304T080000
DTEND;TZID=America/Halifax:20220731T170000
DTSTAMP:20260403T174425
CREATED:20220214T165511Z
LAST-MODIFIED:20220214T165511Z
UID:92132-1646380800-1659286800@artinamericaguide.com
SUMMARY:White Shadows: Anneliese Hager and the Camera-less Photograph
DESCRIPTION:Explore how the innovative camera-less photography of German artist Anneliese Hager (1904–1997) relates to science and poetry\, in this first exhibition to focus on the role of women makers in the history of the photogram. \nDespite the cloud of Nazi censure hanging over mid-1930s Germany\, Anneliese Hager made significant contributions to the medium of camera-less photography and to the wider surrealist movement in Europe. The camera-less photograph\, or photogram\, is an image made by placing objects directly on (or in close proximity to) a light-sensitive surface and then exposing the assembled material to light. In its final form\, a photogram reverses light and dark: the longer the paper is covered\, and hence unexposed\, the brighter the covered parts will be\, and vice versa. Referring to that effect as “white shadows\,” Hager developed her experimental darkroom practice through her knowledge of and fascination with the natural sciences. Also a talented surrealist poet\, she often paired photograms she made using everyday domestic objects with the naturalistic vibrancy of her own words. \nUndoubtedly one of the most fervent and accomplished 20th-century makers of photograms\, Hager has remained virtually unknown\, in part because her early artwork was destroyed in the 1945 bombing of Dresden. Hager was among only three women and the sole photographer to exhibit in the now legendary CoBrA exhibition in Amsterdam in 1949. Like the medium in which she worked\, she was overshadowed by the rise of male painters on the international stage in the 1950s. The Harvard Art Museums’ 2018 exhibition Inventur—Art in Germany\, 1943–55 was the first to feature her work since Struktur und Geste\, organized by the Suermondt-Ludwig-Museum\, Aachen\, in 1988. \nHager is believed to have made up to 150 photograms over the span of her career; White Shadows will showcase 29 recently acquired photograms made by the artist between the late 1940s and the 1960s\, when she abandoned the medium. The exhibition\, which will incorporate examples of cyanotypes\, microphotography\, copy prints\, photograms\, and photographs\, will also feature works by Hager’s 19th-century predecessors\, such as Anna Atkins\, Ella J.C. Hurd\, and Philip Otto Runge\, as well as her contemporaries\, including Marta Hoepffner\, László Moholy-Nagy\, K.O. Götz\, Christian Schad\, Carl Strüwe\, Elfriede Stegemeyer\, Elsa Thiemann\, and Otto Umbehr (Umbo). In addition\, several key historical publications and selected materials from the artist’s estate (now housed in the Harvard Art Museums Archives) will be on display. \nHalfway through the exhibition’s five-month run\, cyanotypes by Anna Atkins and Ella J.C. Hurd will be exchanged for other examples by these artists\, due to the light-sensitive nature of the works. \nOrganized by the Harvard Art Museums. Curated by Lynette Roth\, the Daimler Curator of the Busch-Reisinger Museum at the Harvard Art Museums. \nSupport for this project was provided by the Daimler Curatorship of the Busch-Reisinger Museum Fund. Modern and contemporary art programs at the Harvard Art Museums are made possible in part by generous support from the Emily Rauh Pulitzer and Joseph Pulitzer\, Jr.\, Fund for Modern and Contemporary Art. \nShare your experience: #AnnelieseHager #HarvardArtMuseums \n  Save  
URL:https://artinamericaguide.com/event/white-shadows-anneliese-hager-and-the-camera-less-photograph-2/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/02/Hager-1.jpg
ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220304T100000
DTEND;TZID=America/Halifax:20220731T170000
DTSTAMP:20260403T174425
CREATED:20220214T165511Z
LAST-MODIFIED:20220216T202246Z
UID:92129-1646388000-1659286800@artinamericaguide.com
SUMMARY:Prints from the Brandywine Workshop and Archives: Creative Communities
DESCRIPTION:Discover innovative prints from the Brandywine Workshop and Archives\, a nonprofit cultural institution celebrated for its collaborative and inventive approach. \nFounded by Allan Edmunds in Philadelphia in 1972\, the Brandywine Workshop and Archives provides a fertile environment for artists from diverse backgrounds to create cutting-edge prints. At Brandywine\, collaboration and the exchange of ideas feed a culture of experimentation\, in which master printers and artists continually challenge conventions of the creative process and push the technical boundaries of printmaking to produce compelling new works. \nThis exhibition marks the first presentation of a group of works acquired by the Harvard Art Museums from the Brandywine Workshop in 2018. Comprising prints and proofs by 30 artists\, the acquisition itself was a cooperative effort between curators and other museum colleagues as well as Harvard students and professors\, who selected works that highlight collaboration and innovation\, values at the core of Brandywine’s pioneering approach. The collection spans the history of the workshop\, from the early 1970s to today\, and includes works by artists who had not yet found representation in the marketplace or museum collections when they arrived at Brandywine—a key constituency of the organization\, which seeks to create opportunities for such artists. The exhibition honors that mission by incorporating the perspectives of Brandywine artists\, students\, and members of the greater Boston community in interpretive materials and associated programming. \nArtists in the exhibition: Pedro Abascal\, Danny Alvarez\, John Biggers\, Andrea Chung\, Louis Delsarte\, Allan Edmunds\, Rodney Ewing\, Sam Gilliam\, Simon Gouverneur\, Sedrick Huckaby\, Hughie Lee-Smith\, Ibrahim Miranda\, Tanya Murphy\, Kenneth Noland\, Odili Donald Odita\, Janet Taylor Pickett\, Howardena Pindell\, Robert Pruitt\, Faith Ringgold\, Betye Saar\, Eduardo Roca Salazar\, Juan Sanchez\, Clarissa Sligh\, Pamela Phatsimo Sunstrum\, Hank Willis Thomas\, Larry Walker\, Stanley Whitney\, Deborah Willis\, and Murray Zimiles \nPrints from the Brandywine Workshop and Archives: Creative Communities and its associated programming were developed by colleagues in the museums’ Division of Modern and Contemporary Art: Hannah Chew\, Summer 2021 SHARP Research Fellow and 2021–22 Student Assistant; Jessica Ficken\, Cunningham Curatorial Assistant for the Collection; Sarah Kianovsky\, Curator of the Collection; and Joelle Te Paske\, Curatorial Graduate Student Intern; together with colleagues in the Division of European and American Art: Elizabeth M. Rudy\, Carl A. Weyerhaeuser Curator of Prints; and Natalia Ángeles Vieyra\, Maher Curatorial Fellow of American Art. \nSupport for this exhibition is provided by the Alexander S.\, Robert L.\, and Bruce A. Beal Exhibition Fund\, the Fund for the Contemporary Art Department\, and the Robert M. Light Print Department Fund. Related programming is supported by the M. Victor Leventritt Lecture Series Endowment Fund. Modern and contemporary art programs at the Harvard Art Museums are made possible in part by generous support from the Emily Rauh Pulitzer and Joseph Pulitzer\, Jr.\, Fund for Modern and Contemporary Art. \nShare your experience: #BrandywineHarvard #HarvardArtMuseums \n  Save  
URL:https://artinamericaguide.com/event/prints-from-the-brandywine-workshop-and-archives-creative-communities-2/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/02/brandywine-1.jpg
ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220305T100000
DTEND;TZID=America/Halifax:20220807T170000
DTSTAMP:20260403T174425
CREATED:20220120T232523Z
LAST-MODIFIED:20220120T232523Z
UID:91056-1646474400-1659891600@artinamericaguide.com
SUMMARY:Matthew Thomas: Enlightenment 
DESCRIPTION:For over five decades\, Matthew Thomas has developed a career as an artist and art professor\, first in Los Angeles\, and since 2011 in rural Thailand. In the late 1960s\, Thomas began researching Eastern religions and philosophies and later studied Buddhist Tantra\, a system of spiritual practice and meditation that has profoundly impacted his life and art. Inspired by his practice of the Buddhist religion\, his multimedia works are filled with complex patterns that express his progress toward enlightenment and provide a path for others to experience the same. His unique visual language of sacred geometric abstraction\, which integrates a variety of symbolic shapes and colors\, explores basic life principles and correlates with the five elements of earth\, fire\, water\, wind\, and sky. Since moving to Thailand\, Thomas has continued to investigate the relationship between art and the religious philosophies of many cultures\, which he believes are all connected to a universal cosmic reality. Matthew Thomas: Enlightenment will feature a site-specific installation and selection of recent paintings that function as visual prayers meant to harmonize humanity and the universe. \nMatthew Thomas: Enlightenment was conceived by Mar Hollingsworth\, former visual arts curator\, and organized by Taylor Renee Aldridge\, visual arts curator. \n\nImage:\nMatthew Thomas\, “Realms of Intention”\nCourtesy of the artist and the California African American Museum. \n\n  Save  
URL:https://artinamericaguide.com/event/matthew-thomas-enlightenment/
LOCATION:California African American Museum\, 600 State Drive\, Exposition Park\, Los Angeles\, CA\, 90037\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/01/realms-of-intentions_fine-art-matthew-84.web_.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220311T100000
DTEND;TZID=America/Halifax:20220807T170000
DTSTAMP:20260403T174425
CREATED:20220128T003036Z
LAST-MODIFIED:20220128T003036Z
UID:91650-1646992800-1659891600@artinamericaguide.com
SUMMARY:Clyfford Still\, Art\, and the Young Mind
DESCRIPTION:Co-curated with children from six months old to age eight from across the Front Range\, the upcoming exhibition Clyfford Still\, Art\, and the Young Mind\, reveals how children think about art. Designed to engage both children and adults\, Young Minds will be on view from March 11 to August 7\, 2022 at the Clyfford Still Museum (CSM). \nThe Museum’s first four galleries chart the artistic journey of Clyfford Still in a chronological narrative\, and includes artworks selected with families and children in mind and hung lower on the walls to account for the height of young visitors. The remaining galleries feature Clyfford Still\, Art\, and the Young Mind\, the first show CSM curated in collaboration with the community. \nUsing existing research about what kinds of art children like at different points in their development\, co-curators Bailey H. Placzek and Nicole Cromartie organized the exhibition into five gallery themes: high contrast\, scale\, pattern\, the world around us\, and color. Then\, they asked local children to select and arrange their favorite artworks\, share their perspectives for the gallery and audio content\, and help to design interactive activities. \nYoung Minds includes various interactive and interpretive elements\, including a behind-the-scenes video with clips of the infant co-curators selecting paintings for the exhibition by staring\, pointing\, vocalizing\, and grabbing reproductions of their favorite Still paintings. Pre-kindergarten students helped create an interactive art projection activity in one of the galleries and inspired an installation of prisms on one of the outdoor terraces. Young co-curators also assisted in developing audio and video experiences in English\, Spanish\, and American Sign Language. Second-grade students from two schools also selected and arranged archival images. \nCSM staff walked through the galleries with some of the young co-curators to see how they interacted with the space. The Museum used the feedback to make its building more welcoming and add comfortable areas with floor cushions for people of all ages to relax and enjoy the art from different perspectives. Young co-curators also shaped the exhibition’s wall text\, which will be bilingual in English and Spanish\, more accessible\, and encourage visitor interaction and conversation. \n  Save  
URL:https://artinamericaguide.com/event/clyfford-still-art-and-the-young-mind/
LOCATION:Clyfford Still Museum\, 1250 Bannock St.\, Denver\, CO\, 80204\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/01/youngminds3-scaled.jpg
ORGANIZER;CN="Clyfford Still Museum":MAILTO:press@clyffordstillmuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220315
DTEND;VALUE=DATE:20220717
DTSTAMP:20260403T174425
CREATED:20220303T191628Z
LAST-MODIFIED:20220303T191628Z
UID:92282-1647302400-1658015999@artinamericaguide.com
SUMMARY:Marcus Amerman: Indian Country
DESCRIPTION:This exhibition takes its title from one of Amerman’s (Choctaw) popular ‘photobeadalist’ travel-inspired artworks to declare that the exhibition and\, indeed\, all of America is Indian Country. Included are sensuous blown- and sand-carved vessels made in collaboration with Tlingit artist Preston Singletary\, an assortment of shields made from repurposed hubcaps\, and a series of collages made from rock n’ roll backstage passes—all of which reaffirm contemporary Indigenous presence and vital culture. \nMarcus Amerman (Choctaw) was born in Phoenix\, Arizona\, and grew up in the Pacific Northwest. He divides his time between Kooskia\, Idaho\, and Santa Fe\, New Mexico. He received a BA in Fine Art at Whitman College in Walla Walla\, Washington\, with additional art study at the Institute of American Indian Arts in Santa Fe. \nAmerman is widely renowned for his beadwork. He credits the Plateau region and its wealth of talented bead artists with introducing him to the “traditional” art form of beadwork. He quickly made this art form his own\, however\, by creating a new genre of bead artistry in which beads are stitched down\, one by one\, to create realistic\, pictorial images\, not just large color fields or patterns. \nAmerman draws upon a wide range of influences to create strikingly original works that reflect his background of having lived in three different regions with strong artistic traditions\, his academic introduction to pop art and social commentary\, and his inventive exploration of the potential artistic forms and expressions using beads. Although he is best known for his bead art\, he is also a multimedia artist\, painter\, performance artist (his character “Buffalo Man” can be seen on the cover of the book Indian Country)\, fashion designer\, and glass artist\, as well. \n  Save  
URL:https://artinamericaguide.com/event/marcus-amerman-indian-country/
LOCATION:Missoula Art Museum\, 335 North Pattee Street\, Missoula\, MT\, 59802\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/02/TL2021.100.23-rotated.jpg
GEO:46.8724608;-113.9924585
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Missoula Art Museum 335 North Pattee Street Missoula MT 59802 United States;X-APPLE-RADIUS=500;X-TITLE=335 North Pattee Street:geo:-113.9924585,46.8724608
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220315T080000
DTEND;TZID=America/Halifax:20221130T170000
DTSTAMP:20260403T174425
CREATED:20220324T205009Z
LAST-MODIFIED:20220324T205009Z
UID:93109-1647331200-1669827600@artinamericaguide.com
SUMMARY:Seven Sisters
DESCRIPTION:A 3-D virtual exhibition of seven unique\, mature women artists with a review by Eleanor Heartney. \nVisit this virtual galley here: https://bit.ly/36hmWqR \n“Despite obvious differences in style\, medium and subject\, the seven artists in this exhibition share a worldview. They are all mature women artists whose work has been shaped by our turbulent era and who maintain a reverence for art history\, a dedication to craft and a profound sense of beauty.” \n–Eleanor Heartney \n  Save  
URL:https://artinamericaguide.com/event/seven-sisters/
LOCATION:Virtual
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2022/03/Screen-Shot-2022-03-17-at-2.08.00-PM.png
ORGANIZER;CN="KTC Affiliated Artists":MAILTO:ktcaffiliatedartists@gmail.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220316
DTEND;VALUE=DATE:20220814
DTSTAMP:20260403T174425
CREATED:20220303T191628Z
LAST-MODIFIED:20220303T191628Z
UID:92280-1647388800-1660435199@artinamericaguide.com
SUMMARY:Brian Maguire: In the Light of Conscience
DESCRIPTION:This exhibition unites several recent bodies of work made by Irish artist Brian Maguire—his Aleppo paintings\, Arizona series\, and ongoing work about migration in Europe and Mexico. \nMaguire’s work is united by atrocity. As a storyteller\, he bears witness to this atrocity\, traveling to the locales where injustice has taken place and meeting with eyewitnesses to draw attention to marginalized voices by occupying a role as facilitator. \nHe shares graphic images to highlight circumstances and issues that have been disregarded\, and to provoke responsibility within each of us. Maguire states\, “all of my work is about public outrage.” \n  \nIn 2020\, Maguire was invited by the Missoula Art Museum to participate in an Emily Hall Tremaine Curatorial Research project investigating how MAM might present an exhibition around the epidemic of Missing and Murdered Indigenous People (MMIP). \n  \nMaguire was a 2021 Fulbright Scholar at MAM\, during which he traveled to several reservations and Indigenous communities in Montana\, meeting with the families who have lost someone to the MMIP epidemic. He will share these portraits in a 2023 exhibition at MAM focused on MMIP. \n  \nMaguire (b. 1951\, Dublin) is an Irish artist whose work stems from his involvement in the civil rights movement of Northern Ireland in the 1970s. In his work\, Maguire draws attention to marginalized voices by occupying a role as facilitator\, which he is uniquely careful not to exploit. This overview of Maguire’s human rights-focused paintings include important loans from Christian Groenke and Gulia Bruckman\, the TIA Foundation in Sante Fe\, New Mexico\, the Rhona Hoffman Gallery in Chicago\, the Kerlin Gallery in Dublin\, the Fergus McCaffery Gallery in New York City\, and Gallerie Christophe Gaillard In Paris. \n  Save  
URL:https://artinamericaguide.com/event/brian-maguire-in-the-light-of-conscience/
LOCATION:Missoula Art Museum\, 335 North Pattee Street\, Missoula\, MT\, 59802\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/02/Brian-Maguire-Aleppo-4-2017-scaled.jpg
GEO:46.8724608;-113.9924585
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Missoula Art Museum 335 North Pattee Street Missoula MT 59802 United States;X-APPLE-RADIUS=500;X-TITLE=335 North Pattee Street:geo:-113.9924585,46.8724608
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220405T100000
DTEND;TZID=America/Halifax:20230326T160000
DTSTAMP:20260403T174425
CREATED:20220404T171932Z
LAST-MODIFIED:20220404T171932Z
UID:93171-1649152800-1679846400@artinamericaguide.com
SUMMARY:In the Adjacent Possible
DESCRIPTION:In the Adjacent Possible is a response to sociologist Ruha Benjamin’s suggestion to “imagine and craft the worlds you cannot live without\, just as you dismantle the ones you cannot live within.” \nEach of the five artists’ installations provides a vantage point for viewing the many potentialities that lie just beyond what we know. They conjure worlds that are not quite here\, yet are within our grasp. They place us in the adjacent possible\, a space where we can dream alternative ways of being in the world. \nThe exhibition forms a speculative architecture that explores myriad approaches to and understandings of proposed and promised strategies of living. These artists offer prospective blueprints of other worlds\, often constructed from the remnants of our current one. Engaging issues of colonialism\, feminism\, queerness\, identity\, and stereotypes\, In the Adjacent Possible suggests ways we can reimagine the present and explores the infinite horizon of opportunities at the boundaries of our reach. \nhttps://www.jmkac.org/exhibition/in-the-adjacent-possible/ \nImage: In the Adjacent Possible artists (clockwise from upper left): Suchitra Mattai\, Haleigh Nickerson\, Yasmine K. Kasem\, Nyugen E. Smith\, and Jessica Campbell. \nTuesday\, Wednesday\, Friday 10 a.m. to 5 p.m.\nThursday 10 a.m. to 8 p.m. extended hours\nSaturday and Sunday 10 a.m. to 4 p.m. \n  Save  
URL:https://artinamericaguide.com/event/in-the-adjacent-possible/
LOCATION:John Michael Kohler Arts Center\, 608 New York Avenue\, Sheboygan\, WI\, 53081\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/04/600x600_artist-photos-r.jpg
ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220410T100000
DTEND;TZID=America/Halifax:20220925T160000
DTSTAMP:20260403T174425
CREATED:20220404T171911Z
LAST-MODIFIED:20220404T171911Z
UID:93175-1649584800-1664121600@artinamericaguide.com
SUMMARY:Archive Dive: Eccentric Machines
DESCRIPTION:In 1987\, the Arts Center organized Eccentric Machines\, a group exhibition including twenty-six large-scale sculptural works created by twenty artists\, including internationally renowned artists Alice Aycock\, Dennis Oppenheim\, and Jonathan Borofsky. The show presented a range of contemporary mechanical and kinetic artworks highlighting the complex\, ever-evolving relationship between machines and humans. \nThe interconnections of mechanics and daily life were further explored through the Great Cardboard Boat Regatta and in-gallery performances by Kanopy Dance Company. In addition three artists collaborated with area residents in the creation of Mechanical Marvels\, a large assemblage of mechanical waste and objects on the Art Center’s east lawn. \nArchive Dive: Eccentric Machines revisits the 1987 exhibition through a selection of archival materials\, including photographs of the Mechanical Marvels installation\, public programs\, and events; artist correspondence; and curatorial writing. \nThis dive into the archive reflects on the continuing conversation about technology. How do these moments of movement\, tinkering\, and discovery between human and object from more than three decades ago connect with our current engagement with technology? How do these kinetic artworks change our perspective of contemporary devices? How do artists encourage us to examine technology’s role in our lives? \nImage: Lewis Alquist\, States of Matter Undergoing Habitual Rotation\, 1983; welded steel bed frames\, glass\, electric motors\, and milk substitute. \nhttps://www.jmkac.org/exhibition/archive-dive-eccentric-machines/ \nTuesday\, Wednesday\, Friday 10 a.m. to 5 p.m.\nThursday 10 a.m. to 8 p.m. extended hours\nSaturday and Sunday 10 a.m. to 4 p.m. \n  Save  
URL:https://artinamericaguide.com/event/archive-dive-eccentric-machines/
LOCATION:John Michael Kohler Arts Center\, 608 New York Avenue\, Sheboygan\, WI\, 53081\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220423
DTEND;VALUE=DATE:20221128
DTSTAMP:20260403T174425
CREATED:20230626T142032Z
LAST-MODIFIED:20230626T142032Z
UID:104102-1650672000-1669593599@artinamericaguide.com
SUMMARY:59th Venice Biennale "Personal Structures" – Donald Martiny
DESCRIPTION:Madison Gallery will be exhibiting Donald Martiny at the 59th Venice Biennale\, April 23 through November 2022 in partnership with the ECC European Cultural Centre at the Palazzo Bembo. \nThe art of Donald Martiny exists somewhere between painting and sculpture. We are confronted with a singular brushstroke\, huge\, a seemingly spontaneous\, lavish eruption of color and texture on the wall. \n“Space : Traditional Western painting from the time of Giotto until Courbet created the illusion of space using Filippo Brunelleschi’s ideas of perspective. This type of space offered the viewer the opportunity to enter the illusory\, albeit fictional picture space to experience the art. I intend for my works to exist in the same space as the viewer; to interact directly as an object with the environment and the viewer.. The forms of the work are in dialogue with the wall\, the room\, and the viewer. In Germany in 1808 Caspar David Friedrich brilliantly synthesized and amalgamated space in his painting Der Mönch am Meer and later with Der Wanderer über dem Nebelmeer by inviting the viewer to place themselves into the painting through the use of a Rückenfigur. Barnett Newman understood this very well when he painted his masterwork Vir Heroicus Sublimis in 1951. Through the use of free-standing paint-sculptures my work is in dialogue with the history of the use of space\, the history of painting\, and with these paintings in particular.  \nTime: In photography the shutter speed of 1/1600th second is typical to freeze action and capture an instant in time.(1) While photography captures the image of an instant in time\, a painting captures an event in time. Rather than producing an image of a gesture or mark\, my paintings are the result of an event. The event happens over an extended period of time. By inviting the viewer into the painting\, to become a collaborator or participant rather than a casual viewer the works offer a multifaceted and complex experience similar to the experience one might have wandering through a cathedral rather than the usual glance\, glimpse\, or cursory look. What I have in mind is a different kind of experience: not just glancing\, but looking\, staring\, gazing\, sitting or standing transfixed: forgetting\, temporarily\, the errands you have to run\, or the meeting you’re late for\, and thinking\, living\, only inside the work. Forgetting time\, the past\, the future\, only existing in the present.  \nFalling in love with an artwork\, finding that you somehow need it\, wanting to return to it\, wanting to keep it in your life. This kind of experience requires time and a willingness to be in dialogue with the work; to have an ongoing relationship with it. While the painting itself may be unchanging\, the viewer may find they change quite a bit over time. “ – Donald Martiny \n  Save  
URL:https://artinamericaguide.com/event/59th-venice-biennale-personal-structures-donald-martiny/
LOCATION:31 Mercer Street\, New York\, NY\, 10013\, United States
CATEGORIES:Art Fair,Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220423T120000
DTEND;TZID=America/Halifax:20220828T120000
DTSTAMP:20260403T174425
CREATED:20220315T193240Z
LAST-MODIFIED:20220425T021541Z
UID:92899-1650715200-1661688000@artinamericaguide.com
SUMMARY:Miriam Beerman: REDISCOVER – A Retrospective Remembering Miriam Beerman (1923-2022)
DESCRIPTION:Miriam Beerman – Rediscover Opens at James Yarosh Associates Gallery \nBeerman\, one of the first women to have a solo show at the Brooklyn Museum\, and who has had exhibitions worldwide\, is the 2022 artist in spotlight at James Yarosh Associates Fine Art Gallery \nHOLMDEL\, NJ—When acclaimed painter Miriam Beerman passed away in February 2022 at the age of 98\, she left a six-decade legacy of humanist expressionist works that are included in the permanent collections of over 60 museums\, including the Metropolitan Museum of Art\, Whitney\, LACMA\, Phillips Collection\, National Gallery of Art and Victoria & Albert Museum.  \nA contemporary maker of painterly power objects\, imbuing the paint with profound psychology as well as colorful beauty\, Beerman was a female pioneer in the male-dominated artworld of the 20th century.  \nFueled by curatorial activism in the recent years\, James Yarosh Associates has been hosting shows that re-examine artists who have made a substantial mark during their career in a climate where female artists of the era have been on the verge of being lost to history. On April 23 and 24\, the gallery launches Miriam Beerman – Rediscover\, a retrospective of this prolific artist that includes many of her larger works created in the 1990s. The show is open from noon to 4.  \nWhile male peers dominated the world of 20th-century art\, Beerman’s unique artistic voice catapulted her work to critical recognition in museums and solo shows in her own right. In 1971\, she made history when her exhibition Enduring Beast became one of the first one-woman shows mounted by the Brooklyn Museum. \nShe has won awards from the Joan Mitchell Foundation\, Pollock-Krasner Foundation and the Rhode Island School of Design.  \nBeerman is the subject of the 53-minute artist documentary “Miriam Beerman: Expressing the Chaos\,” which is currently streaming on Amazon Prime and YouTube and gives an unflinching look at an artist’s lifelong dedication to her craft. \n “Miriam Beerman is a survivor. In her more than 60 years as a groundbreaking artist\, she has overcome personal tragedy to inspire friends\, family\, peers\, patrons and students about how to remain defiant\, creative and strong\,” said Jonathan Gruber\, the film’s director. “Miriam has struggled with her artistic demons to create haunting images that evoke the suffering of generations of victims.” \nBeerman’s work has been compared to that of Goya. It protests injustice and champions the stories of victims—whether they are from Hiroshima\, Vietnam or the Holocaust. However\, it juxtaposes the anguish of her subjects with vibrant\, often ravishing\, use of color. Her painterly approach\, using layers over layers of color—akin to Jackson Pollock’s action paintings—allows a storyline to unfold on the canvas\, one that sometimes blends injustice with a nod to humor in the human condition.  \n“I first saw Miriam Beerman’s art in 1991 at an exhibition at the State Museum in Trenton\, and it resonated with me as important\,” said Yarosh\, who has been representing her work since 2020. “As a younger artist\, I was inspired by how she could paint all those intangible feelings and emotions that haunt artists and sensitive minds. Thirty years later\, having rediscovered Miriam’s body of work as a gallery owner and to see the works that came after\, I am moved by the gravity and resonance of her art as a medium that can convey such human emotion—from humor to heartbreak—and ultimately still provide optimism. \n“Miriam’s colors are pure joy\, and her primal markings created larger-than-life paintings that sit next to you and resonate unlike other painters\,” Yarosh continued. “Her art may demand to be the focus in a room\, but the more time you devote to studying them\, you are rewarded by what they reveal and the empowering energy they radiate. Miriam’s subjects are intellectual—that of an activist as well as an environmentalist as evidenced by her series of animal paintings—and yet her power was in her ability to be fearless on canvas\, to somehow always spark magic.” \nCRITICAL ACCLAIM FOR MIRIAM BEERMAN: \nMiss Beerman would pass for a Neo-Expressionist were it not for her obvious sincerity and her skill … Yet it is her sincerity that often arouses ironic feelings in the viewer\, and the reason is partly that the artist plays it at full volume and partly that the horrors of daily life\, augmented by the mass media\, are draining away the reserves of compassion\, just as fluorocarbons are said to be destroying the ozone layer. — Vivien Rayner\, The New York Times: “ART; Imaginary Monsters That Dare a Visitor to See the Show.” \nMiriam Beerman’s work is part of the trajectory of humanist expressionism\, where painterly and gestural means are at the service of witness: man’s inhumanity to man\, as well as survival and redemption. —Alejandro Anreus\, Professor of Art History\, William Paterson University.  \nABOUT MIRIAM BEERMAN: \nMiriam Beerman studied painting at the Rhode Island School for Design\, where she earned a BFA. Afterward\, she spent two years in France as a Fulbright Scholar\, working in Atelier 17 and having her painting critiqued by Marcel Brion. In New York\, she studied with Yasuo Kuniyoshi at the Art Students League and Adja Yunkers at the New School for Social Research. She has had over 30 solo shows\, including at the Brooklyn Museum\, the New Jersey State Museum and the Everson Museum. \nBeerman’s work can be seen in many major collections\, including Metropolitan Museum\, Whitney Museum\, LACMA\, National Gallery of Art\, Phillips Collection\, National Museum of Women in the Arts\, Victoria and Albert Museum\, and the Fitzwilliam Museum in England\,  the MEAM in Spain\, the Israel Museum and soon the National Portrait Gallery in Washington\, D.C.  \n  \nABOUT JAMES YAROSH: \n\n\nEstablished in 1996\, the James Yarosh Associates Gallery in Holmdel\, New Jersey\, was founded upon and remains loyal to its vision: to represent fine art for art’s sake and to curate gallery collections and thoughtfully present art and interior design specification with an artist’s eye and understanding. Yarosh\, an artist and well- published interior designer\, offers a full-scale gallery and design center where clients can associate with other like-minded individuals located just one hour outside Manhattan. \nAs a designer\, Yarosh travels the world\, studying how the greatest museums display their art and visiting artists’ homes to understand how the artists themselves live with their art. This study on both a grand and small scale\, helps inform Yarosh’s work with his clients. His unique approach—coupled with his work in show houses and experience in large-scale residential design projects of over 20\,000 square feet—has led to his designs being featured in regional and international magazines. \nAs a gallerist\, Yarosh advocates  for what greatness looks like in the arts\, showcasing at his destination gallery the works of both new and established museum-recognized artists of merit in a space designed to replicate the intimacy of an artist’s home. Current exhibitions such as Miriam Beerman – Rediscover (2022)\, The Humanist Show (2021) Sheba Sharrow: History Repeats (2020) and the NYC art fair Art on Paper (2021) help foster the idea of art as intellectual engagements that sit above decoration in design hierarchy\, adding exponentially to the experience of living with art. \n\n\n  Save  
URL:https://artinamericaguide.com/event/miriam-beerman-rediscover-a-retrospective-remembering-miriam-beerman-1923-2022/2022-04-23/
LOCATION:James Yarosh Associates Fine Art Gallery\, 45 E Main St.\, 2nd Floor Loft\, Holmdel\, NJ\, NJ\, 07733\, United States
CATEGORIES:Event,Exhibition
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ORGANIZER;CN="James Yarosh":MAILTO:jamesyarosh@yahoo.com
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220506T080000
DTEND;TZID=America/Halifax:20220726T170000
DTSTAMP:20260403T174425
CREATED:20220330T223229Z
LAST-MODIFIED:20220330T223229Z
UID:93137-1651824000-1658854800@artinamericaguide.com
SUMMARY:London Amara – Ethos: The Alchemy of Spirit and Light
DESCRIPTION:London Amara is pursuing large-format collodion wet plate photography\, working on site in a portable darkroom to produce haunting images of the forests of Ohio\, Florida\, California\, and British Columbia\, and intimate portraits of her family and friends. Her silver gelatin and pigment prints are characterized by extraordinarily fine detail\, rich earth tones\, and the kinds of technical flaws that\, while anathema to traditional studio photographers\, underscore the work’s handcrafted\, painterly sensibility. The peculiarities of the collodion method—invented in 1851 to replace the daguerreotype\, requiring cumbersome equipment and patient processing—require a degree of patience unusual in the Instagram age. Inspired in part by the work of photographers Sally Mann and\, to a lesser extent\, Justine Kurland\, Amara imparts both her landscapes and portrait shots with a melancholic romanticism born of nostalgic longing for her wild\, outdoor childhood. All her subjects\, whether animal or vegetable\, are offered as representatives of an ancient wisdom\, possessors of a unique sensitivity to the cycle of life\, death\, and decay that metropolitan living tends to suppress. So while these are images of lush beauty\, they also have a moral component\, reminding us of the planet’s fragility and of our critical role in its preservation. \n\n\n\n\n  Save  
URL:https://artinamericaguide.com/event/london-amara-ethos-the-alchemy-of-spirit-and-light-2/
LOCATION:Charles H. MacNider Art Museum\, 303 Second Street SE\, Mason City\, IA\, 50401\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Katharine T. Carter &amp%3B Associates":MAILTO:ktc@ktcassoc.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220506T110000
DTEND;TZID=America/Halifax:20220925T180000
DTSTAMP:20260403T174425
CREATED:20220302T164128Z
LAST-MODIFIED:20220302T164128Z
UID:90882-1651834800-1664128800@artinamericaguide.com
SUMMARY:Jean Conner: Collage
DESCRIPTION:Organized by SJMA\, Jean Conner: Collage is the artist’s first solo museum exhibition and brings long-overdue recognition to her extraordinary and fanciful collages. Primarily made from images cut out of such large-format color magazines as Life and Ladies’ Home Journal\, Conner’s vivid\, pictorial worlds feature playful arrangements of animals\, nature\, religious symbolism\, aquatic environments\, food\, women\, dancers\, and divers. \n  Save  
URL:https://artinamericaguide.com/event/jean-conner-collage/
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:20220520T080000
DTEND;TZID=America/Halifax:20220813T170000
DTSTAMP:20260403T174425
CREATED:20220330T223229Z
LAST-MODIFIED:20220330T223229Z
UID:93140-1653033600-1660410000@artinamericaguide.com
SUMMARY:Nancy Macko: The Fragile Bee at the Hardin Center for Cultural Arts
DESCRIPTION:Nancy Macko: Flowers\, Bees\, and a Passion for Justice  \nNancy Macko is an artist who takes photographs of flowers and makes prints and installations\, usually related to nature; almost all of the work intimates her strong interest in the world of ecology\, in particular the world of bees; and the strong desire to promote equality for women\, with a special emphasis on female artists. Born in New York\, and educated at the University of Wisconsin and Berkeley\, Macko has spent most of her adult life in Southern California\, where she is professor of art at Scripps College. She is an artist dedicated to revealing the subtle intimacies of nature; using a macro lens to capture the details of flowers. In doing so\, Macko also establishes a striking metaphor for the erotic life of women\, a subject that often holds sway in her art. In conjunction with her artistic activities\, Macko has been a strong advocate of feminist causes. Without transparently communicating her political concerns\, the artwork can be read in light of her social passion: both her flower imagery and her interest in the lives of the bees presents\, by implication\, an alternative to the ongoing crisis in ecology and the expanding concerns of feminist art. Thus\, Macko is an artist for whom aesthetics and justice are intertwined; her view in art\, though\, is implicit rather than overtly expressed. \n  Save  
URL:https://artinamericaguide.com/event/nancy-macko-the-fragile-bee-at-the-hardin-center-for-cultural-arts/
LOCATION:Mary G. Hardin Center for Cultural Arts\, 501 Broad Street\, Gadsden\, AL\, 35901\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Katharine T. Carter &amp%3B Associates":MAILTO:ktc@ktcassoc.com
GEO:34.0140004;-86.0047424
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220521T100000
DTEND;TZID=America/Halifax:20230521T170000
DTSTAMP:20260403T174425
CREATED:20220404T171850Z
LAST-MODIFIED:20220404T171850Z
UID:93177-1653127200-1684688400@artinamericaguide.com
SUMMARY:Creative! Growth!
DESCRIPTION:Creative! Growth! will be the first exhibition to consider the history of Creative Growth Art Center in Oakland\, California. \nFounded in 1974 by artist Florence Ludins-Katz (1912–1990) and her psychologist husband Elias Katz (1913–2008)\, Creative Growth emerged from the larger social\, cultural\, and political narratives associated with the Bay Area in the late 1960s and early 1970s—including the women’s\, gay\, and civil rights movements. The arts and disabilities movement\, which championed the civil rights of disabled persons and fought against their marginalization in arts and culture\, flourished during this era. The Katzes were among that movement’s most farsighted and committed advocates. \nCreative! Growth! is curated by Matthew Higgs and will consider the organization’s history and legacy through the lens of the present. Now approaching its fiftieth anniversary\, Creative Growth is the preeminent center for artists with disabilities in the United States\, and has\, in turn\, become a model for similar centers nationally and internationally. At Creative Growth\, the Katzes established a unique and fiercely independent environment where disabled individuals are empowered to explore their creativity at their own pace. \nThe staff at Creative Growth\, almost exclusively practicing artists\, are not teachers in any conventional sense\, as no formal instruction takes place. Rather\, the staff members work alongside the artists with disabilities\, introducing them to new materials and processes\, offering practical and technical assistance where necessary\, and supporting their idiosyncratic approaches to self-expression. \nCreative! Growth! will consider the organization’s history and legacy through the lens of the present. There are a number of discrete solo presentations by key artists who were—or remain—affiliated with Creative Growth\, including Judith Scott (1943–2005)\, Dwight Mackintosh (1906–1999)\, William Scott\, Dan Miller\, Monica Valentine\, Tony Pedemonte\, Nicole Storm\, and John Martin. Photographer and documentary filmmaker Cheryl Dunn will present a selection from her twenty-plus-year archives documenting the artists at Creative Growth. \nhttps://www.jmkac.org/exhibition/creative-growth/ \nImage: Creative Growth studio interior. Courtesy of Creative Growth. Photo: Ben Blackwell. \nTuesday\, Wednesday\, Friday 10 a.m. to 5 p.m.\nThursday 10 a.m. to 8 p.m. extended hours\nSaturday and Sunday 10 a.m. to 4 p.m. \n  Save  
URL:https://artinamericaguide.com/event/creative-growth/
LOCATION:John Michael Kohler Arts Center\, 608 New York Avenue\, Sheboygan\, WI\, 53081\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2022/04/ex.cre_.2022.0001-4x3-1.png
ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220522T080000
DTEND;TZID=America/Halifax:20221002T160000
DTSTAMP:20260403T174425
CREATED:20220404T171829Z
LAST-MODIFIED:20220404T171829Z
UID:93179-1653206400-1664726400@artinamericaguide.com
SUMMARY:Alexander Stewart: Void Vision
DESCRIPTION:Alexander Stewart’s Void Vision is an abstract science-fiction short film in which the line between the real and the simulated are blurred and distorted; a space where doubles\, twins\, duplicates\, re-creations\, and copies merge. \nCombining a science-fiction sensibility with the aesthetic of early CGI animation experiments\, Stewart presents rotating arrangements of lasers and duplicated women that fade in and out\, appearing as both photographed scenes and computer-modeled recreations. The audio track\, incorporating text from Philip K. Dick’s 1981 novel Valis\, features an improvised electronic score and a voice articulating theories about the mind and the universe. \nAlexander Stewart: Void Vision is part of the Arts Center’s Ways of Being theme. The featured visual and performing artists recontextualize our past\, reorient our present\, and project new\, viable futures. Collectively they ask\, what if? \nhttps://www.jmkac.org/exhibition/alexander-stewart-void-vision/ \nImage: Alexander Stewart\, still from Void Vision\, 2018; 16mm as digital file; 7:45. Photo courtesy of the artist. \nTuesday\, Wednesday\, Friday 10 a.m. to 5 p.m.\nThursday 10 a.m. to 8 p.m. extended hours\nSaturday and Sunday 10 a.m. to 4 p.m. \n  Save  
URL:https://artinamericaguide.com/event/alexander-stewart-void-vision/
LOCATION:John Michael Kohler Arts Center\, 608 New York Avenue\, Sheboygan\, WI\, 53081\, United States
CATEGORIES:Event
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ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
END:VCALENDAR