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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260403T174745
DTEND;TZID=America/New_York:20250920T170000
DTSTAMP:20260403T174745
CREATED:20250722T184747Z
LAST-MODIFIED:20250722T184747Z
UID:114023-0-1758387600@artinamericaguide.com
SUMMARY:August-September @ Art Works!
DESCRIPTION:Throughout August Art Works is open to the public\, offering a variety of engaging exhibits. Adam and Anita Bradley present life-size figurative sculptures and paintings capturing a chaotic world. Mike Bily’s exhibit investigates ecosystems; Sharon Denmark captures light flowing through glass. Rachel Rowden exhibit is a portal of mysteries and Rebecca Visger provides a view from behind the wheel. Blake Bottoms exhibit is featured in the Community Bridge Project. \n  \nJoin us for a fun-filled scavenger hunt with prizes\, perfect for both the young and the young at heart. The activity culminates with prizes for all who participate. We also offer figure drawing sessions on the 1st and 3rd Sundays and Queer Life Drawing at Gold Lion Community Café on August 20th.  \n  \nBradley + Bradley: The Weight of Vanishing Shadows \nAdam and Anita Bradley explore the human condition through their unique mediums. Adam presents life-sized figurative sculptures in wood\, steel\, ceramics\, and smaller bronze pieces\, reflecting themes of anxiety\, loss\, and grief. Anita complements this with layered paintings and mixed media collages\, capturing the struggle for order in a chaotic world. Their intertwined approaches invite contemplation of deep human experiences. \n  \nThe exhibition will be in the Jane Sandelin Gallery at Art Works and will continue through September 20\, 2025. \n  \n  \nArtifacts by Anne Chamblin \nAnne Chamblin’s work is about merging sight and feeling. For her\, painting is a way to process what she experiences. She brings spaces\, places\, and faces to life on canvas\, turning bodies into landscapes and using layers to hint at the passage of time. Anne constantly reworks her paintings\, always keeping a bit of the past to shape the present. Her journey is grounded in everyday experiences\, resulting in unique\, relatable art. \n  \nThe exhibit will be in the Centre Gallery at Art Works through September 20\, 2025. \n  \n  \n  \n  \n  \nBetween Worlds by Hannah Anderson \n  \nAmerican abstract artist Hannah Anderson (b. 1953)\, raised in the simplicity of a Quaker household\, rediscovered her love for painting in 1990 with a Crayon watercolor set. Self-taught and inspired by contemporary artists\, her work reflects the light and dark periods of her life\, blending elements of nature and archetypal symbols from healing traditions. Her debut exhibit\, Between Worlds\, explores the liminal space between worlds and relationships. Hannah resides in Richmond\, Virginia\, and finds inspiration in Taos\, New Mexico. \n  \nThe exhibit will be in the Corner Gallery at Art Works through September 20\, 2025. \n  \n\nMental Health Matters: Celebrating Resilience Through Art All Media Show\nThis exhibit is a focal point of all Art Works’ openings. It is a juried show with cash prizes for 1st\, 2nd and 3rd place. The show is open to all artists and all mediums. \n  \nIn August the theme is Mental Health Matters: Celebrating Resilience Through Art. The community has donated terrific items that we will be auctioning to benefit NAMI\, and Art Works will donate the sales from the All Media Show to NAMI. \nWonJung Choi an international artist and educator\, will be the juror for the exhibit. Wonjung Choi is a Korean-born\, Virginia-based artist whose multidisciplinary work delves into the complexities of identity formation in a globalized world. See more on WonJung’s website: Click here. \n  \nCall for entries is July 15  – August 10\, 2025\, and may be submitted through the online form. The exhibit will be in the Port Gallery at Art Works through September 18\, 2025. Check our website for details on submitting artwork:  Call for Entries \n  Save  
URL:https://artinamericaguide.com/event/august-september-art-works-2/
LOCATION:Art Works\, 320 Hull Street\, Richmond\, VA\, 23224\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/07/PR-2025.08-Anne-Chamblin-scaled.jpg
ORGANIZER;CN="Art Works":MAILTO:glenda@artworksrichmond.com
GEO:37.524914;-77.437258
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Art Works 320 Hull Street Richmond VA 23224 United States;X-APPLE-RADIUS=500;X-TITLE=320 Hull Street:geo:-77.437258,37.524914
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260403T174745
DTEND;TZID=America/New_York:20250926T200000
DTSTAMP:20260403T174745
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:20260403T174745
DTEND;TZID=America/New_York:20250927T180000
DTSTAMP:20260403T174745
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:20260403T174745
DTEND;TZID=America/New_York:20251018T170000
DTSTAMP:20260403T174745
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:20260403T174745
DTEND;TZID=America/New_York:20251122T170000
DTSTAMP:20260403T174745
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:20260403T174745
DTEND;TZID=America/New_York:20260221T180000
DTSTAMP:20260403T174745
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:20211015
DTEND;VALUE=DATE:20230502
DTSTAMP:20260403T174745
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:20220405T100000
DTEND;TZID=America/Halifax:20230326T160000
DTSTAMP:20260403T174745
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
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ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220521T100000
DTEND;TZID=America/Halifax:20230521T170000
DTSTAMP:20260403T174745
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/New_York:20220722T110000
DTEND;TZID=America/New_York:20240804T180000
DTSTAMP:20260403T174745
CREATED:20220622T153511Z
LAST-MODIFIED:20240229T212126Z
UID:94138-1658487600-1722794400@artinamericaguide.com
SUMMARY:Evergreen: Art from the Collection
DESCRIPTION:Evergreen: Art from the Collection celebrates SJMA’s collection as both a gift to and a product of its community. This dedicated gallery space\, which provides long-term access to the Museum’s collection\, honors the community members who rallied together to establish the Museum; the artists who trust us to care for their visions; the generous donors who helped to build the collection; the generations of students who have visited; the volunteers and staff who have contributed; and the breadth of community experiences that give ongoing meaning to the works. \nLocated in the Museum’s historic building—formerly the city’s post office and library—Evergreen highlights the Museum’s growing collection and the numerous San José stories it tells. The gallery features such works as rafa esparza’s Yosi con Abuela (2021)\, a recently acquired portrait on adobe of the East San José poet and activist Yosimar Reyes with his grandmother. Also on view are Resident Alien (1988) by Hung Liu\, the beloved Bay Area artist and longtime friend of SJMA\, and Louise Nevelson’s monumental Sky Cathedral (1957–58)\, a centerpiece of the Museum’s collection. The gallery also includes access points to the free digital collection catalog 50×50: Stories of Visionary Artists from the Collection\, which highlights the stories and impact of artists in the Museum’s collection. \n  Save  
URL:https://artinamericaguide.com/event/evergreen-art-from-the-collection/
LOCATION:San Jose Museum of Art\, 110 S. Market Street\, San Jose\, CA\, 95113\, United States
CATEGORIES:Exhibition
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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;TZID=America/Chicago:20220819T100000
DTEND;TZID=America/Chicago:20230212T170000
DTSTAMP:20260403T174745
CREATED:20220128T003311Z
LAST-MODIFIED:20220708T162738Z
UID:91662-1660903200-1676221200@artinamericaguide.com
SUMMARY:You Select: A Community-Curated Exhibition
DESCRIPTION:Since its opening ten years ago\, the Clyfford Still Museum has presented more than 950 works of art by Still in over thirty different exhibitions. Yet\, over two-thirds of the Museum’s art collection remains unseen to the world. In the culminating exhibition of CSM’s tenth anniversary celebration year\, You Select: A Community-Curated Exhibition hands the curatorial reins to art lovers from the surrounding Denver community and beyond. \nCSM asked art lovers from the Denver area and beyond to select works in five different categories for the exhibition through a voting platform on the Museum’s website. The categories represent five themes in Still’s work that represent moments when the artist’s environs were particularly influential. After an eight-week voting period\, CSM’s associate curator\, Bailey Placzek\, arranged the pieces that received the most votes on the walls of the Museum’s skylit galleries. \nYou Select is designed to foster far-reaching engagement and appreciation of Clyfford Still’s art and artistic legacy. Unbeknownst to many\, the City of Denver owns the more than 3\,000 art objects held at the Clyfford Still Museum. Still gifted his art to a public entity to share his life’s work with a wide and diverse audience. He believed that art was an expression for all of humanity to enjoy and share\, not just the art historians\, critics\, and so-called “art experts.” Like the artist himself\, CSM believes that there is valuable knowledge to gain about Still’s art and the power of abstraction from the surrounding communities and passionate individuals from around the world. \n  Save  
URL:https://artinamericaguide.com/event/you-select-a-community-curated-exhibition/
LOCATION:Clyfford Still Museum\, 1250 Bannock St.\, Denver\, CO\, 80204\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Clyfford Still Museum":MAILTO:press@clyffordstillmuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220903T110000
DTEND;TZID=America/Halifax:20230423T180000
DTSTAMP:20260403T174745
CREATED:20220511T143406Z
LAST-MODIFIED:20220511T143406Z
UID:93529-1662202800-1682272800@artinamericaguide.com
SUMMARY:Kelly Akashi: Formations
DESCRIPTION:Kelly Akashi is known for her materially hybrid works that are compelling both formally and conceptually. Originally trained in analog photography\, the artist is drawn to fluid\, impressionable materials and old-world craft techniques\, such as glass blowing and casting\, candle making\, bronze and silicone casting\, and rope making. Encompassing a selection of artworks made over the past decade\, Kelly Akashi: Formations is the first major exhibition of the artist’s work\, and will feature a newly commissioned series in which Akashi explores the inherited impact of her family’s imprisonment in a Japanese American incarceration camp during World War II. \nThrough evocative combinations that seem both familiar and strange\, Akashi cultivates relationships among a variety of things to investigate how they can actively convey their histories and potential for change. She often pairs hand-blown glass or wax forms with unique and temporally specific bronze casts of her own hand\, each a unique record of the slow-changing human body. Akashi’s interest in time—embedded in the materiality of many of her processes—has led her to study fossils and botany\, locating humankind within a longer geological timeline. \nKelly Akashi: Formations is the first major exhibition and catalog of Akashi’s work. The exhibition will be on view from September 3\, 2022—April 23\, 2023 in San Jose before touring nationally. \n  Save  
URL:https://artinamericaguide.com/event/kelly-akashi-formations/
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;TZID=America/Halifax:20220909T180000
DTEND;TZID=America/Halifax:20230212T170000
DTSTAMP:20260403T174745
CREATED:20220812T213323Z
LAST-MODIFIED:20220822T171040Z
UID:96008-1662746400-1676221200@artinamericaguide.com
SUMMARY:Great Rivers Biennial 2022: Yowshien Kuo\, Yvonne Osei\, Jon Young
DESCRIPTION:The three artists selected for the tenth Great Rivers Biennial Arts Award Program\, Yowshien Kuo\, Yvonne Osei\, and Jon Young\, have proposed exhibitions that involve multi-component sculptures\, large-scale paintings\, and an immersive installation featuring video and photography. The award winners were chosen by a distinguished panel of jurors following individual studio visits with ten semi-finalists. More than 105 artists applied for the Great Rivers Biennial (GRB)\, a collaborative initiative between CAM and the Gateway Foundation designed to recognize artistic talent in the greater St. Louis metro area. Generously funded by the Gateway Foundation\, the GRB awards each artist with $20\,000 and a major exhibition in CAM’s main galleries. \nThe jurors—Carmen Hermo\, Associate Curator for the Brooklyn Museum’s Elizabeth A. Sackler Center for Feminist Art; Jen Liu\, a New York-based visual artist working in video\, painting\, dance performance\, and biomaterial; and Hamza Walker\, Director of LAXART\, a nonprofit art space in Los Angeles\, and adjunct professor at the School of Art Institute of Chicago—selected artists through each stage of the process. \nYowshien Kuo’s paintings feature glimmering candy-colored surfaces to mask haunting themes\, alluding to social trauma as a result of historical and contemporary narratives. The figures’ reactions to themselves and even the audience’s gaze intend to encourage viewers to confront potentially harmful cultural and social norms. The figures are intertwined with an environment that appears as a collage of reality and dreamscape\, often including visual artifacts that reveal the mood and intentions of the scene taking place. For his exhibition at CAM\, Kuo conveys these themes in new large-scale paintings with subtle installation elements to encourage contemplation and self-reflection. \nYvonne Osei’s multidisciplinary creative practice explores topics of beauty\, racism and colorism\, the authorship and ownership of history\, as well as the residual implications of colonialism in postcolonial West Africa and Western cultures. Through performance art\, engaging public spaces\, site-specific installations\, video\, photography\, garment construction\, and textile designs\, Osei’s work serves as a mouthpiece for generations that have been marginalized as she pushes against unilateral perspectives. The exhibition at CAM features an immersive photo-video installation that utilizes the language of clothing and textiles\, as well as the medium of time\, to reckon with past and ongoing racial atrocities in the United States. \nThrough wood\, sand\, and fabric sculptures\, Jon Young explores the development of language and signage of the American West. These works\, which he refers to as “waymarks\,” adopt historical symbols from Paleolithic cave paintings\, ancient Greek pottery\, and imagery found in Hollywood Westerns and Looney Tunes cartoons. Young’s work investigates and collapses layers of time and signifiers\, particularly relating to the Romanticism of the West. The artist characterizes his practice as attempting “to make a map using fluctuating symbols\, to get back to a home that hasn’t existed for a very long time or for so long that you question if it existed at all.” \nGreat Rivers Biennial 2022 is organized for the Contemporary Art Museum St. Louis by Wassan Al-Khudhairi\, Chief Curator. \n\nThe Great Rivers Biennial is made possible by the Gateway Foundation. \nImage: Yowshien Kuo\, Two Right Feet\, Snake Eyes and Cherry Pie\, 2022. Acrylic\, bone ash\, chalk\, synthetic fibers\, iridescent pigment\, plastic\, and glitter on canvas\, 46 x 70 inches. Courtesy the artist and Luce Gallery\, Torino\, Italy. \n  Save  
URL:https://artinamericaguide.com/event/great-rivers-biennial-2022-yowshien-kuo-yvonne-osei-jon-young/
LOCATION:Contemporary Art Museum St. Louis\, 3750 Washington Boulevard\, St. Louis\, MO\, 63108\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Contemporary Art Museum St. Louis":MAILTO:info@camstl.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220909T180000
DTEND;TZID=America/Halifax:20230212T170000
DTSTAMP:20260403T174745
CREATED:20220823T191442Z
LAST-MODIFIED:20220823T191442Z
UID:96998-1662746400-1676221200@artinamericaguide.com
SUMMARY:Mona Chalabi: Squeeze
DESCRIPTION:Data journalist\, illustrator\, and writer Mona Chalabi presents a large-scale\, site-specific exhibition on CAM’s Project Wall. Mona’s work is informed by statistics gathered on politics\, human rights\, demographics\, Covid infections\, climate change\, and many other topics—finding truth in numbers through her journalism\, and making that truth easier to digest through her illustrations. As the artist puts it\, “My job is to take a story and to zoom out and provide context for readers. And the thing that excites me about data is the scale of it. Data gives you a new frame of understanding.” For her exhibition at CAM\, Mona focuses on endangered species of plants and animals\, some of which are so close to extinction that every remaining member can fit on a New York subway car (if they squeeze). \nMona Chalabi (b. London\, 1987; lives and works in London) has published work in The New Yorker\, The New York Times\, The New York Review of Books\, New York Magazine\, The Guardian and many more. She has written for radio and TV including NPR\, Gimlet\, Netflix (The Fix)\, BBC (Is Britain Racist? Radio 4 and The Frankie Boyle Show)\, and National Geographic (Star Talk). As an illustrator her work has been commended by the Royal Statistical Society and has been exhibited at several galleries including the Tate\, The Design Museum\, and the House of Illustration. As a producer and presenter she is one half of the team that created the Emmy-nominated video series Vagina Dispatches. And she presented and produced the audio experiment Strange Bird. Before she became a journalist\, Mona worked with large data sets in jobs at the Bank of England\, Transparency International\, and the International Organization for Migration. She studied International Relations in Paris and studied Arabic in Jordan. \nMona Chalabi: Squeeze is organized for the Contemporary Art Museum St. Louis by Misa Jeffereis\, Associate Curator. \nThe exhibition is generously supported by the Whitaker Foundation\, and Nancy and Kenneth Kranzberg. \nImage: Mona Chalabi\, Endangered Species On A Train\, 2018. Source: IUCN Red List\, 2018. Courtesy the artist. \n  Save  
URL:https://artinamericaguide.com/event/mona-chalabi-squeeze/
LOCATION:Contemporary Art Museum St. Louis\, 3750 Washington Boulevard\, St. Louis\, MO\, 63108\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Contemporary Art Museum St. Louis":MAILTO:info@camstl.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220909T180000
DTEND;TZID=America/Halifax:20230212T170000
DTSTAMP:20260403T174745
CREATED:20220823T191442Z
LAST-MODIFIED:20220823T191442Z
UID:97000-1662746400-1676221200@artinamericaguide.com
SUMMARY:We didn’t ask permission\, we just did it…
DESCRIPTION:The exhibition We didn’t ask permission\, we just did it…\, guest curated by Manuela Paz and Christopher Rivera of Embajada\, revisits three seminal series of exhibitions in Puerto Rico\, from 2000 to 2016\, that ushered in an independent spirit of art making that is now prevalent in the region: M&M Proyectos’ PR invitationals\, organized by Michy Marxuach; the Gran Tropical Bienals\, founded by Pablo León de la Barra; and Cave-In\, initiated by Mike Egan. The original projects\, which took the form of idiosyncratic biennials\, happenings\, or interventions by artists working in an array of unconventional mediums and international in scope\, in part spurred the self-reliant gallery community flourishing in San Juan\, Puerto Rico today. The exhibition conveys the sense of the ambition\, collective action\, and self-sufficiency of the artist-makers in and from Puerto Rico\, despite infrastructural limitations. \nThe exhibition draws on the archives of each project\, following a timeline and featuring a selection of original artworks\, documentation\, and ephemera paired with recreated artworks commissioned for this exhibition. The presentation at CAM extends into multiple spaces of the museum\, including the Front Gallery\, Street Views\, an intervention in the café\, and a selection of sculptures in the courtyard. \nWe didn’t ask permission\, we just did it… is organized for the Contemporary Art Museum St. Louis by guest curators Manuela Paz and Christopher Rivera of Embajada\, San Juan. \nThe exhibition is generously supported in part by the Elizabeth Firestone Graham Foundation\, Whitaker Foundation\, Berezdivin Collection\, Bernard I. Lumpkin and Carmine D. Boccuzzi\, Nada and Michael Gray\, and Eric and Tamara Schimmel. Special thanks to Barrett Barrera Projects. Street Views is generously supported by the Whitaker Foundation. The artist talk is sponsored by the Robert Lehman Foundation. \nImage: Ignacio González Lang\, Open Mic. Fortaleza #302 (detail)\, 2000. Featured in M&M proyectos’ PR ‘00 Paréntesis en la Ciudad\, Artistic Director Michy Marxuach\, October 9–14\, 2000\, San Juan\, Puerto Rico. Courtesy the artist and Michy Marxuach. \n  Save  
URL:https://artinamericaguide.com/event/we-didnt-ask-permission-we-just-did-it/
LOCATION:Contemporary Art Museum St. Louis\, 3750 Washington Boulevard\, St. Louis\, MO\, 63108\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220910T100000
DTEND;TZID=America/Halifax:20230212T180000
DTSTAMP:20260403T174745
CREATED:20221017T175717Z
LAST-MODIFIED:20221017T175717Z
UID:99924-1662804000-1676224800@artinamericaguide.com
SUMMARY:Zaha Hadid Design: Untold
DESCRIPTION:“I think there should be no end to experimentation.” —Zaha Hadid (1950–2016) \nWorld-renowned architect and designer Zaha Hadid is known for her dazzling forms that defy expectations\, and for her dynamic approach to design—one that matched her vivacious personality. In 2008\, Hadid was announced as the winner of an international competition to design a new art museum on the campus of Michigan State University. This fall\, the Eli and Edythe Broad Art Museum at Michigan State University commemorates its 10th anniversary\, and we invite you to join us in celebrating the magnificent work and legacy of the late Zaha Hadid. \nIn observance of this momentous year\, Zaha Hadid Design: Untold presents a design-focused retrospective that explores Hadid’s pioneering vision\, and showcases the incredible range of her work and relentless pursuit of perfection. From furniture to dinnerware\, fashion\, jewelry\, lighting\, and even a prototype for an electric car\, the exhibition dives into Hadid’s philosophy and approach to redefining the built environment—and our experience therein. In partnership with her studio\, Zaha Hadid Design\, the exhibition is testament to the power of Hadid’s creative spirit—a lasting inspiration for generations to come. \nThe exhibition also pays tribute to the MSU Broad Art Museum’s architectural features\, and brings the museum and its galleries alive in ways never before experienced. The dynamic relationships revealed between objects and their environments within the exhibition invite visitors to consider their own experiences of the world\, the places they inhabit\, and objects of everyday life. Zaha Hadid Design: Untold is an unparalleled opportunity to immerse ourselves in the mind-bending brilliance of one of the most influential creative thinkers of our time. \nZaha Hadid Design: Untold is organized by the Eli and Edythe Broad Art Museum at Michigan State University. Major support for the exhibition is provided by the Eli and Edythe Broad Foundation\, Bonnie Larson\, Alan and Rebecca Ross\, and the MSU Federal Credit Union. \nThe exhibition is curated by former Director Dr. Mónica Ramírez-Montagut and Woody Yao of Zaha Hadid Design. Additional curatorial assistance is provided by Maha Kutay and Margarita Valova of Zaha Hadid Design; Senior Curator and Director of Curatorial Affairs Steven L. Bridges; Assistant Curator Rachel Winter; Curatorial Assistant Dalina A. Perdomo Álvarez; Curatorial Research and Administrative Assistants Elijah Hamilton-Wray and Thaís Wenstrom. Special thanks to the Zaha Hadid Design team for their contribution: Filipa Gomes\, Filippo Nassetti\, Johanna Huang\, Weilong Xie\, Dana Blaker\, Christopher Howell\, Shemima Chinery\, Davide Giordano (Alpheratz)\, and longtime collaborator Hélène Binet. \n  Save  
URL:https://artinamericaguide.com/event/zaha-hadid-design-untold/
LOCATION:Eli and Edythe Broad Art Museum at Michigan State University\, 547 E. Circle Dr.\, East Lansing\, MI\, 48824\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Eli and Edythe Broad Art Museum at Michigan State University":MAILTO:eebam@msu.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220919T103000
DTEND;TZID=America/Halifax:20230702T170000
DTSTAMP:20260403T174745
CREATED:20220922T113428Z
LAST-MODIFIED:20220922T113428Z
UID:98698-1663583400-1688317200@artinamericaguide.com
SUMMARY:Melanie A. Yazzie: Recent works
DESCRIPTION:Melanie Yazzie works a wide range of media that include printmaking\, painting\, sculpting\, and ceramics\, as well as installation art. Her art is accessible to the public on many levels and the main focus is on connecting with people and educating people about the contemporary status of one indigenous woman and hoping that people can learn from her experience. Her subject matter is significant because the serious undertones reference native post-colonial dilemmas. Her work often brings images of women from many indigenous cultures to the forefront. Thus her work references matrilineal systems and points to the possibility of female leadership. “There are many layers to the works and within the story\, many discover that our history is varied and deep. It is made clear that there are many indigenous peoples in the world and we all have different stories and it sometimes has a sad connection to mainstream society. Often misunderstood and overlooked are the ways in which we can all learn from each other and make a better world.” She has been represented by Glenn Green Galleries since 1993. \n  Save  
URL:https://artinamericaguide.com/event/melanie-a-yazzie-recent-works/
LOCATION:Glenn Green Galleries + Sculpture Garden\, 136 Tesuque Village Road\, Santa Fe (Tesuque)\, 87506\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Glenn Green Galleries + Sculpture Garden":MAILTO:info@glenngreengalleries.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20221002T080000
DTEND;TZID=America/Halifax:20230219T170000
DTSTAMP:20260403T174745
CREATED:20220926T141813Z
LAST-MODIFIED:20220926T141813Z
UID:98864-1664697600-1676826000@artinamericaguide.com
SUMMARY:SPACES Spotlight: Vollis Simpson
DESCRIPTION:In the mid-1980s\, retired repairman Vollis Simpson (1919–2013) began using his collection of old farm equipment to construct monumental whirligigs in the fields around his Lucama\, North Carolina\, home. The site became a tourist attraction\, enticing visitors to his rural property. In 2010\, the nearby town of Wilson announced a plan to work with Simpson to move\, restore\, and reinstall thirty of the sculptures in a new park in its unpopulated downtown district. Kohler Foundation\, Inc.\, joined the project in 2016.  After the restoration\, the Arts Center was the recipient of several Simpson works\, including the large piece installed in front of the Art Preserve. Since the park’s opening\, Wilson has experienced a revitalization\, with over $3 million annually brought in by associated tourism. \nThis spotlight features the work of several photographers\, including Larry Harris\, and documents the evolution of Simpson’s whirligigs from a private passion to a source of communal pride and benefit. \n  \nImage: Vollis Simpson\, untitled (detail)\, n.d.; metal\, paint\, and reflectors; 300 x 144 x 144 in. John Michael Kohler Arts Center Collection\, gift of Kohler Foundation Inc. \n  Save  
URL:https://artinamericaguide.com/event/spaces-spotlight-vollis-simpson/
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/2022/09/ap.2022.0032-648-px-max-dimension-jpg.jpg
ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20221008T100000
DTEND;TZID=America/Halifax:20230219T170000
DTSTAMP:20260403T174745
CREATED:20220926T141733Z
LAST-MODIFIED:20220926T141733Z
UID:98868-1665223200-1676826000@artinamericaguide.com
SUMMARY:Sky Hopinka: I’ll Remember You as You Were\, Not as What You’ll Become
DESCRIPTION:An elegy to the late Native American poet Diane Burns\, Sky Hopinka’s I’ll Remember You as You Were\, Not as What You’ll Become is a meditation on mortality\, reincarnation\, and the forms the transcendent spirit takes while descending upon landscapes of life and death The film continues Hopinka’s exploration of the ways his indigenous homeland\, language\, and identity interconnect. \nIn his carefully composed and thickly layered film\, Hopinka weaves together original and found images and sounds to form a visual and aural montage that is sublime and otherworldly\, yet grounded in reality. Archival footage of Burns—a poet known for challenging Native American stereotypes—is punctuated with powwow dancers filmed by Hopinka\, and ethnographic texts on Ho-Chunk concepts of rebirth and the afterlife written by American anthropologist Paul Radin. The rhythmic sound of Sacred Harp singing and ambient electronic music form the film’s soundtrack. \n  \nImage: Sky Hopinka\, I’ll Remember You as You Were\, Not as What You’ll Become\, 2016; HD video; 00:12:31. Image copyright of the artist\, courtesy of the Video Data Bank at the School of the Art Institute of Chicago\, www.vdb.org. \n  Save  
URL:https://artinamericaguide.com/event/sky-hopinka-ill-remember-you-as-you-were-not-as-what-youll-become/
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;TZID=America/Halifax:20221012T090000
DTEND;TZID=America/Halifax:20230225T180000
DTSTAMP:20260403T174745
CREATED:20221103T193715Z
LAST-MODIFIED:20221129T205524Z
UID:100293-1665565200-1677348000@artinamericaguide.com
SUMMARY:Questionable Foods By Kathleen Elliot
DESCRIPTION:Assessing our consumption culture requires an escape from the constant stream of advertising we digest daily. Questionable Foods provides a fresh perspective and starts the conversation on America’s relationship with food and the food industry.\n \nReflective both in nature and in form\, the glass sculptures of Kathleen Elliot reimagine the way we look at food and its packaging. The bright colors\, text\, and materials used in her collage works lend themselves to intriguing artwork due to their intended appeal to buyers. Taken out of the grocery store context\, these snacks\, wrappers and boxes begin to transform before our eyes.\n \nKathleen Elliot’s ability to adapt everyday food into artistic sculptures makes her artwork immersive and unique. Brightly colored food packages are given voices of their own and allowed to interact in new ways with us the customers who regularly purchase such products.\n \nIn Questionable Foods\, Kathleen Elliot makes use of glass to create sculptures but also produces collage pieces that work together to share the message of Questionable Foods. This exhibit will have visitors rethinking their role as consumers and contemplating the effect of food on American society. \n  Save  
URL:https://artinamericaguide.com/event/questionable-foods-by-kathleen-elliot/
LOCATION:Texas A&M James R. Reynolds Art Gallery\, Texas A&M University\, College Station\, Texas\, 77843
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2022/11/Screen-Shot-2022-11-01-at-1.21.31-PM.png
ORGANIZER;CN="Katharine T. Carter &amp%3B Associates":MAILTO:ktc@ktcassoc.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20221014T100000
DTEND;TZID=America/Halifax:20230531T180000
DTSTAMP:20260403T174745
CREATED:20221111T202525Z
LAST-MODIFIED:20221111T202525Z
UID:100404-1665741600-1685556000@artinamericaguide.com
SUMMARY:In the Realm of the Senses: Selected Paintings of Victoria Lowe
DESCRIPTION:Consistent though this body of work is a concern with energy in its many forms and the viewer’s deep emotional response to color. The paintings have their origin in the artist’s childhood experience of stargazing with a telescope\, and the feeling of sublime connectedness to things beyond the physical environment and conscious comprehension. The desire to relive that feeling inspires her to create these painted atmospheres. They are free of narrative or subject matter\, and like poetry offer the viewer a door through which they may enter to experience the depth of their own imagination. \n  Save  
URL:https://artinamericaguide.com/event/in-the-realm-of-the-senses-selected-paintings-of-victoria-lowe/
LOCATION:Steam Gallery at Sacred Heart University’s Discovery Science Center & Planetarium\, 4450 Park Avenue\, Bridgeport\, Connecticut\, 06604
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2022/11/Screen-Shot-2022-11-10-at-3.37.15-PM.png
ORGANIZER;CN="Katharine T. Carter &amp%3B Associates":MAILTO:ktc@ktcassoc.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20221104T110000
DTEND;TZID=America/Halifax:20230709T180000
DTSTAMP:20260403T174745
CREATED:20220928T173425Z
LAST-MODIFIED:20220928T173425Z
UID:99160-1667559600-1688925600@artinamericaguide.com
SUMMARY:A Point Stretched: Views on Time
DESCRIPTION:A Point Stretched: Views on Time presents artworks that stretch\, warp\, and compact the viewer’s sense of time. By highlighting works that endeavor to conceive of time in unusual\, mutable\, and unfixed ways\, the exhibition challenges the histories we tell and the expectations we hold for the future. From Chitra Ganesh’s work blending truth and fantasy to depict the full range of a woman’s life to Maia Cruz Palileo’s kaleidoscopic representation of Filipino history and Ala Ebtekar’s epic print-based work inspired by the moon\, artists in the exhibition propose timelines without hierarchies of past\, present\, and future. \nMemories\, dreams\, and reality blend in these galleries\, as mold creeps across TV screens\, apple orchards grow among discarded solar panels\, and melting wax measures time. Generational\, ecological\, and cosmic time vibrate concurrently as long-ago ecologies and distant possible futures intertwine. Embracing scales of time from the microbiological to the interstellar\, these artworks position our human existence within broader timescales to challenge our assumptions about human history\, agency\, and possibility in relation to the world—and universe—around us. Drawing from the Museum’s permanent collection and beyond\, the exhibition also includes works by Diana Al-Hadid\, Harold Edgerton\, David Huffman\, Kahlil Robert Irving\, Ranu Mukherjee\, Patrick Nagatani\, Sam Richardson\, and Gail Wight\, among others. \n  Save  
URL:https://artinamericaguide.com/event/a-point-stretched-views-on-time/
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;TZID=America/Halifax:20221104T110000
DTEND;TZID=America/Halifax:20230709T180000
DTSTAMP:20260403T174745
CREATED:20221103T194011Z
LAST-MODIFIED:20230612T205936Z
UID:100238-1667559600-1688925600@artinamericaguide.com
SUMMARY:Sky Hopinka: Seeing and Seen
DESCRIPTION:The artworks of Sky Hopinka\, a member of the Ho-Chunk Nation and a descendant of the Pechanga Band of Luiseño Indians\, traverse the legacies of colonial oppression and Native resistance through meditations on the continuities between past and present. A new film by Hopinka was commissioned as part of Visualizing Abolition\, an art initiative of the Institute of the Arts and Sciences at University of California\, Santa Cruz and San José Museum of Art. \n  Save  
URL:https://artinamericaguide.com/event/sky-hopinka-seeing-and-seen/
LOCATION:San Jose Museum of Art\, 110 S. Market Street\, San Jose\, CA\, 95113\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/10/Sunflower-Siege-Engine-4.00_08_35_07.Still008.jpg
GEO:37.3327419;-121.8905201
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=San Jose Museum of Art 110 S. Market Street San Jose CA 95113 United States;X-APPLE-RADIUS=500;X-TITLE=110 S. Market Street:geo:-121.8905201,37.3327419
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20221130T100000
DTEND;TZID=America/Halifax:20230416T160000
DTSTAMP:20260403T174745
CREATED:20221201T212924Z
LAST-MODIFIED:20221201T212924Z
UID:100773-1669802400-1681660800@artinamericaguide.com
SUMMARY:Angela U. Drakeford: In bloom at the end of the world
DESCRIPTION:For her evocation of a sanctuary space\, In bloom at the end of the world\, Angela U. Drakeford calls forth stillness and rest. \nWith books\, comfortable seating\, bird song recordings\, and an abundance of plants that fill the gallery\, Drakeford prioritizes an atmosphere that allows for processing grief of all kinds—including loss of memories\, cultural traditions\, and communal support. \nIn bloom at the end of the world will be on view during colder months\, when gray skies and dormant outdoor plants can be seen through the windows of the Glass Gallery\, where Drakeford’s immersive installation resides. The strong contrast between the outdoor surroundings and the inviting interior acts as a reminder for the warmth and growth to come—both environmentally and personally. The promise of this comfort stimulated by nature and prioritizing wellbeing\, however\, requires time to witness the processes of rejuvenation. \nDrakeford will lead a series of workshops at JMKAC focusing on tending to plants and grief (view artist page below for details). Attendees will be guided in cultivating their own awareness of changes in themselves as well as in plants that surround them every day. Workshops will include exploring processes of wellness\, communication\, and self-love as they too grow and form roots. Therapeutic groups will also be invited to meet in the gallery to discuss death and strategies to understand loss. \nIn bloom at the end of the world is part of JMKAC’s Ways of Being theme\, wherein artists ask\, “What if?” Through the interplay of invitation and engagement\, Drakeford posits\, “What if we took respite?” \nhttps://www.jmkac.org/exhibition/angela-u-drakeford-in-bloom-at-the-end-of-the-world/ \nImage: Angela U. Drakeford: In bloom at the end of the world installation view at the John Michael Kohler Arts Center\, 2022 \n  Save  
URL:https://artinamericaguide.com/event/angela-u-drakeford-in-bloom-at-the-end-of-the-world/
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;TZID=America/Halifax:20221203T140000
DTEND;TZID=America/Halifax:20230225T170000
DTSTAMP:20260403T174745
CREATED:20221128T221537Z
LAST-MODIFIED:20221128T221537Z
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SUMMARY:Gail Winbury: The Girl Who Drew Memories
DESCRIPTION:“The Girl Who Drew Memories situates Gail Winbury’s art at the intersection of vulnerability and creativity. Her large-scale abstract paintings and prolific collage work transform what is often inexpressible into resonant narratives in visual form\, expanding how we make sense of our memories\, emotions\, and lived experiences. This extensive solo exhibition of Winbury’s work will fill both galleries of the Wilson Museum. Original poetry composed by local writers in response to her work will further animate the galleries as will an interactive makers space where visitors can engage directly in the playful process of collage.” \n  Save  
URL:https://artinamericaguide.com/event/gail-winbury-the-girl-who-drew-memories-2/
LOCATION:Elizabeth de C. Wilson Museum Southern Vermont Arts Center\, 860 Southern Vermont Arts Center Dr\, Manchester\, VT\, 05255\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20221215T080000
DTEND;TZID=America/Halifax:20230301T235959
DTSTAMP:20260403T174745
CREATED:20221221T235940Z
LAST-MODIFIED:20221221T235941Z
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SUMMARY:Midsummer Festival of the Arts 2023 – Call for Artists
DESCRIPTION:Interested in being an artist at the Midsummer Festival of the Arts? \nApplications are now being accepted–from December 15\, 2022\, through March 1\, 2023. Acceptance notifications will be sent to artists April 4\, 2023. \nArtists must apply through ZAPPlication (https://www.zapplication.org/event-info.php?ID=10971) \nThis year’s festival will be July 15-16. The event will feature up to 100 juried artists including returning award winners from last year. The Arts Center will also host an emerging artist area for up to five artists\, offering an opportunity for collegiate and rising artists to learn about business in the arts. In response to the exhibition on view during the festival\, Cloth as Land: Hmong Indigeneity\, and in celebration of the Sheboygan Hmong Summer Festival happening the same weekend\, an additional minimum of five artists of Hmong heritage will be selected to be featured inside the Arts Center. The Arts Center may also designate additional spaces for local and community partnerships coordinated and selected by Arts Center staff. \nFor questions or more information\, please email midsummerfestival@jmkac.org. \n  Save  
URL:https://artinamericaguide.com/event/midsummer-festival-of-the-arts-2023-call-for-artists/
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ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230105
DTEND;VALUE=DATE:20230212
DTSTAMP:20260403T174745
CREATED:20221205T221536Z
LAST-MODIFIED:20221205T221536Z
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SUMMARY:Josh Dorman: Idyll ~ Idol
DESCRIPTION:RYAN LEE is pleased to announce Josh Dorman: Idyll ~ Idol  a solo exhibition of recent works which are an investigation of the artist’s longstanding interest in creating multi-layered and self-contained universes of antique collage material\, acrylic and resin. Dorman’s two new bodies of work\, the Being series and the Wallpaper series\, take a new approach to the allegorical world building for which he is known.  \nTo create his complex and visually rich paintings\, Dorman culls old textbooks\, maps\, diagrams\, and\, for the first time\, introduces antique wallpaper to his compositions. By starting off with a base of material from another time\, Dorman dislocates the physicality of his paintings from our contemporary era and creates an ethereal\, almost other-wordly dimension\, which often serve as allegories addressing contemporaneous issues. The initial collage of archival material — some over one hundred years old — gives the artist a visual noise to react to: “It’s like gathering a pile of stuff then excavating the image from within” the artist explains. Dorman’s delicate and time-intensive process involves successive layering of collage\, acrylic and ink\, at times pouring resin or sanding down his surfaces\, sealing in or obliterating the previous layers.  \nNeither portraits nor landscapes\, the paintings in Dorman’s recent Being series\, on view at RYAN LEE\, are subjects in and of themselves. With his endlessly intricate\, multi-layered compositions\, Dorman brings to “flesh” a being with each of his paintings. “Each Being looks back at us\, with many sets of eyes\, through the air of their own dreams\,” Dorman explains. “We feel their presence and wonder about our own. Each porous\, without boundary. Assembled of eyes and visions\, ears and sounds\, brains and minds\, teeth\, and voices. We are memories\, calculations\, histories\, cells\, roots\, beauty\, fear\, love\, and joy. The paintings are assembled\, found\, constructed\, and excavated\, evolving in layers over months and years.” \nThe paintings in Dorman’s Wallpaper series—which he refers to as Idylls—makes further use of this concept of dislocating time: using antique wallpaper from the 1930 to 1950s\, Dorman roots his Idylls in the false nostalgia conjured by sentimental\, idealized Americana landscape scenes. The wallpapers—which the paintings are simultaneously rooted in and a commentary upon  —offer “a strange vision of America\,” one that does not correspond with its historical past or daily realities. Indeed\, Dorman began incorporating these anachronistic visions of a genteel\, pastoral America during the pandemic\, in the midst of political strife\, racial tension and a mounting climate change crisis. The Idylls strive to find beauty\, peace\, and joy in darkly humorous illusions of/allusions to an imagined past. \nBoth series on view at the gallery represent a complete surrender to the artist’s internal world and vision. “All are completely discovered in the making\,” Dorman explains. “My goal was not to force or even will images into being but to layer\, labor\, and carve forms until the beings or the idyllic worlds earned their existence.” \n  Save  
URL:https://artinamericaguide.com/event/josh-dorman-idyll-idol/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20230105
DTEND;VALUE=DATE:20230226
DTSTAMP:20260403T174745
CREATED:20221221T235807Z
LAST-MODIFIED:20221221T235807Z
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SUMMARY:Bernd & Hilla Becher
DESCRIPTION:Fraenkel Gallery is pleased to present an exhibition of photographs by celebrated German artists Bernd and Hilla Becher\, their fifth with the gallery. Spanning the Bechers’ career\, the exhibition features approximately 35 works made between 1967 and 2010\, including examples of their pioneering typologies\, a selection of early industrial landscapes\, and a collection of iconic water towers. The exhibition coincides with a major retrospective of the Bechers’ work organized by the Metropolitan Museum of Art\, on view at the San Francisco Museum of Modern Art from December 17\, 2022\, until April 2\, 2023. \n  Save  
URL:https://artinamericaguide.com/event/bernd-hilla-becher/
LOCATION:Fraenkel Gallery\, 49 Geary Street\, San Francisco\, CA\, 94108\, United States
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ORGANIZER;CN="Fraenkel Gallery":MAILTO:mail@fraenkelgallery.com
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20230105
DTEND;VALUE=DATE:20230205
DTSTAMP:20260403T174745
CREATED:20221227T204136Z
LAST-MODIFIED:20221227T204136Z
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SUMMARY:Mary Dill Henry: The Gardens (Paintings from the 1980s)
DESCRIPTION:PRESS RELEASE \nFOR IMMEDIATE RELEASE \nBERRY CAMPBELL GALLERY PRESENTS MARY DILL HENRY: THE GARDENS (Paintings from the 1980s) \n  \nNEW YORK\, NEW YORK\, December 21\, 2022– Berry Campbell is pleased to announce Mary Dill Henry: The Gardens (Paintings from the 1980s)\, the second solo exhibition of work by Mary Dill Henry (1913-2009). The exhibition will feature a curated selection of paintings and works on paper from 1984 to 1989. This work was inspired by her love of gardens\, either those she visited abroad or the English garden she cultivated in her backyard. The exhibition will be accompanied by a 20-page catalogue with an essay by Lisa N. Peters\, Ph.D. \n  \nIn 1982\, Mary Dill Henry settled on Whidbey Island\, Washington\, where she lived alone\, deep in the woods\, for the rest of her life. There she transformed her remote surroundings into an English-style picturesque garden and remodeled a woodshed into a studio. During this time\, her work became increasingly more influenced by her travels\, most notably the gardens of England\, Scotland\, where she took garden tours\, as well as Spain\, France\, Italy\, and several countries in the Middle East. In a number of works\, she referenced these gardens\, including the Moghul gardens of Persia\, the gardens of Moorish Spain\, and Claude Monet’s Giverny. \n  \nThe Gardens paintings are the embodiment of Henry’s career as an artist. Henry maintained the utopian ideals associated with Constructivism\, as well the principle behind the de Stijl movement\, that art and life are inseparable. She described her career path as one in which\, out of the world’s “chaotic visual feast\,” she came to perceive the geometry of all life\, from its infinitesimally and small parts to the structure of the universe.” She eliminated non-essentials to achieve a beauty of form that transcends the ordinary and speak to the viewer with energy and insight\, while her sense of humor often comes through. \n  \nFor Henry\, her journey to artistic freedom was long sought. Born Mary Marguerite Dill on March 19\, 1913 in Sonoma\, California\, Henry graduated from the California College of Arts and Crafts\, Oakland\, and later taught applied arts at Iowa State University\, Ames. She married Wilbur Henry in 1940 and while her husband was in the military\, she took her mother and daughter to Chicago\, where she studied at the Institute of Design under Lazlo Maholy-Nagy. In 1946\, she received her Masters in Fine Art. She recalled that Moholy-Nagy was “so vital” and “exuded magnetism\,” commenting: “[He] made you see what abstract non-objective painters were getting at.”1 Of his tutelage\, she stated: “He was amazing. He talked about art that wasn’t what you saw\, but what you believed. It was like a whole new world opened up for me.”2 \n  \nShortly before Moholy-Nagy’s death from leukemia in November of that year\, he invited Mary to join the Institute’s faculty as an associate professor. She was the first woman to be given such an offer. However\, like many women of her generation who yielded to their husbands’ ambitions\, when her husband Wilbur—who had attained a Masters in biology from Harvard University—was hired to work in malaria research and control with the Department of Health in Arkansas\, she moved with him first to Bauxite\, and later to Helena. \n  \nIn 1949\, the Henrys moved back to California\, where she worked in a commercial art design firm and in 1955\, started Architectural Arts\, a business specializing in large-scale murals and mosaics. In 1960\, with $8000 she had earned\, Mary purchased a large Victorian house in Mendocino—a coastal town about 150 miles north of San Francisco—and began a process of gradually fixing it up. In 1962–63\, an unexpected family windfall enabled her to spend a full year in Europe “to look at art in as many museums and galleries as possible.” At the time\, she “thought a lot about the whole thing and decided to drop my whole way of living in Los Altos Hills and to move to Mendocino and concentrate on painting.”3 In 1966\, she divorced Wilbur and finally pursued her passion for art full time. \nHenry showed consistently through the 1960s and the 1970s\, with reviews in major publications like the San Francisco Examiner and Artforum. In the years that followed\, seven retrospectives of her art have been held in the Pacific Northwest and solo exhibitions of Henry’s work occurred almost yearly. From 1992 to 2000\, she showed in the annuals of the American Abstract Artists (formed in 1936). In 2004\, her work was featured in the exhibition\, Northwest Matriarchs of Modernism: Twelve Proto-feminists from Oregon and Washington\, organized by Marylhurst University in Oregon. The exhibition traveled to several museum venues. Her paintings now belong to many public collections\, including the Seattle Art Museum; the Frye Art Museum\, Seattle; the Whatcom Museum\, Bellingham\, Washington; the Tacoma Art Museum; the University of Puget Sound\, Tacoma; the Portland Art Museum\, Oregon; the Sheldon Art Museum\, University of Nebraska\, Lincoln; and the Institute of Design\, Chicago\, as well as corporate art collections\, including Microsoft\, Safeco\, Ampex\, Varian Associates\, and Hewlett-Packard. In 2022\, the Minneapolis Institute of Art acquired a large scale work from 1968 by Henry. For Henry\, such renown has long been overdue. \n  \nMary Dill Henry: The Gardens (Paintings from the 1980s) will open January 5\, 2023 and continue through February 4\, 2023. There will be an opening reception on Thursday\, January 5\, 2023 from 6 p.m. to 8 p.m. \n  \nBerry Campbell is located at 524 W 26th Street\, New York\, NY\, 10001. Gallery Hours are Tuesday – Saturday\, 10 a.m. – 6 p.m. or by appointment. info@berrycampbell.com or 212.924.2178. \n  \nABOUT THE GALLERY \nChristine Berry and Martha Campbell opened Berry Campbell Gallery in the heart of Chelsea on the ground floor in 2013. The gallery has a fine-tuned program representing artists of post-war American painting that have been overlooked or neglected\, particularly women of Abstract Expressionism. Since its inception\, the gallery has developed a strong emphasis in research to bring to light artists overlooked due to age\, race\, gender\, or geography. This unique perspective has been increasingly recognized by curators\, collectors\, and the press. \n  \nBerry Campbell has been included and reviewed in publications such as Architectural Digest\, Art & Antiques\, Art in America\, Artforum\, Artnet News\, ArtNews\, The Brooklyn Rail\, Huffington Post\, Hyperallergic\, East Hampton Star\, The Financial Times\, Galerie Magazine\, Luxe Magazine\, The New Criterion\, the New York Times\, Vogue\, Wall Street Journal\, and Whitehot Magazine of Contemporary Art. \n  \nIn September 2022\, Berry Campbell moved to 524 West 26th Street. The 9\,000-square-foot gallery houses 4\,500 square feet of exhibition space\, including a skylit main gallery and four smaller galleries\, as well as two private viewing areas\, a full-sized library\, executive offices and substantial on-site storage space. Gallery hours are Tuesday through Saturday\, 10 a.m. – 6 p.m or by appointment. For further information please call at 212.924.2178\, visit our website at www.berrycampbell.com\, or email at info@berrycampbell.com. \n  \n  \n1 Quoted in “Slender\, Quiet Freeland Artist Produces Bold\, Powerful Murals\,” South Whidbey Record\, September 24\, 1985\, p. 6 \n2 Quoted in Sheila Farr\, “Mary Henry: 93 Years of Life and Art\,” Seattle Times\, February 23\, 2007. \n3 Undated holograph\, Mary Henry Archives. \n  \n  \n  Save  
URL:https://artinamericaguide.com/event/mary-dill-henry-the-gardens-paintings-from-the-1980s/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230105T100000
DTEND;TZID=America/Halifax:20230211T180000
DTSTAMP:20260403T174745
CREATED:20230110T232239Z
LAST-MODIFIED:20230110T232239Z
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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“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. \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. \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-2/
LOCATION:Kathryn Markel Fine Arts\, 529 West 20th\, Suite 6W\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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