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DTSTART;TZID=America/New_York:20260406T201242
DTEND;TZID=America/New_York:20250920T170000
DTSTAMP:20260406T201242
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:20260406T201242
DTEND;TZID=America/New_York:20250926T200000
DTSTAMP:20260406T201242
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:20260406T201242
DTEND;TZID=America/New_York:20250927T180000
DTSTAMP:20260406T201242
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:20260406T201242
DTEND;TZID=America/New_York:20251018T170000
DTSTAMP:20260406T201242
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:20260406T201242
DTEND;TZID=America/New_York:20251122T170000
DTSTAMP:20260406T201242
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:20260406T201242
DTEND;TZID=America/New_York:20260221T180000
DTSTAMP:20260406T201242
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;TZID=America/New_York:20220722T110000
DTEND;TZID=America/New_York:20240804T180000
DTSTAMP:20260406T201242
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/Halifax:20230318T100000
DTEND;TZID=America/Halifax:20240609T170000
DTSTAMP:20260406T201242
CREATED:20230316T154058Z
LAST-MODIFIED:20230316T154058Z
UID:102487-1679133600-1717952400@artinamericaguide.com
SUMMARY:Bosco Sodi: Origen
DESCRIPTION:Visit our galleries for FREE on Sundays. Check the visit page for all free admission opportunities at the Harvard Art Museums. \nA new installation of sculptures by Mexican-born artist Bosco Sodi (b. 1970) places 14 of the artist’s handmade clay spheres at the Harvard Art Museums and marks the first-ever presentation of art on the museums’ outdoor Broadway terrace. Sodi’s practice explores the earth’s elements\, marrying age-old traditions of sculpting clay with a contemporary vision of creating simple universal forms that prompt reflection. Drawing on centuries-old techniques passed through the Zapotec culture\, Sodi works with Oaxacan artisans\, using local clay to sculpt each sphere\, drying it outside for up to eight months\, and then firing it in a kiln built upon a beach. The resulting terracotta forms reveal the effects of nature’s forces—the sun\, sea air\, and fire—as demonstrated by the cracks\, chips\, and blackened and crusty patches that distinguish each sphere. In a first for a U.S. installation of the artist’s work\, Sodi will also unveil three gold-glazed spheres as part of his site-specific arrangement. Moving from outside to inside the museums\, these gold spheres connect to and engage with the meditative atmosphere evoked by the installation of Buddhist figures in Gallery 1610. \n  Save  
URL:https://artinamericaguide.com/event/bosco-sodi-origen/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/03/Bosco-Sodi.jpg
ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230318T100000
DTEND;TZID=America/Halifax:20240609T170000
DTSTAMP:20260406T201242
CREATED:20230320T150548Z
LAST-MODIFIED:20230320T150548Z
UID:102492-1679133600-1717952400@artinamericaguide.com
SUMMARY:Bosco Sodi: Origen
DESCRIPTION:Visit our galleries for FREE on Sundays. Check the visit page for all free admission opportunities at the Harvard Art Museums. \nA new installation of sculptures by Mexican-born artist Bosco Sodi (b. 1970) places 14 of the artist’s handmade clay spheres at the Harvard Art Museums and marks the first-ever presentation of art on the museums’ outdoor Broadway terrace. Sodi’s practice explores the earth’s elements\, marrying age-old traditions of sculpting clay with a contemporary vision of creating simple universal forms that prompt reflection. Drawing on centuries-old techniques passed through the Zapotec culture\, Sodi works with Oaxacan artisans\, using local clay to sculpt each sphere\, drying it outside for up to eight months\, and then firing it in a kiln built upon a beach. The resulting terracotta forms reveal the effects of nature’s forces—the sun\, sea air\, and fire—as demonstrated by the cracks\, chips\, and blackened and crusty patches that distinguish each sphere. In a first for a U.S. installation of the artist’s work\, Sodi will also unveil three gold-glazed spheres as part of his site-specific arrangement. Moving from outside to inside the museums\, these gold spheres connect to and engage with the meditative atmosphere evoked by the installation of Buddhist figures in Gallery 1610. \n  Save  
URL:https://artinamericaguide.com/event/bosco-sodi-origen-2/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/03/Bosco-Sodi-1.jpg
ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230321
DTEND;VALUE=DATE:20240205
DTSTAMP:20260406T201242
CREATED:20221208T214310Z
LAST-MODIFIED:20221208T214310Z
UID:100862-1679356800-1707091199@artinamericaguide.com
SUMMARY:Calling on the Past: Selections from the Collection
DESCRIPTION:Calling on the Past invites visitors to experience the Smart Museum’s collection anew\, through a sensory exploration of color\, texture\, and form. \nIn lieu of customary chronological or geographical divisions\, such as those that have often guided the display of the collection in the past\, this installation draws on the breadth and depth of the Museum’s holdings to situate key works side by side across centuries. From antiquities to contemporary painting and sculpture\, the cross-historical selection of objects speaks to the varied materials\, ideas\, and questions artists continue to explore\, while emphasizing the editing of history. \nCalling on the Past is inspired in part by art historian George Kubler’s seminal text The Shape of Time: Remarks on the History of Things (1962)\, which argues the art of the past is in constant conversation with the present. Kubler replaces the notion of art historical styles with the understanding that time is both linear and looped\, and artists have been revisiting the same sets of questions across the ages. Rather than emphasizing objects’ original context\, this exhibition inserts them into imaginative groupings\, unraveling historical hierarchies and encouraging us to see the collection with fresh eyes. \n  Save  
URL:https://artinamericaguide.com/event/calling-on-the-past-selections-from-the-collection/
LOCATION:Smart Museum of Art\, 5550 S. Greenwood Avenue\, Chicago\, IL\, 60637\, United States
CATEGORIES:Exhibition
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X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Smart Museum of Art 5550 S. Greenwood Avenue Chicago IL 60637 United States;X-APPLE-RADIUS=500;X-TITLE=5550 S. Greenwood Avenue:geo:-87.6002004,41.7934642
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230520T100000
DTEND;TZID=America/Halifax:20240421T160000
DTSTAMP:20260406T201242
CREATED:20230502T182207Z
LAST-MODIFIED:20230502T182207Z
UID:103170-1684576800-1713715200@artinamericaguide.com
SUMMARY:Sharing The Same Breath
DESCRIPTION:In her 2021 essay “A Family Reunion Near the End of the World\,” botanist Robin Wall Kimmerer contemplates our kinship with nature and proposes a road map for deepening our care and respect for all living things. \n“Being a relative\,” she writes\, “is more than shared blood from a common past. Real kinship arises when we realize that we have a common future\, that our fates are linked.” She goes on to suggest\, “Real kinship comes when you live it. It’s not a noun\, but a verb\, it’s not a thing\, it’s what you do.” \nThe cultivation of kinship with the living world is the foundation for Sharing the Same Breath. The exhibition brings together nine artists who consider the world’s complex web of relations through artworks that emphasize human\, nonhuman\, and interspecies forms of kinship and connectivity. These relationships are explored through a wide range of mediums including sculpture\, photography\, drawing\, video\, film\, and installation. Together the works form a kincentric viewpoint that challenges narratives of human exceptionalism and encourages us to regard our symbiotic relationship and shared fate with our more-than-human family with greater attention and care. \nArtists in the exhibition include Juan William Chávez\, David Freid\, Lindsey French\, Emilie Louise Gossiaux\, Nina Katchadourian\, Cannupa Hanska Luger\, Marie Watt\, William Wegman\, and Dyani White Hawk. \nImage: Emilie L. Gossiaux\, True Love Will Find You in the End\, 2021; polystyrene foam\, aluminum pipes\, papier-mâché\, epoxy resin\, and acrylic matte medium. Courtesy of the artist and Mother Gallery. Photo: Ronald Amstutz. \n  Save  
URL:https://artinamericaguide.com/event/sharing-the-same-breath/
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/New_York:20230617T100000
DTEND;TZID=America/New_York:20240225T160000
DTSTAMP:20260406T201242
CREATED:20230623T161042Z
LAST-MODIFIED:20230623T161042Z
UID:104085-1686996000-1708876800@artinamericaguide.com
SUMMARY:Rose B. Simpson: Counterculture
DESCRIPTION:The seven cast-concrete figures in Rose B. Simpson’s Counterculture are witnesses—reminders that the natural world is continuously watching humanity. Despite their over ten foot height\, the feminine-bodied forms show grace in their vigilance and space taking\, carrying necklaces made of ceramic beads instead of taking up weapons. \nSimpson’s sculptures are traveling to different sites across the country\, including the grounds of the Art Preserve\, where they will observe the seasons shift from summer to fall and into winter. Their presence suggests that we\, too\, should listen and humble ourselves to the natural world\, tuning into the ways in which we are responsible for the exploitation of our environment’s limited resources. \nIf we know something greater than ourselves is watching\, will we do things differently? \nCounterculture was created for and originally installed on the ancestral lands of the Stockbridge-Munsee Community Band of Mohican Indians\, in present-day Williamstown\, Massachusetts. The sculptures’ move to Wisconsin traces the path of forced removal experienced by the Stockbridge-Munsee Community\, which today is located on their reservation in northeastern Wisconsin\, with members also living in other parts of Wisconsin\, the United States\, and the world. \nImage: Rose B. Simpson\, Counterculture\, 2022; dyed concrete\, steel\, clay\, and cable; seven sculptures\, 128 x 24 x 11 in. each. Courtesy of the artist\, Jessica Silverman\, San Francisco\, and Jack Shainman Gallery\, New York. On view at Field Farm\, Williamstown\, MA\, June 2022–May 2023. Photo: Stephanie Zollshan. \nhttps://www.jmkac.org/exhibition/rose-b-simpson-counterculture/ \n  Save  
URL:https://artinamericaguide.com/event/rose-b-simpson-counterculture/
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/2023/06/ap.sim_.2023.5004-1920x1279-1.jpg
ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230720T100000
DTEND;TZID=America/New_York:20240128T170000
DTSTAMP:20260406T201242
CREATED:20230703T154022Z
LAST-MODIFIED:20230703T154022Z
UID:104228-1689847200-1706461200@artinamericaguide.com
SUMMARY:Ellen Carey: Struck By Light
DESCRIPTION:Ellen Carey: Struck By Light \nThursday\, July 20\, 2023 —  Sunday\, January 28\, 2024 \n\n\n\n\n\nPart One: On view starting June 24 in the Helen T. and Philip B. Stanley Gallery \nPart Two: Opens July 20 in the Maximilian E. and Marion O. Hoffman Foundation Gallery \nThis two-part exhibition presents three decades of work by acclaimed Hartford-based artist Ellen Carey. \nSince the early 1990s\, artist Ellen Carey (b. 1952) has created experimental and abstract works that defy photographic conventions. Struck by Light represents the largest survey of Carey’s innovative photo-objects and lens-based artworks. Spanning 30 years of her prolific career\, the exhibition includes examples of her Photography Degree Zero (1996–2023) practice of Polaroid 20 X 24 lens-based images—including Pulls and Rollbacks—as well as her Struck by Light (1992–2023) series of camera-less photograms—Dings and Shadows—inspired by the earliest examples of paper photography. Collectively\, the works trace Carey’s enormous contributions to the field of photography through her pioneering explorations of light\, color\, and shadow\, and are drawn from the collections of the New Britain Museum of American Art and the artist. \nEllen Carey received her BFA from KCAI-Kansas City Art Institute (1971-1975) and her MFA (1976-1978) from SUNY@Buffalo (now UB). She is Associate Professor of Photography (1983-2023) Hartford Art School (HAS)-University of Hartford. \nA recent article written by Chris Wiley for The New Yorker (February 2023) sees the arc of her career as well as the solo exhibition Light Struck at Fox Talbot Museum (2023-2024)\, the home of photography in Lacock (England). \n  \nEllen Carey’s Artist Statement: \nPhotography changed our world. Now universal\, a photograph links a global humanity with our picture culture from each image to hundreds\, millions\, billions seen every day; we are visual. \nA Picture is a Poem without Words – Horace \nStruck by light is a phrase that sparks imagination\, tells of inspiration\, a metaphor for discovery\, to conceive something anew\, a rare feeling\, a brainstorm … Eureka! … says it all. Photography\, discovered in the 19th century\, is Greek – phōs for light\, graphis for drawing – light drawing. \nLight’s immateriality challenges its ‘camera operators’ today. Analog versus digital technologies double these challenges. Struck by light has multiple meanings for my experimental and lens-based works. It names my creative practice in photogram\, while Photography Degree Zero sees my Polaroid 20 X 24 works. Light\, wherever/whenever it strikes\, is to be free. \nStruck by Light is different in meaning for photographers. When light-sensitive paper/film is exposed to/struck by light\, if intentional\, a negative/film or image/paper is made; however\, if light strikes the paper/film\, accidentally it is “fogged” – darkened – light travels. Photographers are often called light travelers; I see my work in this context\, giving content to it. \nAll journeys have secret destinations of which the traveler is unaware – Martin Buber \nPhotographers use light in all different ways – silhouette\, shadow\, outline\, reflection; however\, I often cannot see light while I work [in the darkroom]\, leading me to wonder what the light does on its own. What are light’s first traces? \nLight finds my Catholic birth name – Celtic\, Gaelic\, Irish – a prescient gift from my parents; Ellen means light or bringer of light. Color is universal\, an artist’s universe\, in that universe is photography’s planet\, where light and color overlap and meet; it is called photographic color theory – RGBYMC – a palette that conceptually underscores my twin practices. \nStruck by Light is the DNA of my dual artistic endeavors\, a double helix with light and color\, photography within process\, that combines destiny and fate. When light becomes visible the photo-object speaks. My photographs say craquelure\, parabola\, hue\, abstract\, process\, minimal\, photogram\, light\, beauty\, color\, wonder\, invention\, innovation. \n  \n\n\n  Save  
URL:https://artinamericaguide.com/event/ellen-carey-struck-by-light/
LOCATION:New Britain Museum of American Art\, 56 Lexington Street\, New Britain\, CT\, 06052\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230722T100000
DTEND;TZID=America/New_York:20240107T160000
DTSTAMP:20260406T201242
CREATED:20230623T161041Z
LAST-MODIFIED:20230623T161041Z
UID:104089-1690020000-1704643200@artinamericaguide.com
SUMMARY:Asberry Davis: Run Your Own Way
DESCRIPTION:Asberry Davis began making “things\,” as he called them\, in the early 1970s\, on land in the Congaree Swamp in South Carolina. \nIn the late 1960s\, a widow named Ella Riley had moved onto the land near Davis\, living in a one-room construction he built for her. After her death\, in 1973\, Davis stacked all of her possessions into a pseudo-mausoleum memorial\, which he planted with flowers and tended to for the rest of his life. This act of remembrance stirred a creativity in the artist\, leading him to a decades-long artistic practice. \nDavis made costumes comprising elaborately wrapped and twisted bracelets and belts. Many of his sculptural pieces were used for a game of his own invention that involved a combination of tug-of-war and jousting. Over time\, his homestead became an amalgamation of scattered constructions\, ad-hoc modes of transportation\, old farm equipment\, and forms hung from trees. He lived there until his death in 1999. \nIn 2022\, the Arts Center acquired four works by Davis as part of a larger gift from the Souls Grown Deep Foundation. They are believed to be the only surviving pieces from his now-destroyed site and will be on view at the Art Preserve with a selection of documentary photographs. \nImage: Asberry Davis\, group of untitled work\, c. 1998. Souls Grown Deep Foundation Collection (20491)\, Southern Folklife Collection at Wilson Special Collections Library\, University of North Carolina at Chapel Hill. Photo: William Arnett. \nhttps://www.jmkac.org/exhibition/asberry-davis-run-your-own-way/ \n  Save  
URL:https://artinamericaguide.com/event/asberry-davis-run-your-own-way/
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/2023/06/site_davis_1998_0017-1920x1266-1.jpg
ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230728T110000
DTEND;TZID=America/New_York:20240225T180000
DTSTAMP:20260406T201242
CREATED:20230612T210525Z
LAST-MODIFIED:20230612T211205Z
UID:103922-1690542000-1708884000@artinamericaguide.com
SUMMARY:Liliana Porter: Actualidades / Breaking News
DESCRIPTION:Liliana Porter’s surreal compositions using toys interrogate the boundaries between representation and reality. Liliana Porter: Actualidades / Breaking News is a focused presentation of Porter’s expansive conceptual practice\, highlighting her skilled evocation of poignant philosophical and political questions through otherwise simple gestures and miniature objects. \n  Save  
URL:https://artinamericaguide.com/event/liliana-porter-actualidades-breaking-news/
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/New_York:20230811T110000
DTEND;TZID=America/New_York:20240225T180000
DTSTAMP:20260406T201242
CREATED:20230612T210525Z
LAST-MODIFIED:20230612T211224Z
UID:103924-1691751600-1708884000@artinamericaguide.com
SUMMARY:Nuts and Who’s: A Candy Store Sampler
DESCRIPTION:In the 1960s\, artists in Northern California embraced an attitude towards art-making that was irreverent\, bawdy\, and free-spirited\, which resonated with artists across the country who rejected the mainstream art world. Through objects primarily drawn from SJMA’s permanent collection\, this exhibition focuses on the convergence of these artists around the Candy Store Gallery\, and the cross-fertilization of ideas that resulted. \n  Save  
URL:https://artinamericaguide.com/event/nuts-and-whos-a-candy-store-sampler/
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/New_York:20230819T100000
DTEND;TZID=America/New_York:20240107T170000
DTSTAMP:20260406T201242
CREATED:20230629T161513Z
LAST-MODIFIED:20231012T195834Z
UID:104191-1692439200-1704646800@artinamericaguide.com
SUMMARY:Black Writing
DESCRIPTION:This year marks the 40th anniversary of the History of Black Writing\, a research center at the University of Kansas that specializes in the recovery and preservation of texts by Black writers. This exhibition extends the goals of the project’s archive of Black storytellers to include art and visual culture. Featured works by contemporary artists incorporate literature\, lyrics\, family lore\, writing\, and reading. From history and cultural erasure to songs and words of empowerment\, Black Writing explores the power\, politics\, and complexities of language in contemporary Black culture.  \n  Save  
URL:https://artinamericaguide.com/event/black-writing/
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/2023/06/Scott_I_Wish_I_Knew.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;VALUE=DATE:20230822
DTEND;VALUE=DATE:20240310
DTSTAMP:20260406T201242
CREATED:20230726T223546Z
LAST-MODIFIED:20230726T223546Z
UID:104559-1692662400-1710028799@artinamericaguide.com
SUMMARY:Jeffrey Gibson: They Teach Love\, From the Collections of Jordan D. Schnitzer and His Family Foundation
DESCRIPTION:Jeffrey Gibson asks us to co-envision a future and to move toward it. Ceaselessly prioritizing collective imagination as a tool toward manifestation and realization\, the artist has stated\, “Don’t accept the circumstances you are in; acknowledge that you are in them and then find a future.” \n\n\nThis major exhibition is devoted to one of today’s foremost artists\, whose vibrant interdisciplinary practice combines sculpture and painting\, beadwork and video\, words and images\, incorporating rawhide\, tipi poles\, sterling silver\, wool blankets\, jingles\, fringe\, and sinew—materials that refer to American Indian cultures toward the adornment of quotidian objects such as punching bags\, flags\, banners\, and illuminated signs. Gibson\, who is of Mississippi Choctaw and Cherokee heritage\, combines aspects of Indigenous art and culture with modernist traditions\, navigating and disrupting the expectations placed upon Native artists working within the contemporary art world. At the root of his enterprise lies a core value—objects\, and people alike\, carry the potential for radical transformation. \nExclusively curated from the collections of Jordan D. Schnitzer and His Family Foundation\, They Teach Love presents a sweeping survey of over 35 objects across a span of fifteen years. Beginning with examples of the artist’s earliest engagements with printmaking\, our exhibition proceeds to include photography\, painting\, and sculpture\, as well as recent forms that express his foray into performance\, installation\, and video\, as well as contemporary adornment in fashion. The latter direction is reflective of intertribal powwows as well as the dance clubs where Gibson found safe spaces as a teenager. \nThe exhibition’s centerpiece is an expansive and immersive work titled To Name An Other which is comprised of 51 screen printed elk hide drums and 50 wearable garments. Originally commissioned as a performance by the Smithsonian’s National Portrait Gallery\, in 2019\, To Name An Other marks a turning point in the artist’s career whereby Gibson has increasingly sought out collective-based projects and performances to activate the communities he works within. This idea is especially appropriate when considering Jeffrey Gibson’s work\, as he pushes to create affinity—collaboration is at the heart of his recent social practice. Working and learning together may aid to decolonize our minds and institutions\, revealing a future we wish to inhabit. \n\n  Save  
URL:https://artinamericaguide.com/event/jeffrey-gibson-they-teach-love-from-the-collections-of-jordan-d-schnitzer-and-his-family-foundation/
LOCATION:Jordan Schnitzer Museum of Art WSU\, 1535 Wilson Rd\, Pullman\, WA\, 99164\, United States
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230826T100000
DTEND;TZID=America/New_York:20240107T170000
DTSTAMP:20260406T201242
CREATED:20230629T161617Z
LAST-MODIFIED:20231012T195812Z
UID:104193-1693044000-1704646800@artinamericaguide.com
SUMMARY:Reading the World
DESCRIPTION:Reading the World explores artistic investigations into forces of nature. Together the works displayed prompt viewers to consider their own encounters with the natural world\, their ecological and political contexts\, and how they become reflected in a wide range of mediums. \n  Save  
URL:https://artinamericaguide.com/event/reading-the-world/
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/2023/06/McElroy_I-Control-the-Sun_27.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;VALUE=DATE:20230908
DTEND;VALUE=DATE:20240108
DTSTAMP:20260406T201242
CREATED:20230608T185528Z
LAST-MODIFIED:20230629T134302Z
UID:103841-1694131200-1704671999@artinamericaguide.com
SUMMARY:Mickalene Thomas / Portrait of an Unlikely Space
DESCRIPTION:Mickalene Thomas (b. 1971\, M.F.A. 2002) has gained an international reputation for her dazzling paintings and photographs of Black women posed in lushly decorated interiors\, as well as for her similarly styled\, immersive installations. In Mickalene Thomas / Portrait of an Unlikely Space\, the artist designs an entirely new multigallery installation\, imagining domestic surroundings reminiscent of a moment in U.S. history that has never before been so explicitly represented in her work: the pre-Emancipation era. Coorganized by Thomas\, the exhibition features a selection of early American portraits of Black women\, men\, and children—from miniatures and daguerreotypes to silhouettes on paper and engravings in books—hanging on walls\, standing within cases\, and resting atop furniture. Alongside these small-scale objects\, a group of artworks by Thomas and other contemporary artists in a wide array of media are also situated within her signature homelike environment\, which is adorned with period-specific textile patterns and other decorative elements. The exhibition’s living-room design elicits reflection on not only the settings in which such eighteenth- and nineteenth-century portraits would originally have been encountered but also the intimate subject matter explored in the contemporary works on view. With her unique\, multifaceted approach\, Thomas constructs an evocative space that is meant to engender a sense of community—for the individuals depicted in the historical objects\, the artists whose work is represented in the show\, and the visitors engaging with both the past and the present. \n  Save  
URL:https://artinamericaguide.com/event/mickalene-thomas-portrait-of-an-unlikely-space/
LOCATION:Yale University Art Gallery\, 1111 Chapel St\, New Haven\, CT\, 06510\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/06/2023-ag-obj-218078-0001-pub-copy.jpg
ORGANIZER;CN="Yale University Art Gallery":MAILTO:artgalleryinfo@yale.edu
GEO:41.30839;-72.930958
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Yale University Art Gallery 1111 Chapel St New Haven CT 06510 United States;X-APPLE-RADIUS=500;X-TITLE=1111 Chapel St:geo:-72.930958,41.30839
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230908T080000
DTEND;TZID=America/New_York:20240107T170000
DTSTAMP:20260406T201242
CREATED:20230608T185529Z
LAST-MODIFIED:20230608T185529Z
UID:103833-1694160000-1704646800@artinamericaguide.com
SUMMARY:Mickalene Thomas / Portrait of an Unlikely Space
DESCRIPTION:Mickalene Thomas (b. 1971\, M.F.A. 2002) has gained an international reputation for her dazzling paintings and photographs of Black women posed in lushly decorated interiors\, as well as for her similarly styled\, immersive installations. In Mickalene Thomas / Portrait of an Unlikely Space\, the artist designs an entirely new multigallery installation\, imagining domestic surroundings reminiscent of a moment in U.S. history that has never before been so explicitly represented in her work: the pre-Emancipation era. Coorganized by Thomas\, the exhibition features a selection of early American portraits of Black women\, men\, and children—from miniatures and daguerreotypes to silhouettes on paper and engravings in books—hanging on walls\, standing within cases\, and resting atop furniture. Alongside these small-scale objects\, a group of artworks by Thomas and other contemporary artists in a wide array of media are also situated within her signature homelike environment\, which is adorned with period-specific textile patterns and other decorative elements. The exhibition’s living-room design elicits reflection on not only the settings in which such 18th- and 19th-century portraits would originally have been encountered but also the intimate subject matter explored in the contemporary works on view. With her unique\, multifaceted approach\, Thomas constructs an evocative space that is meant to engender a sense of community—for the individuals depicted in the historical objects\, the artists whose work is represented in the show\, and the visitors engaging with both the past and the present. \n  Save  
URL:https://artinamericaguide.com/event/mickalene-thomas-portrait-of-an-unlikely-space-2/
LOCATION:Yale University Art Gallery\, 1111 Chapel St\, New Haven\, CT\, 06510\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/06/2023-ag-obj-218078-0001-pub-scaled.jpg
ORGANIZER;CN="Yale University Art Gallery":MAILTO:artgalleryinfo@yale.edu
GEO:41.30839;-72.930958
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Yale University Art Gallery 1111 Chapel St New Haven CT 06510 United States;X-APPLE-RADIUS=500;X-TITLE=1111 Chapel St:geo:-72.930958,41.30839
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230908T180000
DTEND;TZID=America/Halifax:20240211T170000
DTSTAMP:20260406T201242
CREATED:20221215T164955Z
LAST-MODIFIED:20230816T213243Z
UID:101080-1694196000-1707670800@artinamericaguide.com
SUMMARY:Justin Favela: Ruta Madre
DESCRIPTION:The Contemporary Art Museum St. Louis (CAM) announces a new solo exhibition of works by Las Vegas-based artist Justin Favela. Known for his vivid large-scale murals and sculptures\, Favela will create a new site-specific installation inspired by lowrider culture and St. Louis’ connection to Route 66. The installation will feature the artist’s bold\, colorful designs and signature hand-cut paper technique on the Museum’s 60-foot Project Wall. The exhibition will also include a new video work as part of CAM’s outdoor Street Views projection\, on view from dusk to midnight every night. Justin Favela: Ruta Madre will be on view at CAM from September 8\, 2023–February 11\, 2024. \nFavela’s creative practice explores notions of authenticity\, place\, and identity through the use of familiar materials. Drawing inspiration from traditional Mexican or Latin American craft\, specifically piñata making\, Favela uses paper and glue to create dynamic and monumental forms. His piñata-like sculptures and installations become vibrant symbols of Latinx joy and visibility. Informed by his own Mexican-Guatemalan American upbringing\, Favela’s colorful and often humorous works aim to critique cultural stereotypes and create public dialogue around what it means to be Latinx in the US.  \nAs part of the exhibition programming for Ruta Madre\, Favela and his family will present a Family Fiesta at CAM during the fall exhibition season\, inviting hundreds of guests to participate in traditional Mexican and Guatemalan games and activities. In keeping with the artist’s socially-engaged practice\, Favela frequently activates his artwork by hosting Family Fiestas at museums and in unexpected locations. These public performances of the artist’s own family celebrations are designed to attract new museum audiences and draw attention to institutional inclusion efforts. \nThis exhibition is generously supported in part by the National Endowment for the Arts\, Nancy and Kenneth Kranzberg\, and the Whitaker Foundation. Street Views is generously supported by Gateway Foundation and the Whitaker Foundation. The artist talk is sponsored by the Robert Lehman Foundation. \nJustin Favela: Ruta Madre is organized for the Contemporary Art Museum St. Louis by Misa Jeffereis\, Associate Curator. \nImage: Justin Favela\, Valley of Oaxaca\, after José María Velasco\, 2018. Paper and glue on board\, 42 x 63 1/4 inches. Courtesy the artist. Photo courtesy The Berman Museum of Art. \n  Save  
URL:https://artinamericaguide.com/event/justin-favela/
LOCATION:Contemporary Art Museum St. Louis\, 3750 Washington Boulevard\, St. Louis\, MO\, 63108\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/12/Justin-Favela_Valley-of-Oaxaca_Web-Res.jpg
ORGANIZER;CN="Contemporary Art Museum St. Louis":MAILTO:info@camstl.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230908T180000
DTEND;TZID=America/Halifax:20240211T170000
DTSTAMP:20260406T201242
CREATED:20221215T164956Z
LAST-MODIFIED:20230816T213714Z
UID:101076-1694196000-1707670800@artinamericaguide.com
SUMMARY:Hajra Waheed: A Solo Exhibition
DESCRIPTION:The Contemporary Art Museum St. Louis (CAM) announces a major solo exhibition of new and existing works by Montréal-based artist Hajra Waheed. Marking the first solo exhibition of Waheed’s work in the United States\, the presentation will include video\, sound installation\, painting\, and works on paper including newly commissioned works. The exhibition offers the first definitive consideration of the artist’s practice in the country and will be accompanied by a major exhibition catalog published by the Museum. Hajra Waheed: A Solo Exhibition will be on view at CAM from September 8\, 2023–February 11\, 2024. \nWaheed’s multidisciplinary practice explores the legacies of colonial and state violence with a uniquely poetic approach and engagement with the world. Weaving between the intimate and infinite constellations of the communities of which she is a part\, her works in the exhibition—while rooted in the historical—imagine new possibilities towards a radically collective future. The artist’s work has been shown internationally and has received major recognition; recently\, Waheed received the 2022 Outstanding Achievement Award from the Hnatyshyn Foundation in Ottawa\, Canada and the 2023 Sharjah Biennial 15 Prize in Sharjah\, United Arab Emirates.  \nWaheed’s exhibition will include Hum (2020)\, the artist’s immersive\, 16-channel musical composition and sound installation. Originally commissioned for Lahore Biennale 02 and staged for Portikus in Frankfurt in 2020\, Hum will be re-created by the artist specifically for CAM’s galleries this fall as part of its US debut. This key work\, whose title translates to “We” in Urdu\, reflects on international solidarity movements that emerged in the second half of the 20th century through processes of decolonization in the Global South. The composition features eight hummed songs of resistance from South\, Central\, West Asia\, and Africa. The exhibition will also include a new series of sculptures\, drawings\, and painted works on paper commissioned for this exhibition alongside recent works including video and sculpture.  \nHajra Waheed: A Solo Exhibition will be accompanied by a major exhibition publication featuring a conversation between Wassan Al-Khudhairi and the artist as well as guest essays from writer\, translator\, and educator Rayya Badran and writer and editor H.G. Masters. Designed by Marquand Books and distributed by D.A.P.\, the catalog will be published by CAM and released in fall 2023. \nHajra Waheed: A Solo Exhibition is organized for the Contemporary Art Museum St. Louis by Wassan Al-Khudhairi\, former Ferring Foundation Chief Curator\, with Misa Jeffereis\, Associate Curator.\n \nMajor support for Hajra Waheed: A Solo Exhibition is provided by The Andy Warhol Foundation for the Visual Arts and the Conseil des arts et des lettres du Québec. This exhibition is generously supported in part by the National Endowment for the Arts\, The Strive Fund\, and the Whitaker Foundation. Hum was made possible with the generous support of the Lahore Biennial Foundation and Portikus\, Frankfurt. The artist talk is sponsored by the Robert Lehman Foundation. \nImage: Hajra Waheed\, Hum\, 2020. Multi-channel sound installation with custom speaker casings\, 36 minutes\, 17 seconds. Installation view\, Portikus\, Frankfurt\, Germany (July 11–September 6\, 2020). Courtesy the artist. Photo courtesy Diana Pfammatter. \n  Save  
URL:https://artinamericaguide.com/event/hajra-waheed/
LOCATION:Contemporary Art Museum St. Louis\, 3750 Washington Boulevard\, St. Louis\, MO\, 63108\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/12/Hajra-Waheed_Hum_2020_3_Web-Res.jpg
ORGANIZER;CN="Contemporary Art Museum St. Louis":MAILTO:info@camstl.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230908T180000
DTEND;TZID=America/Halifax:20240211T170000
DTSTAMP:20260406T201242
CREATED:20221215T164956Z
LAST-MODIFIED:20230816T213449Z
UID:101078-1694196000-1707670800@artinamericaguide.com
SUMMARY:Dominic Chambers: Birthplace
DESCRIPTION:The Contemporary Art Museum St. Louis (CAM) announces an exhibition of new works by Dominic Chambers\, the first in the artist’s hometown of St. Louis. The exhibition brings together a series of new large-scale paintings and sculpture by the artist\, a rising star in the art world who has recently been featured on Forbes magazine’s “30 Under 30” list as one of the most promising artists of his generation. As part of the exhibition\, CAM will also produce the first exhibition catalog of Chambers’ work. Dominic Chambers: Birthplace will be on view at CAM from September 8\, 2023–February 11\, 2024. \nChambers is known for his vibrant\, evocative paintings that depict Black subjects in moments of contemplation and leisure. Consistent throughout his oeuvre is the rich interior lives of his subjects. At times restful and meditative\, and other times scholarly and curious\, his subjects are almost always spirited away by the magic of reading and respite. In his luminous and deeply absorbing paintings\, Chambers has explored contemporary concerns around race\, personal and imagined narratives\, and the complexity of one’s interior life. As an artist and writer\, Chambers often draws inspiration from critical voices within the Black literary canon—particularly the writings of W. E. B. Du Bois\, Octavia Butler\, and Zora Neale Hurston. These influences take visual form in Chambers’ surreal landscapes and psychologically arresting portraits that present meditations on stillness and a radical interiority for his figures. \nIn Birthplace\, Chambers recalls the spaces which facilitated his inner awakening as an artist and nurtured his imagination. Classrooms\, playgrounds\, libraries\, and basketball courts are all represented within the exhibition\, and each holds significant meaning to the artist’s origin story. The works are invitations to reflect upon and celebrate environments essential to our social development and collective imagination. \nThis exhibition is generously supported in part by George Wells\, Barbara and Richard Rothschild\, Anonymous\, Ferring Family Foundation\, Ann R. Ruwitch and John Fox Arnold\, and the Whitaker Foundation. The exhibition publication is underwritten by the Jessica and Kelvin Beachum Family Collection. Special thanks to Lehmann Maupin. The artist talk is sponsored by the Robert Lehman Foundation. \nDominic Chambers: Birthplace is organized for the Contemporary Art Museum St. Louis by Wassan Al-Khudhairi\, former Ferring Foundation Chief Curator. \nImage: Dominic Chambers\, Fairground Park (the shadowy place)\, 2022. Oil on linen\, 84 x 72 inches. Courtesy the artist and Lehmann Maupin\, New York\, Hong Kong\, Seoul\, and London. Photo courtesy Daniel Kukla. \n  Save  
URL:https://artinamericaguide.com/event/dominic-chambers/
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
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230909T100000
DTEND;TZID=America/New_York:20240204T160000
DTSTAMP:20260406T201242
CREATED:20230901T174216Z
LAST-MODIFIED:20230901T174216Z
UID:105101-1694253600-1707062400@artinamericaguide.com
SUMMARY:Recent Acquisition: Mary Jo Schwalbach
DESCRIPTION:Recent Acquisition: Mary Jo Schwalbach will showcase a selection of the artist’s so-called “collages\,” made from detritus gathered on the shores of Lake Michigan. These assemblages are part of a recent gift to the Arts Center from her son\, Fitz Gitler\, and the Kohler Foundation\, Inc. \nBorn in Wisconsin in 1939\, Schwalbach followed her artistic passions to New York City. There she became known for soft sculptures composed of rags\, paper\, and glue\, often capturing scenes of sporting events. On trips to her family’s cottage in Belgium\, Wisconsin\, she would comb the beach for scraps\, incorporating them into whimsical depictions of animals set in plaster. These were shown in her first New York exhibition in 1966. \nOn view for the first time at the Arts Center\, these works celebrate Schwalbach’s connection to Lake Michigan and her playful artistic vision. \nImage: In-process images of works by Mary Jo Schwalbach\, n.d. Photo courtesy of the artist. \n  Save  
URL:https://artinamericaguide.com/event/recent-acquisition-mary-jo-schwalbach/
LOCATION:John Michael Kohler Arts Center\, 608 New York Avenue\, Sheboygan\, WI\, 53081\, United States
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ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20230915
DTEND;VALUE=DATE:20240805
DTSTAMP:20260406T201242
CREATED:20240522T193730Z
LAST-MODIFIED:20240522T193730Z
UID:108579-1694736000-1722815999@artinamericaguide.com
SUMMARY:Composing Color: Paintings by Alma Thomas
DESCRIPTION:The Smithsonian American Art Museum has the largest public collection of works by Alma Thomas in the world. Thomas’s art first entered SAAM’s collection in 1970. The museum acquired more than a dozen works during the artist’s lifetime\, and thirteen that were bequeathed to the museum by Thomas after her death. Composing Color: Paintings by Alma Thomas draws on these extensive holdings to offer an intimate view of Thomas’s evolving practice during her most prolific period\, 1959 to 1978. \nIn her work\, color can be symbolic and multisensory\, evoking sound\, motion\, temperature\, even scent. Her abiding source of inspiration was nature—whether seen through her kitchen window or from outer space. Organized around the artist’s favored themes of Space\, Earth\, and Music\, this show invites you to see the world through Alma Thomas’s eyes. She often assigned titles to her own paintings that connect natural phenomena\, like flowers or a sunset\, with song. In her art\, nature and music are treated as twin expressions of a fundamental life force or spirit. \nConsciously oriented toward the future\, she embraced the technological and social changes of the twentieth century. Her artistic evolution from academic painting to abstraction reflected this forward-facing attitude—her belief in the need for “a new art representing a new era.” \n\n  Save  
URL:https://artinamericaguide.com/event/composing-color-paintings-by-alma-thomas/
LOCATION:Smithsonian American Art Museum\, 750 9th St. N.W.\, Washington\, DC\, 20001\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Smithsonian American Art Museum":MAILTO:americanartpressoffice@si.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230915T100000
DTEND;TZID=America/New_York:20240114T170000
DTSTAMP:20260406T201242
CREATED:20230731T184729Z
LAST-MODIFIED:20230731T184729Z
UID:104667-1694772000-1705251600@artinamericaguide.com
SUMMARY:Objects of Addiction: Opium\, Empire\, and the Chinese Art Trade
DESCRIPTION:How did the sale of opium in China by Massachusetts merchants in the 19th century contribute to a growing appetite for Chinese art at Harvard at the start of the 20th century? \nObjects of Addiction explores the entwined histories of the opium trade and the Chinese art market between the late 18th and early 20th centuries. Opium and Chinese art\, acquired through both legal and illicit means\, had profound effects on the global economy\, cultural landscape\, and education—and in the case of opium\, on public health and immigration—that still reverberate today. \nThe first section of the exhibition examines the origins of the opium trade\, the participation of Massachusetts traders\, and opium’s devastating impact on the Qing dynasty (1644–1911) and the Chinese people. Works presented here include smoking paraphernalia\, an opium account book\, and photographs\, along with mass media illustrations critiquing the use and sale of opium. \nThe second section highlights the history of imperial art collecting in China and demonstrates the growing appetite for Chinese art in Europe and the United States after the Opium Wars (1839–42\, 1856–60). Artworks from Massachusetts-based private and public collections show the shift in taste at this time from export ceramics and paintings to palace treasures and archaeological materials\, including ancient bronzes and jades unearthed from tombs and Buddhist sculptures chiseled from cave temple walls. Through the histories of museum directors\, professors\, and donors\, this section looks critically at the sources of Harvard’s Chinese art collection. \nA special section of the exhibition investigates parallels between China’s opium crisis and the opioid epidemic in Massachusetts today. We invite visitors to share their thoughts and personal experiences in this space. A range of public programs throughout the fall will encourage community discussion around the opioid crisis\, the effects of the Opium Wars on U.S.–China relations\, the role of opium in Chinese exclusion in the United States\, and art collecting practices. In addition\, the artist collective 2nd Act will present a series of substance use prevention workshops\, and the Cambridge Public Health Department will host trainings on the use of naloxone (Narcan) to reverse opioid overdoses. \n  Save  
URL:https://artinamericaguide.com/event/objects-of-addiction-opium-empire-and-the-chinese-art-trade/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
CATEGORIES:Exhibition
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ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20230921
DTEND;VALUE=DATE:20240205
DTSTAMP:20260406T201242
CREATED:20230201T165309Z
LAST-MODIFIED:20230901T200248Z
UID:101662-1695254400-1707091199@artinamericaguide.com
SUMMARY:Ruth Duckworth: Life as a Unity
DESCRIPTION:When Ruth Duckworth arrived in Chicago from London to teach at the University of Chicago’s Midway Studios in 1964\, she planned to stay for a year. Instead\, she lived in the city for nearly fifty years until her death in 2009—half her life. It is strange\, then\, that she is still primarily known as a “British studio potter\,” rather than as an innovative Chicago sculptor\, deeply engaged in the natural world and responding to artistic developments in the U.S. in the 1960s and 70s. \nThis monographic exhibition—the first since a 2006 retrospective—makes use of art historical advances of the last several decades to examine Duckworth’s Chicago work in a new light. Duckworth referred to herself not as a potter or ceramicist\, but as a sculptor with clay. The exhibition takes her at her word\, foregrounding her sculptural production. It traces the influence of geomorphology and the nascent environmental movement in her work\, beginning with her commission to create a complete environment of clay tiles in the vestibule of the newly built Hinds Geophysical Laboratory\, moving through her monumental tile mural Clouds Over Lake Michigan\, into wall works in high relief\, Mama Pots\, and clay sculptures. \n  Save  
URL:https://artinamericaguide.com/event/ruth-duckworth-life-as-a-unity/
LOCATION:Smart Museum of Art\, 5550 S. Greenwood Avenue\, Chicago\, IL\, 60637\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230921
DTEND;VALUE=DATE:20240205
DTSTAMP:20260406T201242
CREATED:20230616T185555Z
LAST-MODIFIED:20230616T185555Z
UID:103975-1695254400-1707091199@artinamericaguide.com
SUMMARY:Smart to the Core: Poetry is Everything
DESCRIPTION:What is poetry and why do we do it? \nThis exhibition examines the practice of poetry as a form of communication\, linguistic innovation\, political performance\, and embodied presence—considering how poetry can be a lens for understanding humanity. Ranging from an ancient fragment of papyrus to contemporary video works\, this diverse collection of objects speaks to themes of memory\, kinship\, revolution\, and play\, as well as translation and adaptation over time. And\, as a visual arts exhibition\, foregrounds poetry’s adjacencies to other forms of making. \nOrganized by the Smart Museum of Art’s Feitler Center for Academic Inquiry\, Poetry is Everything is the third iteration of “Smart to the Core\,” a collaborative series of exhibitions that are simultaneously designed for teaching in the University of Chicago’s celebrated Core undergraduate curriculum and curated to make that curriculum accessible to broader publics. This exhibition was particularly inspired by\, and curated for\, the Humanities Division course “Poetry and the Human.” Throughout the exhibition\, around 200 first-year students will interpret the artworks on view in tandem with the global set of readings associated with their course—transforming the Museum into their classroom. \n  Save  
URL:https://artinamericaguide.com/event/smart-to-the-core-poetry-is-everything/
LOCATION:Smart Museum of Art\, 5550 S. Greenwood Avenue\, Chicago\, IL\, 60637\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230922T080000
DTEND;TZID=America/New_York:20240704T170000
DTSTAMP:20260406T201242
CREATED:20240522T193731Z
LAST-MODIFIED:20240522T193731Z
UID:108577-1695369600-1720112400@artinamericaguide.com
SUMMARY:Carrie Mae Weems: Looking Forward\, Looking Back
DESCRIPTION:This focused exhibition pairs two projects by Carrie Mae Weems—a major multimedia installation\, Lincoln\, Lonnie\, and Me – A Story in 5 Parts\, and eight photographs from the series Constructing History—that explore the relationship of memory to history and of memory as it is mediated through performance\, photography\, or video. \nWeems invites others to step back in time. Lincoln\, Lonnie\, and Me–A Story in 5 Parts (2012) is a multimedia installation that transforms the gallery into a nineteenth-century illusionistic theater. This complex work brings to life episodes from the American Civil War to the present\, accompanied by a soundtrack that evokes the constitutional promise of equality\, along with projections of recurring racial and gender difference that make achieving it so elusive. It is accompanied by eight photographs from her series Constructing History (2008). Weems worked with college students to restage iconic photographs from World War II to the civil rights era and beyond. Taking on these poses\, a new generation simultaneously enacts and witnesses past moments of strength\, pain\, and progress in the present. \n  Save  
URL:https://artinamericaguide.com/event/carrie-mae-weems-looking-forward-looking-back/
LOCATION:Smithsonian American Art Museum\, 750 9th St. N.W.\, Washington\, DC\, 20001\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Smithsonian American Art Museum":MAILTO:americanartpressoffice@si.edu
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