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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20260405T211820
DTEND;TZID=America/Halifax:20230107T180000
DTSTAMP:20260405T211820
CREATED:20230109T180703Z
LAST-MODIFIED:20230109T180703Z
UID:101329-0-1673114400@artinamericaguide.com
SUMMARY:Joanne Freeman: New York Conversation
DESCRIPTION:Kathryn Markel Fine Arts is thrilled to announce New York Conversation\, an upcoming exhibition of new work by Joanne Freeman. New York Conversation is Freeman’s third solo exhibition with the gallery. The show will be accompanied by a group show curated by Freeman titled Betty and Veronica. They will run concurrently from January 5th – February 11th\, 2023. \n  \n“New York Conversation references my studio process\, and metaphorically describes the random thoughts\, snippets of conversation\, lyrics and memories that ebb and flow over the course of a painting. Visual signs\, nostalgia and the emotional residue of color\, guide my aesthetic choices\,” Freeman says. While intuitive\, Freeman’s stencil-like forms and irregular hard-edge curves harken Modernism and minimalist sensibilities. This is heightened by a palette of saturated primary colors\, or monochromatic works.   “My paintings reference forms found in architecture and design\,” she says.  “I create compositions based on loose geometry and layered saturated colors. The hard edge process of cutting shapes and layering color onto treated raw linen\, recalls qualities of mid-century low-tech graphics\, color field painting and collage\,” she continues.  \n  \nThe forms are hard-edged while still breathy and organic.  The subtle transparencies at the edges of the forms and the contrast of the brushstrokes across the tooth of linen reveal the artist’s hand. “When applying oil paint to linen I try to accentuate the inherent qualities of both mediums\,” she says. “ I consider both the transparency and opacity of the colors\, how they abut and overlap\, and how they respond to the textured tooth of the linen.” She is mindful of each medium’s materiality when painting.  Her saturated colors in either gouache or oil paint are absorbed by the handmade paper or linen\, enhancing the modernist flatness of her forms and use of space. “My reductive abstract paintings are about the beauty of singular color\, the impact of pure abstract forms and the quiet order that cuts through the noise\,” Freeman says.  \n  \nJoanne Freeman has had solo exhibitions in galleries around the United States\, and shown at The Queens Museum\, Zillman Art Museum University of Maine\, The Painting Center\, and the Cape Cod Museum of Art. She’s a 2021 recipient of the Pollock-Krasner Foundation Grant\, and the Vice President of the American Abstract Artists organization. She has her M.A in Studio Art from New York University\, and lives and works in New York City. \n  Save  
URL:https://artinamericaguide.com/event/joanne-freeman-new-york-conversation/
LOCATION:Kathryn Markel Fine Arts\, 529 West 20th\, Suite 6W\, New York\, NY\, 10011\, United States
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ORGANIZER;CN="Kathryn Markel Fine Arts":MAILTO:markel@markelfinearts.com
GEO:40.9365358;-72.3040792
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Kathryn Markel Fine Arts 529 West 20th Suite 6W New York NY 10011 United States;X-APPLE-RADIUS=500;X-TITLE=529 West 20th\, Suite 6W:geo:-72.3040792,40.9365358
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20260405T211820
DTEND;TZID=America/Halifax:20230128T180000
DTSTAMP:20260405T211820
CREATED:20230109T180750Z
LAST-MODIFIED:20230109T180750Z
UID:101313-0-1674928800@artinamericaguide.com
SUMMARY:2023 Winter Juried Exhibitions
DESCRIPTION:BLUE MOUNTAIN GALLERY is pleased to present the work of 47 artists\, 51 pieces of artwork\, selected by Eric Holzman for this year’s winter juried exhibition. The artists\, drawn from over two hundred applicants from across the country\, work in a wide range of media\, including oil\, acrylic\, pastel\, gouache\, photography and mixed media.  \n​Heidi Alamanda \, Marilyn Allen\, Hilary Houston Bachelder\, James Baker\, Nina Kardon Baran\, Bob Barnett\, Raymond Berry\, Leslie Blackmon\, Pam Bowers\, Nancy Breakstone\, Karina Cavat\, Audrey Cohn-Ganz\, Elizabeth Courtney\, Anne Delaney\, Stephanie DeManuelle\, Kiran K Dhaliwal\, Janine Dunn Wade\, Melanie Essex\, Tom Fitzharris\, Meghan Fleming\, Nancy Granda\, Theresa Heidig Rooney\, Teresa Jade Jarzynski\, Moishe Kampin\, Sam Kelly\, Michele King\, Laura Levine\, Pattie Lipman\, Aaron Lubrick\, Manuel Alejandro Macarrulla\, James McKenna\, Elizabeth Meyersohn\, Mark. Milroy\, Blake Morgan\, Arnaldo J Rivera Rivera\, Gail Rodney\, Rebecca Gray Rolke\, Roxy Rubell\, Alyssa Schmidt\, Abbey Stace\, Leslie Ross Stephens\, Yuri Tayshete\, Preston Trombly\, Laura Vahlberg\, Ekaterina Vanovskaya\, Aidan White and Lenore Wolf. \n​Juror ERIC HOLZMAN has been painting and searching for connection in nature and other representational genres all his life. He is a romantic and a classicist who looks into the inner nature of things and tries to walk “The Beauty Way.” He was educated at Tyler School of Art\, Yale\, Skowhegan and the New York Studio School. Eric has taught at Pratt\, the New York Studio School\, and Bard College among others. He is a National Academician and has exhibited twice at the American Academy\, winning awards from both institutions.  Eric has also shown work at Lori Bookstein\, Tibor de Nagy\, Sideshow and Artist Equity\, all in NYC\, and at Gremillion Fine Art and Ellio Fine Art in Houston\, Texas. He has received many honors\, including grants and fellowships from the Guggenheim Foundation\, the NEA\, the Pollock Krasner Foundation\, the Gottlieb Foundation and the Louis Comfort Tiffany Foundation. Website: www.ericholzman.com \n\n  Save  
URL:https://artinamericaguide.com/event/2023-winter-juried-exhibitions/
LOCATION:Blue Mountain Gallery\, 547 W 27th St\, Suite 200\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/01/2023-artists-rectangle.jpg
ORGANIZER;CN="Blue Mountan Gallery":MAILTO:info@bluemountaingallery.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260405T211820
DTEND;TZID=America/New_York:20250920T170000
DTSTAMP:20260405T211820
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:20260405T211820
DTEND;TZID=America/New_York:20250926T200000
DTSTAMP:20260405T211820
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:20260405T211820
DTEND;TZID=America/New_York:20250927T180000
DTSTAMP:20260405T211820
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:20260405T211820
DTEND;TZID=America/New_York:20251018T170000
DTSTAMP:20260405T211820
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:20260405T211820
DTEND;TZID=America/New_York:20251122T170000
DTSTAMP:20260405T211820
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:20260405T211820
DTEND;TZID=America/New_York:20260221T180000
DTSTAMP:20260405T211820
CREATED:20260120T172859Z
LAST-MODIFIED:20260120T172859Z
UID:115685-0-1771696800@artinamericaguide.com
SUMMARY:Robert Braczyk: Cardinal Directions
DESCRIPTION:Exhibition Dates: January 27 – February 21\, 2026\nOpening Reception: Thurs.\, January 29\, 2026\, 5PM-8PM\nArtist Talk: Saturday\, February 14\, 2026\, 3PM-4PM\nGallery Hours: Tuesday – Saturday\, 11AM-6PM \nBowery Gallery is pleased to present “Cardinal Directions\,” an exhibition of new sculpture by Robert Braczyk.  \nFor many years a prize-winning figurative sculptor\, in recent years Braczyk has turned to abstraction. In his new work—most about 24 inches high—he assembles various tree elements into vertical compositions that echo figural forms\, but whose abstract vocabulary of open volumes and discontinuous contours suggests the possibility of multiple allusions. Each work evinces a powerful spatial tension between the cardinal point from which it is begun and the complex three-dimensional image that Braczyk builds with primary thrust\, axis\, and meridian.  \nBraczyk’s trajectory from figure to abstract figure may be seen as a temporal through line connecting the events of a life. The artist’s comment that he brings all his life’s experiences into the studio reminds us that in the long arc of his career\, the spatial and temporal are never far apart. \nView the exhibition website. \n  \nBowery Gallery\n547 W. 27th Street\, Suite 508\nNew York\, NY 10001 \n  Save  
URL:https://artinamericaguide.com/event/robert-braczyk-cardinal-directions/
LOCATION:Bowery Gallery\, 547 W 27TH ST Suite 508\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/01/Braczyk_Reel_for_eVite-and_Web_landing-page-scaled.jpg
ORGANIZER;CN="Bowery Gallery":MAILTO:info@bowerygallery.org
GEO:40.7493621;-74.0047021
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Bowery Gallery 547 W 27TH ST Suite 508 New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=547 W 27TH ST Suite 508:geo:-74.0047021,40.7493621
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20121022
DTEND;VALUE=DATE:20220101
DTSTAMP:20260405T211820
CREATED:20210527T152347Z
LAST-MODIFIED:20210527T152507Z
UID:81363-1350864000-1640995199@artinamericaguide.com
SUMMARY:LEO VILLAREAL: COSMOS
DESCRIPTION:An homage to the late Cornell astronomy professor Carl Sagan\, Cosmos is a site-specific installation by New York–based artist Leo Villareal (born 1967)\, a pioneer in the use of light-emitting diodes (LEDs) and computer-driven imagery. His signature pieces explore complex movement and dazzling patterns created by points of light using his own computer software. \n \nVillareal – Cosmos – Johnson Museum – Cornell final from Walter Patrick Smith\, AIA LEED A on Vimeo. \nPlanning for Cosmos began in November 2010\, when Villareal—along with the project architect\, Walter Smith\, and donors Lisa and Richard Baker—worked with Johnson Museum staff to determine the optimal location for the installation. The ceiling of the Sherry and Joel Mallin Sculpture Court was chosen for its high visibility not only on campus but also from the city of Ithaca. After studying the Museum’s architectural plans and considering structural and aesthetic aspects of the installation\, the artist’s team returned to Cornell in April 2012 to install a nine-foot-square mock-up. Installation of the final piece took several weeks\, with twelve thousand energy-efficient LEDs on a gridded framework attached to the ceiling of the sculpture court. A zero gravity bench was designed by the artist for viewers to fully immerse themselves in the viewing experience and to foster a more communal involvement with his installation. Villareal gave a public lecture to mark the opening of the installation. \nVillareal’s works reinterpret fundamental components of such twentieth-century art movements as pop\, minimalism\, conceptual\, and post-painterly abstraction while responding to the ingenuity and imagination that defines technology in the twenty-first century. Among his most notable site-specific works are the illumination of the exterior of the Brooklyn Academy of Music (2006)\, Multiverse in the Concourse walkway between the East and West Buildings at the National Gallery of Art (2008)\, and Sky at the Tampa Museum of Art (2009). His largest installation to date is The Bay Lights\, illuminating the West Span of the San Francisco Bay Bridge for its 75th anniversary in 2013. \nAndrea Inselmann\nCurator of Modern and Contemporary Art \n\nImage:\nLeo Villareal\nCosmos\, 2012\nWhite LED Lights\, custom software\, and electrical hardware; site-specific installation.\nAcquired through the generosity of Richard Baker\, Class of 1988\, and Lisa Baker.\n2012.056\nPhoto: James Ewing \n\n  Save  
URL:https://artinamericaguide.com/event/leo-villareal-cosmos/
LOCATION:Herbert F. Johnson Museum of Art\, Cornell University\, 114 Central Avenue\, Cornell University\, Ithaca\, NY\, 14853\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2021/05/cosmos-ewing-2169.jpeg
GEO:42.4507153;-76.4862114
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Herbert F. Johnson Museum of Art Cornell University 114 Central Avenue Cornell University Ithaca NY 14853 United States;X-APPLE-RADIUS=500;X-TITLE=114 Central Avenue\, Cornell University:geo:-76.4862114,42.4507153
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190329T100000
DTEND;TZID=America/Halifax:20190929T170000
DTSTAMP:20260405T211820
CREATED:20190418T204953Z
LAST-MODIFIED:20190509T150353Z
UID:51723-1553853600-1569776400@artinamericaguide.com
SUMMARY:A Nation Reflected: Stories in American Glass
DESCRIPTION:Featuring more than 100 objects drawn from the Yale University Art Gallery’s collection with select loans from the Yale Peabody Museum of Natural History\, A Nation Reflected: Stories in American Glass explores the myriad ways in which glass expresses the cultural\, technological\, and artistic aspirations of those who live and work in the United States. \nhttps://artgallery.yale.edu/exhibitions/exhibition/nation-reflected-stories-american-glass \n  Save  
URL:https://artinamericaguide.com/event/a-nation-reflected-stories-in-american-glass/
LOCATION:Yale University Art Gallery\, 1111 Chapel St\, New Haven\, CT\, 06510\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/04/turtle-americanglass.jpg
ORGANIZER;CN="Yale University Art Gallery":MAILTO:artgalleryinfo@yale.edu
GEO:41.30839;-72.930958
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Yale University Art Gallery 1111 Chapel St New Haven CT 06510 United States;X-APPLE-RADIUS=500;X-TITLE=1111 Chapel St:geo:-72.930958,41.30839
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190330
DTEND;VALUE=DATE:20190624
DTSTAMP:20260405T211820
CREATED:20190404T124815Z
LAST-MODIFIED:20190415T151205Z
UID:50722-1553904000-1561334399@artinamericaguide.com
SUMMARY:Georgia O’Keeffe: Art\, Image\, Style
DESCRIPTION:Through 27 paintings\, 72 portrait photographs\, and 70 original garments\, Georgia O’Keeffe: Art\, Image\, Style inventively shows how this pioneering modern artist developed a fresh style–an artistic voice–that touched everything around her as well as her art. O’Keeffe’s brand of modernism sought simplicity\, distillation\, and clarity. That highly personal aesthetic comes to life in Wichita Art Museum galleries in spring 2019 through comparisons of the artist’s own clothing with striking portraits and stunning artworks. \nGeorgia O’Keeffe: Art\, Image\, Style is organized by the Brooklyn Museum with guest curator Wanda M. Corn\, Robert and Ruth Halperin Professor Emerita in Art History\, Stanford University\, and made possible by the National Endowment for the Arts. \nGeorgia O’Keeffe (American\, 1887-1986)\, Black Pansy & Forget-Me-Nots (Pansy)\, 1926. Oil on canvas\, 27 1/8 x 12 1/4 in. (68.9 x 31.1 cm). Brooklyn Museum\, Gift of Mrs. Alfred S. Rossin\, 28.521. Copyright Georgia O’Keeffe Museum/Artists Rights Society (ARS)\, New York. (Photo: Brooklyn Museum) \n  Save  
URL:https://artinamericaguide.com/event/georgia-okeeffe-art-image-style/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/04/Art-in-America-Black-Pansy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190405
DTEND;VALUE=DATE:20191013
DTSTAMP:20260405T211820
CREATED:20190623T154048Z
LAST-MODIFIED:20190927T192809Z
UID:57561-1554422400-1570924799@artinamericaguide.com
SUMMARY:Project Wall: Stanley Whitney
DESCRIPTION:Representing his first commissioned public art project\, internationally recognized artist Stanley Whitney and Kansas City Art Institute alumnus will utilize the H&R Block Artspace Project Wall to deliver an emphatic message. \nKnown for his painterly\, abstract compositions of organic grids with vertical and horizontal bands and blocks in vibrant hues\, Whitney’s characteristic approach to painting is as an architect and builder of pictorial color. Parallel to this deep\, lifelong study\, however\, is a smaller and lesser known series of drawings by the artist with words and phrases that explore relationships between text and image and their attendant meanings. \nIn No to Prison Life\, Whitney worked with Guest Curator Larry Ossei-Mensah\, Museum of Contemporary Art Detroit (MOCAD) Susanne Feld Hilberry Senior Curator\, to create and contextualize a new work of art for his alma mater. Whitney’s Project Wall intentionally combines painting and drawing to register an urgent public protest against a U.S. judicial system that promotes arrest\, incarceration\, and other forms of imprisonment that often further damages lives. \nWhitney recently introduced the public to the phrase “No to Prison Life” as the title for a painting created for the international Documenta 14 exhibition in Athens\, Greece and Kassel\, Germany\, in 2017.  In this new context\, however\, the artist uses his agency to create a work that merges his stylistic painting with a provocative message and in so doing broadcasts an alert regarding the disproportionate number of African Americans in U.S. prisons. \n  Save  
URL:https://artinamericaguide.com/event/project-wall-stanley-whitney/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/06/No_to_Prison_Life_Billboard_lowres.jpg
ORGANIZER;CN="H&amp%3BR Block Artspace":MAILTO:mdcain@kcai.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190413
DTEND;VALUE=DATE:20190930
DTSTAMP:20260405T211820
CREATED:20190325T163941Z
LAST-MODIFIED:20190531T142938Z
UID:49545-1555113600-1569801599@artinamericaguide.com
SUMMARY:Sheila Hicks: Campo Abierto (Open Field)
DESCRIPTION:Grouping works of art from various periods\, Campo Abierto (Open Field) explores the formal\, social and environmental aspects of landscape that have been present\, yet rarely examined\, throughout Sheila Hicks’ expansive career. Prompting contemplations on collaboration\, dialogue and discussion\, the exhibition is rooted in the reconfiguration of Escalade Beyond Chromatic Lands (2016-2017)\, the artist’s vast installation produced for the Arsenale at the Venice Biennale in 2017. The exhibition brings together several large-format installations\, as well as more intimately-scaled works\, that utilize and transform the architecture of The Bass’ upstairs galleries. The selection of works in Campo Abierto (Open Field) foreground the museum’s context in South Florida\, a multilingual locus traversed by complex immigration waves and patterns\, alongside environmental concerns. \nSheila Hicks (b. 1934\, Hastings\, Nebraska) received her BFA and MFA degrees from Yale University. She received a Fulbright scholarship in 1957-58 to paint in Chile. While in South America\, she developed her interest in working with fibers. After founding workshops in Mexico\, Chile and South Africa\, and working in Morocco and India\, she now divides her time between her Paris studio and New York. Hicks has exhibited internationally in both solo and group exhibitions. Her work was included in the 57th Venice Biennale (2017)\, 77th Whitney Biennial (2014)\, and 30th São Paulo Biennial (2012). Recent solo presentations include: Lignes de Vie\, Centre Pompidou\, Paris (2018); Free Threads 1954-2017\, Museo Amparo\, Mexico (2017). In 2010 a major retrospective of her work\, Sheila Hicks: 50 Years\, debuted at the Addison Gallery of American Art and traveled to the Institute of Contemporary Art\, Philadelphia and the Mint Museum\, Charlotte\, North Carolina. Hicks’ work is in the collections of the Metropolitan Museum of Art and the Museum of Modern Art\, New York City; Museum of Fine Arts\, Boston; The Art Institute of Chicago; the Victoria & Albert Museum\, London; Stedelijk Museum\, Amsterdam; Centre Pompidou\, Paris; the Museum of Modern Art\, Tokyo; Museo de Bellas Artes\, Santiago; solo exhibitions at the Seoul Art Center\, Korea; Israel Museum\, Jerusalem. \n  Save  
URL:https://artinamericaguide.com/event/sheila-hicks-campo-abierto-open-field/
LOCATION:The Bass\, 2100 Collins Avenue\, Miami Beach\, FL\, 33139\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/03/Sheila_Hicks_Install_2.jpg
ORGANIZER;CN="The Bass":MAILTO:info@thebass.org
GEO:25.7971165;-80.1291596
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=The Bass 2100 Collins Avenue Miami Beach FL 33139 United States;X-APPLE-RADIUS=500;X-TITLE=2100 Collins Avenue:geo:-80.1291596,25.7971165
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190425
DTEND;VALUE=DATE:20190727
DTSTAMP:20260405T211820
CREATED:20190409T194424Z
LAST-MODIFIED:20190409T194424Z
UID:50897-1556150400-1564185599@artinamericaguide.com
SUMMARY:Piero Manzoni: Lines + Materials of His Time
DESCRIPTION:Hauser & Wirth New York is pleased to present two concurrent exhibitions devoted to Piero Manzoni\, a seminal figure of postwar Italian Art and progenitor of Conceptualism. During a brief but influential career that ended upon his untimely death in 1963\, Manzoni evolved from a self-taught abstract painter into an artistic disruptor. Curated by Rosalia Pasqualino di Marineo\, director of the Piero Manzoni Foundation in Milan\, the exhibitions ‘Piero Manzoni. Materials of His Time’ and ‘Piero Manzoni. Lines’ unfold over two floors and focus on Manzoni’s most significant bodies of work: his Achromes (paintings without color) and Linee (Lines) series. \nOn view in the second-floor gallery\, ‘Materials of His Time’ features more than 70 of Manzoni’s radical Achromes and surveys the artist’s revolutionary approach to unconventional materials\, such as sewn cloth\, cotton balls\, fiberglass\, bread rolls\, synthetic and natural fur\, straw\, cobalt chloride\, polystyrene\, stones\, and more. Travelling from Hauser & Wirth Los Angeles\, the exhibition situates Manzoni as a peer of such artists as Lucio Fontana and Yves Klein\, whose experiments continue to influence contemporary art-making today. ‘Materials of His Time’ also presents\, for the first time in New York\, the items on a wish list Manzoni outlined in a 1961 letter to his friend Henk Peeters: a room all in white fur\, and another coated in fluorescent paint\, totally immersing the visitor in white light. \nThe presentation of Manzoni’s work continues on the third floor with ‘Lines\,’ an exhibition of over 35 works that constitute his most considered and serialized explorations. Developed in parallel with his production of Achromes\, Manzoni began his Linee series in 1959. Ranging from short\, simple bands traversing rectangular sheets of paper to increasingly long traces created with a roller on strips of paper\, the artist produced a total of 90 Linee works of varying meters\, which he then sealed in cylindrical containers. The series culminated in 1960 with ‘Linea lunga 7.200 metri’ (Line 7200 Meters Long)\, made in Herning\, Denmark. In addition to Manzoni’s cylindrical wooden sculpture ‘Linea di lunghezza infinita’ (Line of Infinite Length) (1960)\, a purely conceptual work\, Hauser & Wirth is pleased to feature ‘12 Linee\,’ a reconstruction of the artist’s exhibition originally staged in 1959 for the opening of the illustrious Azimut gallery in Milan\, as well as the short film ‘Le lunghe linee\,’ presented for the first time with new audio and music. Despite the extraordinary importance of the series for the artist\, this is the first time a major exhibition has been staged around the Linee. \nThe exhibitions are designed by Stephanie Goto and are complemented by a special presentation of archival material from the collection of Guido and Gabriella Pautasso. Books\, documents\, and typewritten manuscripts authored by Manzoni shed light on his methodology. Curated by Guido Pautasso and Irene Stucchi\, the display of archival materials that accompanied Manzoni’s practice adds another dimension to his life\, tracing the artist’s biography reanimating his personal and creative journey for a contemporary audience. \nOn the occasion of ‘Materials of His Time’ and ‘Lines\,’ Hauser & Wirth Publishers has released a box set of two new catalogues providing a comprehensive historical-critical analysis of Manzoni’s two major bodies of work. \n  Save  
URL:https://artinamericaguide.com/event/piero-manzoni-lines-materials-of-his-time/
LOCATION:Hauser & Wirth\, 22nd St\, 548 West 22nd Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2019/04/piero.png
ORGANIZER;CN="Hauser & Wirth%2C 22nd St":MAILTO:newyork@hauserwirth.com
GEO:40.747812;-74.007014
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Hauser & Wirth 22nd St 548 West 22nd Street New York NY 10011 United States;X-APPLE-RADIUS=500;X-TITLE=548 West 22nd Street:geo:-74.007014,40.747812
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190425
DTEND;VALUE=DATE:20190727
DTSTAMP:20260405T211820
CREATED:20190409T195221Z
LAST-MODIFIED:20190409T195221Z
UID:50903-1556150400-1564185599@artinamericaguide.com
SUMMARY:Lorna Simpson: Darkening
DESCRIPTION:Over the past 30 years\, Lorna Simpson has continued to probe questions about the nature of representation\, identity\, gender\, race\, and history\, while expanding her oeuvre to encompass various media including film and video\, painting\, drawing\, and\, most recently\, sculpture. Her powerful works entangle viewers in an equivocal web of meaning: what is unseen and left unsaid is equally important as that which the artist does disclose. In this exhibition of new paintings and collages\, Simpson continues to engage viewers with layers of paradox\, threading dichotomies of figuration and abstraction\, destruction and creation\, past and present. \n  Save  
URL:https://artinamericaguide.com/event/lorna-simpson-darkening/
LOCATION:Hauser & Wirth\, 22nd St\, 548 West 22nd Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Hauser & Wirth%2C 22nd St":MAILTO:newyork@hauserwirth.com
GEO:40.747812;-74.007014
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Hauser & Wirth 22nd St 548 West 22nd Street New York NY 10011 United States;X-APPLE-RADIUS=500;X-TITLE=548 West 22nd Street:geo:-74.007014,40.747812
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190427
DTEND;VALUE=DATE:20191028
DTSTAMP:20260405T211820
CREATED:20190702T205121Z
LAST-MODIFIED:20190702T205121Z
UID:57918-1556323200-1572220799@artinamericaguide.com
SUMMARY:Recent Acquisition: Nicole Eisenman\, Sketch for a Fountain
DESCRIPTION:The Nasher Sculpture Center proudly unveils its recent acquisition\, Sketch for a Fountain\, a group of five sculptures by Nicole Eisenman.  Conceived for the 2017 Münster Sculpture Projects in Münster\, Germany\, the work is an ambitious\, contemporary reimagining of the timeless subject of fountain statuary. \n\n\nSketch for a Fountain was inspired by the long history of fountains\, one of the oldest forms of public art. Eisenman’s figures—larger-than-life\, of indeterminate gender\, and almost cartoonishly fleshy—exemplify the appeal of her humorous and humane aesthetic. Lounging and dozing\, they could be lingering in an arcadian reverie or sleeping off a bacchanal\, their torpor disturbed only by the gentle sprinkles of water spewing from different parts of their bodies\, which in places sprout elements that seem to be drawn to the dampness\, such as mushrooms and slugs. Eisenman’s figures evoke associations with a range of art historical precedents\, including Greco-Roman representations of hermaphrodites\, Paul Cézanne’s Bathers\, George Segal’s introspective figures\, and the whimsical public sculptures of Tom Otterness. \nKnown initially for her work in painting\, Eisenman made sculpture as a student at the Rhode Island School of Design and has recently begun to make a mark for herself in the medium.  An important precedent for her Münster project was the 2013 Carnegie International\, where\, along with a selection of her paintings\, she exhibited a group of sculptures in the museum’s sculpture court\, alongside Greco-Roman sculptures from the permanent collection\, and described her figures as “scruffy\, bohemian great-great-grandchildren of those gods.” Working largely in plaster\, with occasional items of assemblage\, Eisenman has focused primarily on figures and heads. \nInstalled in and around the pond in Nasher Garden\, Sketch for a Fountain expands the consideration of the figure and sculptural ensembles also on view there\, such as Segal’s Rush Hour and Magdalena Abakanowicz’s Bronze Crowd.  Three of the figures (those with water elements) were purchased through the Kaleta A. Doolin Acquisition Fund for Women Artists\, while two sculptures (those without water elements) come to the Nasher as a promised gift from the Green Family Collection. \n\n  Save  
URL:https://artinamericaguide.com/event/recent-acquisition-nicole-eisenman-sketch-for-a-fountain/
LOCATION:Nasher Sculpture Center\, 2001 Flora Street\, Dallas\, TX\, 75201\, United States
CATEGORIES:Exhibition
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GEO:32.7881901;-96.8002336
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Nasher Sculpture Center 2001 Flora Street Dallas TX 75201 United States;X-APPLE-RADIUS=500;X-TITLE=2001 Flora Street:geo:-96.8002336,32.7881901
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190427
DTEND;VALUE=DATE:20190930
DTSTAMP:20260405T211820
CREATED:20190919T160236Z
LAST-MODIFIED:20190926T161810Z
UID:59820-1556323200-1569801599@artinamericaguide.com
SUMMARY:Charles Capps: Prairie Print Maker
DESCRIPTION:This exhibition celebrates the work of Wichitan Charles “Chili” Capps\, one of eleven original members of the Prairie Print Makers. The Prairie Print Makers–founded in 1930 by many of our region’s best artists–worked to make fine art accessible to everyday Kansans and joined with other print societies to create a broad culture of print collecting throughout America. \n  \nImage: Charles M. Capps\, Mission at Trampas\, 1949. Etching and aquatint. 11 1/16 x 16 7/8 inches. Wichita Art Museum\, Bequest of Elizabeth T. Forter in memory of her mother\, Elizabeth Tusten Forter \n  Save  
URL:https://artinamericaguide.com/event/charles-capps-prairie-print-maker/
LOCATION:Wichita Art Museum\, 1400 West Museum Boulevard\, Wichita\, KS\, 67203\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/09/capps_mission.jpg
ORGANIZER;CN="Wichita Art Museum":MAILTO:pr@wichitaartmuseum.org
GEO:37.6949375;-97.3561859
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Wichita Art Museum 1400 West Museum Boulevard Wichita KS 67203 United States;X-APPLE-RADIUS=500;X-TITLE=1400 West Museum Boulevard:geo:-97.3561859,37.6949375
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190429
DTEND;VALUE=DATE:20190727
DTSTAMP:20260405T211820
CREATED:20190409T195904Z
LAST-MODIFIED:20190409T195920Z
UID:50906-1556496000-1564185599@artinamericaguide.com
SUMMARY:Soto: Vibrations\,1950–1960
DESCRIPTION:Renowned as art history’s leading kinetic artist\, Soto explored the dematerialization\, or ‘disintegration’ of the art object\, breaking new ground while anticipating conceptual strategies to come. Hauser & Wirth is pleased to present the first exhibition to focus on the critical first decade of the artist’s life in Paris\, from 1950 – 1960. During this period\, Soto exhibited at the Salon des Réalités Nouvelles alongside established European artists like Josef Albers and Fernand Léger as well as members of Grupo Madí\, an artist collective founded in Buenos Aires in 1946. A believer in art historical evolution\, Soto built upon the work of the masters that preceded him in order to challenge figurative tradition via abstraction and repetition. Imbued with vibration and movement\, these early works constitute a breakthrough in Soto’s output\, laying crucial groundwork for his later kinetic works and the uniquely fluid style that shaped his artistic vocabulary. \n  Save  
URL:https://artinamericaguide.com/event/soto-vibrations-1950-1960/
LOCATION:Hauser & Wirth\, 69th St\, 32 East 69th Street\, New York\, NY\, 10021\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Hauser & Wirth%2C 69th St":MAILTO:newyork@hauserwirth.com
GEO:40.76947;-73.966566
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Hauser & Wirth 69th St 32 East 69th Street New York NY 10021 United States;X-APPLE-RADIUS=500;X-TITLE=32 East 69th Street:geo:-73.966566,40.76947
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190501
DTEND;VALUE=DATE:20200302
DTSTAMP:20260405T211820
CREATED:20200221T151638Z
LAST-MODIFIED:20200221T162417Z
UID:65494-1556668800-1583107199@artinamericaguide.com
SUMMARY:Harold Ancart | Subliminal Standard
DESCRIPTION:Brooklyn-based artist Harold Ancart (b. 1980\, Brussels\, Belgium) has created this painted concrete sculpture as an homage to the accidental abstract compositions that appear on New York City’s ubiquitous freestanding handball walls. The artist sees the mismatched repainting and partial repairs that mask graffiti and other wear on these courts as “subliminal\,” inadvertent masterpieces. He relishes their fortuitous connection to the canon of abstract art. \nHandball is an urban sport that was popularized by immigrants in the early 20th century\, but Subliminal Standard is not a typical handball court. It is Ancart’s most ambitious artwork to date – a newly-built structure with nuanced and compelling painted surfaces inspired by his fascination with seemingly quotidian found forms and patterns. Here\, the artist’s distinctive painting style extends beyond the frame of the canvas and outside the museum’s walls to interact with its setting in subtle ways. Ancart invites us to immerse ourselves in this extraordinary environment and to become part of its composition as we engage with our surroundings\, each other\, and art in a new way. In the game of handball\, all you need is a ball and a wall to play. Subliminal Standard proposes that we only need our imagination to perceive the unseen beauty that surrounds us every day. \nSubliminal Standard is curated by Associate Curator Daniel S. Palmer \n\nImage:\nHarold Ancart\nSubliminal Standard\nCadman Park Plaza\nPublic Art Fund\, 2019 \n\n  Save  
URL:https://artinamericaguide.com/event/harold-ancart-subliminal-standard/
LOCATION:Cadman Park Plaza\, Cadman Park Plaza E\, Brooklyn\, NY\, 11201
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2020/02/AncartH_3261.jpg-1600x1066-1.jpg
ORGANIZER;CN="Public Art Fund":MAILTO:info@publicartfund.org
GEO:40.6976723;-73.9906433
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cadman Park Plaza Cadman Park Plaza E Brooklyn NY 11201;X-APPLE-RADIUS=500;X-TITLE=Cadman Park Plaza E:geo:-73.9906433,40.6976723
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190502
DTEND;VALUE=DATE:20190630
DTSTAMP:20260405T211820
CREATED:20190528T183607Z
LAST-MODIFIED:20190528T183607Z
UID:54422-1556755200-1561852799@artinamericaguide.com
SUMMARY:Jordan Belson: Paintings 1950–1965
DESCRIPTION:Matthew Marks is pleased to announce Jordan Belson: Paintings 1950–1965\, the next exhibition in his gallery at 523 West 24th Street. It features twenty-three paintings\, the majority of which are being shown publicly for the first time\, and four films. \nJordan Belson (1926–2011)\, a seminal figure in twentieth-century avant-garde cinema\, studied painting as a young man\, and in 1949 his work was included in two exhibitions at the Guggenheim Museum\, then called the Museum of Non-Objective Painting. In the late 1940s he began making films\, settling in San Francisco’s North Beach neighborhood\, where he lived for the remainder of his life. In the early 1950s\, well before hippies replaced beatniks and San Francisco became known as a center of psychedelic activity\, Belson started experimenting with hallucinogens and devoted himself to meditation and a rigorous yoga discipline in an effort to expand his consciousness\, resulting in films that were tightly controlled yet often ecstatic transmissions of a liberated mind’s eye. \nAlthough Belson never exhibited his paintings again after 1950\, the medium remained central to his art\, and reflected and informed the films for which he later became renowned. The highly inventive approach to abstraction in his paintings anticipated the work of better-known artists by more than a decade. Belson did not\, in fact\, consider his work abstract but rather a faithful record of altered psychic states. He explained\, “I’m trying to focus on something\, bring it back alive from the uncharted areas of the inner image\, inner space.” Through these interior voyages he hoped to discover the universal\, and many of his paintings\, with their highly centered primary forms\, resemble sacred art. The earliest works in the exhibition are mandala-like compositions of interwoven rhythmic lines\, while a series from the mid-1950s features circular shapes that recall tantric painting. \nDespite Belson’s mysticism\, he was deeply committed to science. His technical control of color and light\, the fundamental elements of his filmmaking\, are on full display in his paintings. He also turned to geometry and physics for his subject matter\, as in the painting Porazzo Polyhedra (c.1965)\, which depicts a spherical shape made up of pentagons and octagons\, like the geodesic domes of Buckminster Fuller\, one of Belson’s heroes. Spiral Hall (c.1961) resembles a diagram of subatomic particles\, while several paintings from the mid-1960s depict vividly colored nebulae\, vast clouds of space dust and stars. \n“Intuition is the basis of my aesthetic judgment\,” Belson said. “The more you allow intuition to speak to you\, the closer you are to the truth\, and the origins of the universe.” \nThis exhibition has been organized in association with Raymond Foye and the Estate of Jordan Belson. \nJordan Belson: Paintings 1950–1965 is on view at 523 West 24th Street from May 2 to June 29\, 2019\, Tuesday through Saturday\, from 10:00 AM to 6:00 PM. On May 6\, Anthology Film Archives (32 Second Avenue) will present a screening of Belson’s films. On May 21\, Light Industry (155 Freeman Street\, Brooklyn) will show Donald Cammell’s 1977 film Demon Seed\, for which Belson created special effects. \nFor additional information\, please contact Jacqueline Tran at 212-243-0200 or jacqueline@matthewmarks.com. \n  Save  
URL:https://artinamericaguide.com/event/jordan-belson-paintings-1950-1965/
LOCATION:Matthew Marks Gallery 523\, 523 West 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2019/05/Belson_landing0.png
ORGANIZER;CN="Matthew Marks Gallery NY":MAILTO:info@matthewmarks.com
GEO:40.7490475;-74.0047307
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Matthew Marks Gallery 523 523 West 24th Street New York NY 10011 United States;X-APPLE-RADIUS=500;X-TITLE=523 West 24th Street:geo:-74.0047307,40.7490475
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190502T180000
DTEND;TZID=America/Halifax:20190808T170000
DTSTAMP:20260405T211820
CREATED:20190409T171145Z
LAST-MODIFIED:20190409T171145Z
UID:50886-1556820000-1565283600@artinamericaguide.com
SUMMARY:MFA Graduate Exhibition Series
DESCRIPTION:SACI MFA SUMMER GRADUATE EXHIBITION SERIES \n  \nMFA IN PHOTOGRAPHY \nOn View: May 2\, 2019 – May 30\, 2019 \nOpening Reception: May 2 @ 6:00pm \nLina Bessonova’s photography exhibition\, What We Know Nothing About\, is a collection of radiant black and white darkroom prints calls our attention to the fact that we can never truly know the layers of meanings that exist in everyday moments until these moments become memories. Come experience the intimacy of the ordinary and contemplate the meaningfulness of everyday experiences: What We Know Nothing About will make you fall in love with all that we take for granted. \n  \nMFA IN STUDIO ART \nOn View: June 6\, 2019 – June 28\, 2019 \nOpening Reception: June 6 @ 6:00pm \nCaline Touma‘s exhibition of drawing and paintings\, is an exploration of the human soul and spirit. A discovery of what it means to be human\, not only in a physical sense\, but the spiritual. What is below the physical exterior? Touma transcends beyond\, to the inside. Whether it be in the quick\, playful lines of her exquisitely complex graphite drawings\, or the animated qualities of her paintings her work breathes life\, as if it too\, has a living soul. \n  \nMFA IN COMMUNICATION DESIGN \nOn View: July 11\, 2019 – August 8\, 2019 \nOpening Reception: July 11 @ 6:00pm \nWell known marketing campaigns such as I\, Amsterdam have seen a marked increase in tourism for the Netherland city. Graphic designer\, Manuela Bosch\, displays her ability to unify her creative design and in depth understanding of fluid identity to create a brand for her home city of Montevideo\, Uruguay. The installation guides the viewer through the complex process of creating a design that captures the individuality of each citizen’s perception of their own city and encourages tourism while maintaining the heart of the city. \n  \nFor more information about SACI & the Artists\, please visit: https://saci-florence.edu/mfa-graduate-exhibition-series \nTo RSVP\, please do so here: https://www.eventbrite.com/e/mfa-graduate-exhibition-series-tickets-59974827323  \n  Save  
URL:https://artinamericaguide.com/event/mfa-graduate-exhibition-series/
LOCATION:SACI Gallery\, 454 W 19th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Event,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/04/frontfinalpostcard.jpg
ORGANIZER;CN="SACI NY Gallery":MAILTO:nygallery@saci-florence.edu
GEO:40.7449342;-74.0056949
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=SACI Gallery 454 W 19th Street New York NY 10011 United States;X-APPLE-RADIUS=500;X-TITLE=454 W 19th Street:geo:-74.0056949,40.7449342
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190509
DTEND;VALUE=DATE:20190630
DTSTAMP:20260405T211820
CREATED:20190529T181452Z
LAST-MODIFIED:20190529T181452Z
UID:54591-1557360000-1561852799@artinamericaguide.com
SUMMARY:Jasper Morrison: Corks
DESCRIPTION:Kasmin is pleased to announce the US representation of internationally acclaimed designer Jasper Morrison. Morrison’s first solo gallery exhibition in North America\, Corks\, will go on view at Kasmin’s 297 Tenth Avenue space between May 9 – June 29\, 2019. \nThe exhibition puts on view Morrison’s first complete series of furniture realized in cork. As limited editions\, these pieces mark a departure from the designer’s usual methods of industrial production and initiate a new collaborative partnership that speaks to Kasmin’s continued engagement with presenting boundary-pushing work at the intersection of art and design. A domestic exhibition design will bring together examples of Morrison’s chaise longue\, a fireplace\, chairs\, stools\, and bookshelves. \nMorrison’s interest in cork stems from its remarkable functionality as well as its unique atmospheric qualities\, which he recognizes as a key design component of an object’s long-term success. Developed by the cork oak tree as a protective covering\, this particular iteration of the material is reconstituted from unselected wine bottle corks\, some still visible in their original shape. \nHis designs have long been the domestic choice of creative professionals\, whilst simultaneously populating public art spaces and institutional settings. In 2014\, he designed the furniture for the extension to Tate Modern\, more than ten years after working on the opening of the museum with the architects Herzog & de Meuron\, and in 2009\, he was invited by the Musée des Arts Décoratifs de Bordeaux to create an interventional installation of his contemporary designs interwoven within the historical collections. \nWork by Jasper Morrison is included in significant international collections such as Museum of Modern Art\, New York; Cooper Hewitt Smithsonian Design Museum\, New York; Centre Pompidou\, Paris; V&A Museum\, London; Design Museum\, London\, Musée des Arts Decoratif\, Paris; Vitra Design Museum Collection\, Weil am Rein; M+\, Hong Kong; and many more. \n  Save  
URL:https://artinamericaguide.com/event/jasper-morrison-corks/
LOCATION:Kasmin Gallery\, 297\, 297 10th Ave\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190511
DTEND;VALUE=DATE:20190630
DTSTAMP:20260405T211820
CREATED:20201214T152125Z
LAST-MODIFIED:20201214T152125Z
UID:79221-1557532800-1561852799@artinamericaguide.com
SUMMARY:HEDIEH JAVANSHIR ILCHI: I surrender to you\, ashen lands and blue skies
DESCRIPTION:Moving to an aerial view\, observing from a distance\, there may be no such thing as a cultural war. There may only be a process\, a moment in an ever-evolving world of cultural forces. Although this viewpoint does not champion good or evil\, it does acknowledge movement and outcome. The paintings of Hedieh Javanshir Ilchi arise from cultures often portrayed at war. Each culture measures itself by a different clock. Each respective clock sometimes runs faster than the other\, then slower\, sometimes backward and then again forward. The clocks rarely synchronize\, until the conflicts are spent and the two clocks merge. Ilchi’s work takes us to an aerial viewpoint where we see traditional Persian imagery merging with modernist American painting techniques. The content is not in conflict\, but there is sense of broken parts coming together and things from a past appearing in a present. Contrary to our times\, where a speeding flow of expedient information engulfs everything\, Ilchi asks us to step back\, slow down\, take the aerial view. From this vantage point we see intricately executed tazhib patterns\, sometimes floating over and at other times captured within scenes of organic chaos. Chaos created by the layering of translucencies\, controlled pours and the topographical accumulations of paint. It is as though we are witnessing the reactions of chemical components. It takes time to comprehend the dazzling luminosities of her paintings\, to see the merging of two cultures. Yet Ilchi’s work is not of an ideal state\, there is a sense of trouble in her pictures\, an apprehension of beauty\, and a pining wishful-ness for the outcomes we are moving towards. \n\n\nHedieh Javanshir Ilchi was born in 1981 in Tehran\, Iran and currently lives and works in the Washington DC area. Ilchi received a BFA with honors from the Corcoran College of Art + Design in 2006 and an MFA in Studio Art from the American University in 2011. She has been awarded residencies at the Ucross Foundation\, Vermont Studio Center\, The Jentel Foundation\, and the Kimmel Harding Nelson Center for the Arts. She has exhibited in New York\, Switzerland\, Washington DC and Winston- Salem\, NC and her work is included in several private and public collections. HEDIEH JAVANSHIR ILCHI: I surrender to you\, ashen lands and blue skies is the artist’s second exhibition at Hemphill Fine Arts. \n\n  Save  
URL:https://artinamericaguide.com/event/hedieh-javanshir-ilchi-i-surrender-to-you-ashen-lands-and-blue-skies/
LOCATION:HEMPHILL\, 1515 14th Street NW\, Washington\, DC\, 20005\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="HEMPHILL":MAILTO:gallery@hemphillfinearts.com
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190515T100000
DTEND;TZID=America/Halifax:20190815T180000
DTSTAMP:20260405T211820
CREATED:20190513T162947Z
LAST-MODIFIED:20190514T211430Z
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SUMMARY:RLWindow – ONTOPO : ¿Hablas Turista?
DESCRIPTION:Opening Reception & Performances : Sat. May 18\, 4-6pm  \nOpening Performances  \nAudio | Keetin Mayakara  \nDance | Juri Onuki  \nAudio | Kamau Patton  \nRLWindow Installation Series  \nPriscilla Jeong | Kamau Patton | Amy Yao  \nOrganizer | Jon Santos  \n RYAN LEE is pleased to announce ONTOPO : ¿Hablas Turista? organized by Jon Santos with site-specific photographic window installations by Priscilla Jeong\, Kamau Patton\, and Amy Yao from May 15 to August 15. Performances by Keetin Mayakara\, Juri Onuki\, and Kamau Patton will take place during the opening reception and in the gallery space. The project is site responsive to RLWindow designed to engage High Line visitors and tourists through architecture\, performance\, and participation. The RLWindow can be viewed on the High Line at 26th Street overlooking the gallery.  \nONTOPO is an on-going series of performative and participatory projects based on collective creative exchange. The project reimagines the relationship between creating and consuming\, author and audience\, with a multi-faceted embrace of visual art\, cuisine\, design\, sound\, architecture\, and performance. The project’s core is the willingness to experiment and the collective energy of contributing artists from different regions. Each site creates freedom from familiar constraints allowing for more present participation among artists and audience.  \nONTOPO : ¿Hablas Turista? meaning “Do You Speak Tourist?” references a project Priscilla Jeong and Amy Yao created in Tulum\, Mexico. They were part of a group that Santos spontaneously assembled for recreation\, contemplation\, rest\, artistic production\, and performance. In this context\, the artists’ surroundings and their temporary community informed the works. The artists reconsider their voices and modes of production outside their studio within the dynamic context of localism and tourism. Juri Onuki and Kamau Patton participated in the Magick City and Catskills Zen Do ONTOPO projects respectively. Collectively the artists’ experiences and works fold into the RLWindow site and project series.  \nPriscilla Jeong’s site specific installation\, Logee’s Growth Habits 1\,2\,3 (2018)\, was originally created during ONTOPO in Mexico. The work consisted of three pillow cases. Each pillowcase contains excerpts of a plant catalogue specializing in tropical exotic plants in the US paired with locally sourced “exotic” materials. Jeong focuses on the entanglement of digital sociology\, labor\, gender\, and technology. Her work explores contemporary spiritualism with an emphasis on the role of humanics and machinics.  \nJuri Onuki’s dance and choreography responds to George Miyasaki’s abstract expressionist work on view in the gallery and his legacy. Her approach posits Zen philosophy as a stabilizing mechanism for Japanese Americans\, like Miyasaki\, confronting a period of intense discrimination against them after World War II. Onuki will question Japanese American identity by performing everyday gestures and movements based on Miyasaki’s Bay Area-inflected brand of abstract expressionism. Onuki is a Japanese artist working primarily in performance as a dancer and choreographer.  \nThe Tel_ project is Kamau Patton’s opening acoustic and social performance. The work derives its name from the archeological term ‘Tell’\, an artificial mound formed from the accumulated refuse of people living on the same site for hundreds of years. The performance project is an examination of history or memory considered as layers and residue. Tel_ aims to question how the nature of memory has changed in relation to cyberspace and transmission technologies. Patton’s photo installation for RLWindow\, Masten Lake Rd\, Wurtsboro\, New York\, offers a ‘google view’ and vantage point of the natural features surrounding a Buddhist monastery in upstate New York where his original ONTOPO experience took place.  \nJon Santos is the organizer of the ONTOPO : ¿Hablas Turista? project. Santos is an artist working in sound\, video\, design and installation. His works seek to expand graphic design beyond traditional media (print\, digital and screen based) towards participatory\, performative\, improvisational\, and experiential modes. As the founder of ONTOPO\, he is interested in exploring informal learning through site-specific and cross-platform performances.  \nAmy Yao’s work was created in Mexico in 2018. The photographic work featured in RLWindow is a mixed-media installation created from freshly cooked bacon placed in the sand\, on top of found objects\, and on rubbish in the property where ONTOPO was being held. She is interested in making work in many different mediums informed by ideas of waste and consumption.  \nRLWindow is a dedicated exhibition space for video\, installation\, and performance at the gallery engaging High Line visitors through a window. Capitalizing on the gallery’s position overlooking the High Line and its visibility to the 4.6 million yearly visitors\, RLWindow will show innovative\, experimental\, and collaborative projects by international\, contemporary artists\, both represented by the gallery and invited. By launching active programming in this site-specific space\, the gallery will expand its mission to work with leading artists and curators.  \nFollow www.ontopo.net and @on_topo on Instagram for ongoing work updates.  \nFollow the gallery and project on Instagram at : #RLWindow #ryanleegallery @ryanleegallery  \nFor press inquiries\, contact press@ryanleegallery.com or 212-397-0742  \n  Save  
URL:https://artinamericaguide.com/event/rlwindow-ontopo-hablas-turista/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190516
DTEND;VALUE=DATE:20190630
DTSTAMP:20260405T211820
CREATED:20190529T181025Z
LAST-MODIFIED:20190529T181025Z
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SUMMARY:Brancusi: The Photographer
DESCRIPTION:“Photography is the form in which Brancusi speaks about his sculpture.”—Friedrich Teja Bach \nKasmin is pleased to announce Brancusi: The Photographer\, organized in collaboration with Bruce Silverstein Gallery. The exhibition will be on view at 293 Tenth Avenue between May 16 – June 29\, 2019\, presented concurrently with Brancusi’s Flowers at Bruce Silverstein Gallery\, on view at 529 West 20th Street. \nBrancusi: The Photographer brings together 25 rare vintage gelatin silver prints spanning two decades that illuminate the significance of photography in the artist’s oeuvre. In 1921\, Brancusi began to committedly pursue photography\, influenced by his friendship with Man Ray\, whose guidance on the technical elements of medium and mastery of the darkroom strengthened Brancusi’s command of the practice. This collaborative dialogue between the two artists led to numerous technical and artistic innovations within and beyond the photographic medium. \nAside from their inherent indexical nature\, Brancusi’s photographs reinforce the artist’s intentions for his sculptures. Taken in the intimate\, atmospheric environment of his carefully orchestrated studio design at the Impasse Ronsin in Paris\, many of the works in the exhibition depict assemblages comprised of Brancusi’s most celebrated sculptures\, found objects and material fragments. They demonstrate the artist’s investment not only in the sculptures as individual entities but also in their relationship to one another in the context of a synthesized tableau. These ‘group mobiles’ create narrative juxtapositions amongst the rooms’ dramatic pitches of light and shadow\, allowing Brancusi to emphasize salient elements of his work and recontextualize their forms. \nAn indelible\, recurring subject in Brancusi’s photographs is his magnum opus\, the Colonne sans fin (Endless Column). Different iterations of the sculpture are photographed while installed in Brancusi’s studio\, at Târgu Jiu in Romania\, and in Edward Steichen’s garden at Voulangis in France. Often positioning the camera at the base of the sculpture looking up\, Brancusi’s photographic works on Endless Column accentuate the sublime nature of the sculpture while also documenting the site-specificity of its myriad installations. \n  Save  
URL:https://artinamericaguide.com/event/brancusi-the-photographer/
LOCATION:Kasmin Gallery\, 293\, 293 10th Ave\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Kasmin Gallery":MAILTO:info@kasmingallery.com
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190516T080000
DTEND;TZID=America/Halifax:20191006T170000
DTSTAMP:20260405T211820
CREATED:20190626T130344Z
LAST-MODIFIED:20190626T130344Z
UID:57731-1557993600-1570381200@artinamericaguide.com
SUMMARY:Rina Banerjee: Make Me a Summary of the World
DESCRIPTION:Rina Banerjee: Make Me a Summary of the World is the first mid-career retrospective of the artist’s work. Co-organized by the Pennsylvania Academy of the Fine Arts\, Philadelphia\, and San José Museum of Art\, the exhibition presents almost twenty years of Banerjee’s large-scale installations\, sculptures\, and paintings—including a re-creation of her work from the 2000 Whitney Biennial; sculptures featured in the 2017 Venice Biennale; and recent work for the Prospect 4 New Orleans biennial. \nBanerjee creates vivid sculptures and installations made from materials sourced throughout the world. She is a voracious gatherer of objects—in a single sculpture one can find African tribal jewelry\, colorful feathers\, light bulbs\, Murano glass\, and South Asian antiques in conflict and conversation with one another. These sensuous assemblages reverberate with bright colors and surprising textures present simultaneously as familiar and unfamiliar. \nRina Banerjee: Make Me a Summary of the World focuses on four interdependent themes in Banerjee’s work that coincide with important issues of our time: immigration and identity; the lasting effects of colonialism and its relationship to globalization; feminism; and climate change. \n  Save  
URL:https://artinamericaguide.com/event/rina-banerjee-make-me-a-summary-of-the-world/
LOCATION:San Jose Museum of Art\, 110 S. Market Street\, San Jose\, CA\, 95113\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190518
DTEND;VALUE=DATE:20190812
DTSTAMP:20260405T211820
CREATED:20190409T200529Z
LAST-MODIFIED:20190409T200529Z
UID:50911-1558137600-1565567999@artinamericaguide.com
SUMMARY:Guillermo Kuitca
DESCRIPTION:Hauser & Wirth is pleased to present the gallery’s first Los Angeles exhibition with acclaimed Argentine artist Guillermo Kuitca. Evoking the complex geometries and layers of architectural plans and cartographic maps\, Kuitca’s paintings achieve theatrical impact as they explore themes of dislocation. Presented in the South Gallery\, this exhibition will debut two new series rendered with his distinctive melding of abstraction and figuration. ‘The Family Idiot’ series draws its title from Jean-Paul Sartre’s study of Gustave Flaubert\, while ‘Missing Pages’ – an 18-part wall piece – mines the physical process of book printing\, specifically the unexpected combination of images that ensues during pagination. The exhibition will also include new ‘Theater’ pieces\, which continue Kuitca’s long-standing involvement with the dramatic arts through an idiosyncratic integration of architectural features in two-dimensional space. \nBorn in Buenos Aires in 1961\, Guillermo Kuitca’s powerful abstract paintings\, sculptures\, drawings\, and installations resonate through their evocations of motion\, migration\, loss\, and discovery. His work has been exhibited internationally and resides in distinguished collections worldwide. Among the exhibitions that brought Kuitca to global prominence were ‘Projects’ at The Museum of Modern Art in New York (1991); Documenta IX in Kassel (1992); and the artist’s exhibition for the Argentine Pavilion at the 2007 Venice Biennale. Kuitca’s most recent solo exhibition venues include the Kunsthaus Centre d’art Pasquart (2017) and Hauser & Wirth in London (2016). In 2017\, Kuitca conceived and curated the show\, ‘Les Visitants’\, for the Fondation Cartier in Paris. \n  Save  
URL:https://artinamericaguide.com/event/guillermo-kuitca/
LOCATION:Hauser & Wirth\, LA\, 901 East 3rd Street\, Los Angeles\, CA\, 90013\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Hauser & Wirth%2C LA":MAILTO:losangeles@hauserwirth.com
GEO:34.0462118;-118.2347766
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190522
DTEND;VALUE=DATE:20190630
DTSTAMP:20260405T211820
CREATED:20190529T152135Z
LAST-MODIFIED:20190529T152135Z
UID:54548-1558483200-1561852799@artinamericaguide.com
SUMMARY:Thomas Ruff: Transforming Photography
DESCRIPTION:David Zwirner is pleased to present work by German photographer Thomas Ruff\, on view across two floors of the gallery’s Hong Kong location. The exhibition will provide an overview of the artist’s prodigious career\, ranging from seminal early series to a new body of work. \nRuff rose to international prominence in the late 1980s as a member of the Düsseldorf School\, a group of young photographers who had studied under Bernd and Hilla Becher at the renowned Kunstakademie Düsseldorf and became known for their experimental approach to the medium and its evolving technological capabilities. Ruff in particular made a radical break with the style of his teachers\, establishing a distinct approach to conceptual photography through a variety of strategies\, including the use of color\, the purposeful manipulation of source imagery—originally through manual retouching techniques and eventually through digital methods—and the enlargement of the photographic print to the scale of monumental painting. Working in discrete series\, Ruff has since utilized these methods to conduct an in-depth examination of a variety of photographic genres\, including portraiture\, the nude\, landscape\, and architectural photography\, among others. \nHighly influential to subsequent generations of photographers\, Ruff’s overarching inquiry into the nature of photographic representation accounts for not only his heterogeneous subject matter\, but also the extreme variation of technical means used to produce his series\, ranging from anachronistic devices to the most advanced computer simulators and covering nearly all ground in between. As he has noted\, “I always want to take the medium of photography into the picture\, so that you are always aware that you are looking at an image—a photograph—so\, in the picture I hope you can see two things: the image itself\, plus the reflection—or the thinking—about photography…. It is as if I am investigating the grammar of photography.”1 \nOn view will be examples from a number of key series including sterne (1989–1992)\, nudes (1999–)\, Substrate (2001–)\, jpeg (2004–)\, phg. (2012–)\, tripe (2018)\, and flower.s (2018–). \nThis will be Ruff’s tenth solo exhibition with David Zwirner since joining the gallery in 2000. On the occasion\, a new publication on Ruff’s work\, featuring an interview with the artist by Okwui Enwezor\, is forthcoming from David Zwirner Books\, and will be available in both English-only and bilingual English/traditional Chinese editions. \n1 Guy Lane\, “Thomas Ruff Interview\,” Foto8 Blog (October 24\, 2009)\, accessed online. \nImage: Installation view\, Thomas Ruff: Transforming Photography\, David Zwirner\, Hong Kong\, 2019 \n  Save  
URL:https://artinamericaguide.com/event/thomas-ruff-transforming-photography/
LOCATION:David Zwirner Hong Kong\, 5-6/F\, H Queen’s\, 80 Queen’s Road Central\, Hong Kong\, Hong Kong
CATEGORIES:Exhibition
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ORGANIZER;CN="David Zwirner Hong Kong":MAILTO:hongkong@davidzwirner.com
GEO:22.283054;114.1553411
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190523
DTEND;VALUE=DATE:20190630
DTSTAMP:20260405T211820
CREATED:20190529T181733Z
LAST-MODIFIED:20190529T181733Z
UID:54595-1558569600-1561852799@artinamericaguide.com
SUMMARY:James Nares: Monuments
DESCRIPTION:Kasmin is pleased to present an exhibition of James Nares’ newest body of work\, entitled Monuments\, on view at 509 West 27th Street between May 23 – June 29\, 2019. \nNew York City’s oldest surviving downtown sidewalks were made almost 200 years ago by immigrant masons who lined the streets with giant paving stones of solid granite. These monolithic slabs they then chiseled with improvised marks and designs\, to prevent pedestrians from slipping. These carvings have withstood the erosion of time and foot traffic\, leaving a record of free thought and personal markings from the hands and minds of long-forgotten workmen. \nNares made wax frottage rubbings of selected stones and brought them back to his studio where he gilded them with 22-carat gold. Hanging vertically on the wall\, they are shining monuments to whom he calls\, “the unknown souls whose touch still lingers on the city’s sidewalks.” \nContinuing Nares’ lifelong investigation into motion\, time and gesture —the “central conceits of Nares’ artistic production”1—these works register the topography of the city which has acted as protagonist and collaborator throughout his oeuvre\, notably in films such as Ramp (1976) and STREET (2011). Tracing the materiality of lower Manhattan\, where Nares has lived and worked since the 1970s\, the works spotlight immigrant labor and its integral place in the fabric of the city. \nABOUT JAMES NARES\nOver the course of a five-decade career\, Nares has investigated\, challenged\, and expanded the boundaries of his multimedia practice that encompasses film\, music\, painting\, photography\, and performance. He continues to employ various media to explore physicality\, motion\, and the unfolding of time. \nThis summer\, the Milwaukee Art Museum will show a major retrospective\, Nares: Moves. The artist has been the subject of solo exhibitions at\, among others\, the Metropolitan Museum of Art\, New York; the National Gallery of Art\, Washington\, D.C.; and Alte Oper\, Frankfurt. Nares is included in several prominent public collections\, including the Albright-Knox Gallery\, Buffalo\, NY; The Metropolitan Museum of Art\, New York; Museum of Modern Art\, New York\, and the Whitney Museum of American Art. A career-spanning survey of his film and video works were presented in 2008 at Anthology Film Archives\, New York; and in 2011 at IFC Center\, New York. In 2014\, Rizzoli published a comprehensive monograph on Nares’ career to date. Nares has lived and worked in New York since 1974. He has been represented by Kasmin since 1991. \n1 Marcelle Polednik\, PhD\, Donna and Donald Baumgartner Director. Excerpted from “James Nares: Motion Pictures” from the exhibition catalogue “Nares: Moves\,” Milwaukee Art Museum. \n  Save  
URL:https://artinamericaguide.com/event/james-nares-monuments/
LOCATION:Kasmin Gallery\, 509\, 509 W 27th St\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Kasmin Gallery":MAILTO:info@kasmingallery.com
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190530T100000
DTEND;TZID=America/Halifax:20190725T180000
DTSTAMP:20260405T211820
CREATED:20190618T152139Z
LAST-MODIFIED:20190618T152139Z
UID:57207-1559210400-1564077600@artinamericaguide.com
SUMMARY:Christina Kruse: Base and Balance
DESCRIPTION:Helwaser Gallery is pleased to announce Christina Kruse: Base and Balance\, a solo exhibition by New York-based artist Christina Kruse (b. 1976\, Germany) presenting the artist’s newest body of sculptural work completed over the last two years. This new direction builds on her previous body of photographic and collage works\, introducing a spatial dimension to her practice. Drawing connections between geometric and organic forms\, Kruse’s artistic practice thrives on the notion of construction\, bringing together multiple materials into cohesive abstract forms. The show will be on view from May 30–July 25\, 2019\, with an opening reception on Thursday\, May 30\, 2019. The exhibition coincides with the 100th year anniversary of the founding of the Bauhaus\, and is also accompanied by a catalogue\, with the foreword written by Glenn Adamson and essays by Joerg Trempler and John Zinsser. \nKruse’s works combine various primary shapes and forms—made out of wood\, bronze\, and occasionally\, brass—into integrated wholes. Works on show include Detached (2019)\, a spherical work suspended from the ceiling by a thin\, bronze rod. Although the work appears as tilted and off-balance\, the work’s internal wooden structure was conceived as a means of purposefully shifting its center of mass forward. The work stands in conversation with Settled (2018)\, a large standing bronze sculpture\, where a circular “head” is supported by an elongated stem. Accompanying these works are a selection of studies rendered in pencil and chalk; almost diagrammatic in spirit\, these preparatory sketches reveal the structural\, shape\, and color relations that inform her construction process. \nAcross her body of sculptural work\, rectilinear forms are often counterbalanced with rounded spheres\, weighted by intense shades of black\, grey\, and white. Through emphasizing the weight and depth of each component\, as well as their surface treatments and color applications\, Kruse’s works achieve a sense of equilibrium. Although characterized by geometry and line\, her sculptures inspire uncanny references to the human figure\, inviting viewers to imagine and investigate beyond its formal limits. Presented in loose groupings\, her sculptures recall the notion of a tableau vivant\, reflecting her own interest in the artistic practices of leading Bauhaus practitioners such as Oskar Schlemmer. These works are a new treatment of the human figure—a motif that figured prominently in the artist’s previous photographic collage works. \nAbout the artist\nChristina Kruse (b. 1976\, Germany) is a New York-based multi-disciplinary artist who works across the fields of photography\, painting\, and sculpture. Her ongoing body of sculptural works combines bronze\, marble and wood in standing arrangements that reference geometry. Although grounded in structure\, balance\, and stability\, Kruse’s sculptures nevertheless evoke similarities to the human head and face\, drawing connections between rationality and the oftentimes more capricious side of human life. \nPrevious significant works include Dystonia (2013)\, a three-part performance work where Kruse confronts the instability of the human-lived experience. Getting into a purpose-built aluminum sculpture calibrated to automatically right itself after being pushed\, Kruse allows herself to be taken along by the movements of the sculpture as it struggles to stay upright in the face of multiple pushes and forces from all sides. Her earlier photographic and collage works draw on her personal biography\, often deploying self-portraits layered with tape\, watercolor\, ink\, and other media in her formal compositions. \nKruse’s artistic practice thrives on the notion of construction—that a work of art can necessarily be produced out of multiple elements that fit and connect with one another. Kruse is a recipient of the GLAAD award for Best Emerging Artist in Photography (2005). Her works have been featured in solo and group exhibitions in New York\, France\, Austria\, and Germany\, amongst others. \n  Save  
URL:https://artinamericaguide.com/event/christina-kruse-base-and-balance/
LOCATION:Helwaser Gallery\, 833 Madison Avenue\, 3rd Floor\, New York\, NY\, 10021\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Helwaser Gallery":MAILTO:info@helwasergallery.com
GEO:40.7700197;-73.9664595
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Helwaser Gallery 833 Madison Avenue 3rd Floor New York NY 10021 United States;X-APPLE-RADIUS=500;X-TITLE=833 Madison Avenue\, 3rd Floor:geo:-73.9664595,40.7700197
END:VEVENT
END:VCALENDAR