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DTSTART;TZID=America/Halifax:20260404T021129
DTEND;TZID=America/Halifax:20230107T180000
DTSTAMP:20260404T021129
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:20260404T021129
DTEND;TZID=America/Halifax:20230128T180000
DTSTAMP:20260404T021129
CREATED:20230109T180750Z
LAST-MODIFIED:20230109T180750Z
UID:101313-0-1674928800@artinamericaguide.com
SUMMARY:2023 Winter Juried Exhibitions
DESCRIPTION:BLUE MOUNTAIN GALLERY is pleased to present the work of 47 artists\, 51 pieces of artwork\, selected by Eric Holzman for this year’s winter juried exhibition. The artists\, drawn from over two hundred applicants from across the country\, work in a wide range of media\, including oil\, acrylic\, pastel\, gouache\, photography and mixed media.  \n​Heidi Alamanda \, Marilyn Allen\, Hilary Houston Bachelder\, James Baker\, Nina Kardon Baran\, Bob Barnett\, Raymond Berry\, Leslie Blackmon\, Pam Bowers\, Nancy Breakstone\, Karina Cavat\, Audrey Cohn-Ganz\, Elizabeth Courtney\, Anne Delaney\, Stephanie DeManuelle\, Kiran K Dhaliwal\, Janine Dunn Wade\, Melanie Essex\, Tom Fitzharris\, Meghan Fleming\, Nancy Granda\, Theresa Heidig Rooney\, Teresa Jade Jarzynski\, Moishe Kampin\, Sam Kelly\, Michele King\, Laura Levine\, Pattie Lipman\, Aaron Lubrick\, Manuel Alejandro Macarrulla\, James McKenna\, Elizabeth Meyersohn\, Mark. Milroy\, Blake Morgan\, Arnaldo J Rivera Rivera\, Gail Rodney\, Rebecca Gray Rolke\, Roxy Rubell\, Alyssa Schmidt\, Abbey Stace\, Leslie Ross Stephens\, Yuri Tayshete\, Preston Trombly\, Laura Vahlberg\, Ekaterina Vanovskaya\, Aidan White and Lenore Wolf. \n​Juror ERIC HOLZMAN has been painting and searching for connection in nature and other representational genres all his life. He is a romantic and a classicist who looks into the inner nature of things and tries to walk “The Beauty Way.” He was educated at Tyler School of Art\, Yale\, Skowhegan and the New York Studio School. Eric has taught at Pratt\, the New York Studio School\, and Bard College among others. He is a National Academician and has exhibited twice at the American Academy\, winning awards from both institutions.  Eric has also shown work at Lori Bookstein\, Tibor de Nagy\, Sideshow and Artist Equity\, all in NYC\, and at Gremillion Fine Art and Ellio Fine Art in Houston\, Texas. He has received many honors\, including grants and fellowships from the Guggenheim Foundation\, the NEA\, the Pollock Krasner Foundation\, the Gottlieb Foundation and the Louis Comfort Tiffany Foundation. Website: www.ericholzman.com \n\n  Save  
URL:https://artinamericaguide.com/event/2023-winter-juried-exhibitions/
LOCATION:Blue Mountain Gallery\, 547 W 27th St\, Suite 200\, New York\, NY\, 10001\, United States
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ORGANIZER;CN="Blue Mountan Gallery":MAILTO:info@bluemountaingallery.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260404T021129
DTEND;TZID=America/New_York:20250920T170000
DTSTAMP:20260404T021129
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:20260404T021129
DTEND;TZID=America/New_York:20250926T200000
DTSTAMP:20260404T021129
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:20260404T021129
DTEND;TZID=America/New_York:20250927T180000
DTSTAMP:20260404T021129
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
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260404T021129
DTEND;TZID=America/New_York:20251018T170000
DTSTAMP:20260404T021129
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:20260404T021129
DTEND;TZID=America/New_York:20251122T170000
DTSTAMP:20260404T021129
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:20260404T021129
DTEND;TZID=America/New_York:20260221T180000
DTSTAMP:20260404T021129
CREATED:20260120T172859Z
LAST-MODIFIED:20260120T172859Z
UID:115685-0-1771696800@artinamericaguide.com
SUMMARY:Robert Braczyk: Cardinal Directions
DESCRIPTION:Exhibition Dates: January 27 – February 21\, 2026\nOpening Reception: Thurs.\, January 29\, 2026\, 5PM-8PM\nArtist Talk: Saturday\, February 14\, 2026\, 3PM-4PM\nGallery Hours: Tuesday – Saturday\, 11AM-6PM \nBowery Gallery is pleased to present “Cardinal Directions\,” an exhibition of new sculpture by Robert Braczyk.  \nFor many years a prize-winning figurative sculptor\, in recent years Braczyk has turned to abstraction. In his new work—most about 24 inches high—he assembles various tree elements into vertical compositions that echo figural forms\, but whose abstract vocabulary of open volumes and discontinuous contours suggests the possibility of multiple allusions. Each work evinces a powerful spatial tension between the cardinal point from which it is begun and the complex three-dimensional image that Braczyk builds with primary thrust\, axis\, and meridian.  \nBraczyk’s trajectory from figure to abstract figure may be seen as a temporal through line connecting the events of a life. The artist’s comment that he brings all his life’s experiences into the studio reminds us that in the long arc of his career\, the spatial and temporal are never far apart. \nView the exhibition website. \n  \nBowery Gallery\n547 W. 27th Street\, Suite 508\nNew York\, NY 10001 \n  Save  
URL:https://artinamericaguide.com/event/robert-braczyk-cardinal-directions/
LOCATION:Bowery Gallery\, 547 W 27TH ST Suite 508\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/01/Braczyk_Reel_for_eVite-and_Web_landing-page-scaled.jpg
ORGANIZER;CN="Bowery Gallery":MAILTO:info@bowerygallery.org
GEO:40.7493621;-74.0047021
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Bowery Gallery 547 W 27TH ST Suite 508 New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=547 W 27TH ST Suite 508:geo:-74.0047021,40.7493621
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20211015
DTEND;VALUE=DATE:20230502
DTSTAMP:20260404T021129
CREATED:20210830T210225Z
LAST-MODIFIED:20221026T173030Z
UID:86151-1634256000-1682985599@artinamericaguide.com
SUMMARY:Debut
DESCRIPTION:Opening in fall of 2021\, Debut will feature artwork from the Spencer Museum’s collection that has never been exhibited in our building since it opened in 1978. The eclectic artwork assembled is explored through seven broad thematic sections. Debut will remain on view for the duration of Phase II renovation and the complete reinstall of our fourth-floor collection galleries. As we undergo these transformative changes\, Debut presents previously unseen works in conversation with more familiar art from the collection that is frequently used for teaching and research. This exhibition is supported by Friends of the Art Museum\, KU Student Senate\, and the Linda Inman Bailey Exhibitions Fund. \n  Save  
URL:https://artinamericaguide.com/event/debut/
LOCATION:Spencer Museum of Art\, University of Kansas\, 1301 Mississippi St.\, Lawrence\, KS\, 66045\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2021/08/2014.0090.jpg
ORGANIZER;CN="Spencer Museum of Art%2C University of Kansas":MAILTO:spencerart@ku.edu
GEO:38.9596803;-95.244588
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Spencer Museum of Art University of Kansas 1301 Mississippi St. Lawrence KS 66045 United States;X-APPLE-RADIUS=500;X-TITLE=1301 Mississippi St.:geo:-95.244588,38.9596803
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220222T093000
DTEND;TZID=America/Halifax:20221231T163000
DTSTAMP:20260404T021129
CREATED:20210819T145416Z
LAST-MODIFIED:20210916T194455Z
UID:85468-1645522200-1672504200@artinamericaguide.com
SUMMARY:Still I Rise: The Black Experience at Reynolda
DESCRIPTION:“Into a daybreak that’s wondrously clear / I rise.” Maya Angelou’s poem “Still I Rise\,” published in 1978\, was an assertion of dignity and resilience in the face of oppression. In the 1980s\, Angelou used Reynolda as her stage sharing words of humanity\, survival\, and triumph. But before her\, numerous Black lives impacted and intersected with the story of Reynolda. Still I Rise: The Black Experience at Reynolda examines the lives of the Black women and men who helped shape Reynolda as it evolved from a Jim Crow era working estate into a museum for American art. \nFrom 1912 through the 1950s\, during one of the most repressive climates for Black people in North Carolina history\, Black men and women navigated Reynolda’s segregated spaces—farming the land\, constructing buildings\, and working as domestic staff within Reynolda’s walls. During this era\, segregation\, the exploitation of Black labor\, and laws that regulated Black behavior affected the lives of all individuals in the Reynolda story\, whether at Reynolda or at the R.J. Reynolds Tobacco Company. While the struggle for equality did not end with the Civil Rights Act of 1964\, the story of Reynolda pivoted to one of a public cultural institution. When it opened its doors in 1967\, Reynolda’s intersection with Black lives shifted as the young\, fledgling museum provided a venue for Black artists to celebrate their art. Artists such as Jacob Lawrence\, Romare Bearden\, and Maya Angelou transformed the historic setting into a stage for their art and teachings. Through art\, letters\, photographs\, and audiovisual recordings\, Still I Rise: The Black Experience at Reynolda examines Reyolda’s complicated past in a space designed for reflection and healing. \n  Save  
URL:https://artinamericaguide.com/event/still-i-rise-the-black-experience-at-reynolda/
LOCATION:Reynolda House Museum of American Art\, 2250 Reynolda Road\, Winston-Salem\, NC\, 27106\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220405T100000
DTEND;TZID=America/Halifax:20230326T160000
DTSTAMP:20260404T021129
CREATED:20220404T171932Z
LAST-MODIFIED:20220404T171932Z
UID:93171-1649152800-1679846400@artinamericaguide.com
SUMMARY:In the Adjacent Possible
DESCRIPTION:In the Adjacent Possible is a response to sociologist Ruha Benjamin’s suggestion to “imagine and craft the worlds you cannot live without\, just as you dismantle the ones you cannot live within.” \nEach of the five artists’ installations provides a vantage point for viewing the many potentialities that lie just beyond what we know. They conjure worlds that are not quite here\, yet are within our grasp. They place us in the adjacent possible\, a space where we can dream alternative ways of being in the world. \nThe exhibition forms a speculative architecture that explores myriad approaches to and understandings of proposed and promised strategies of living. These artists offer prospective blueprints of other worlds\, often constructed from the remnants of our current one. Engaging issues of colonialism\, feminism\, queerness\, identity\, and stereotypes\, In the Adjacent Possible suggests ways we can reimagine the present and explores the infinite horizon of opportunities at the boundaries of our reach. \nhttps://www.jmkac.org/exhibition/in-the-adjacent-possible/ \nImage: In the Adjacent Possible artists (clockwise from upper left): Suchitra Mattai\, Haleigh Nickerson\, Yasmine K. Kasem\, Nyugen E. Smith\, and Jessica Campbell. \nTuesday\, Wednesday\, Friday 10 a.m. to 5 p.m.\nThursday 10 a.m. to 8 p.m. extended hours\nSaturday and Sunday 10 a.m. to 4 p.m. \n  Save  
URL:https://artinamericaguide.com/event/in-the-adjacent-possible/
LOCATION:John Michael Kohler Arts Center\, 608 New York Avenue\, Sheboygan\, WI\, 53081\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/04/600x600_artist-photos-r.jpg
ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220521T100000
DTEND;TZID=America/Halifax:20230521T170000
DTSTAMP:20260404T021129
CREATED:20220404T171850Z
LAST-MODIFIED:20220404T171850Z
UID:93177-1653127200-1684688400@artinamericaguide.com
SUMMARY:Creative! Growth!
DESCRIPTION:Creative! Growth! will be the first exhibition to consider the history of Creative Growth Art Center in Oakland\, California. \nFounded in 1974 by artist Florence Ludins-Katz (1912–1990) and her psychologist husband Elias Katz (1913–2008)\, Creative Growth emerged from the larger social\, cultural\, and political narratives associated with the Bay Area in the late 1960s and early 1970s—including the women’s\, gay\, and civil rights movements. The arts and disabilities movement\, which championed the civil rights of disabled persons and fought against their marginalization in arts and culture\, flourished during this era. The Katzes were among that movement’s most farsighted and committed advocates. \nCreative! Growth! is curated by Matthew Higgs and will consider the organization’s history and legacy through the lens of the present. Now approaching its fiftieth anniversary\, Creative Growth is the preeminent center for artists with disabilities in the United States\, and has\, in turn\, become a model for similar centers nationally and internationally. At Creative Growth\, the Katzes established a unique and fiercely independent environment where disabled individuals are empowered to explore their creativity at their own pace. \nThe staff at Creative Growth\, almost exclusively practicing artists\, are not teachers in any conventional sense\, as no formal instruction takes place. Rather\, the staff members work alongside the artists with disabilities\, introducing them to new materials and processes\, offering practical and technical assistance where necessary\, and supporting their idiosyncratic approaches to self-expression. \nCreative! Growth! will consider the organization’s history and legacy through the lens of the present. There are a number of discrete solo presentations by key artists who were—or remain—affiliated with Creative Growth\, including Judith Scott (1943–2005)\, Dwight Mackintosh (1906–1999)\, William Scott\, Dan Miller\, Monica Valentine\, Tony Pedemonte\, Nicole Storm\, and John Martin. Photographer and documentary filmmaker Cheryl Dunn will present a selection from her twenty-plus-year archives documenting the artists at Creative Growth. \nhttps://www.jmkac.org/exhibition/creative-growth/ \nImage: Creative Growth studio interior. Courtesy of Creative Growth. Photo: Ben Blackwell. \nTuesday\, Wednesday\, Friday 10 a.m. to 5 p.m.\nThursday 10 a.m. to 8 p.m. extended hours\nSaturday and Sunday 10 a.m. to 4 p.m. \n  Save  
URL:https://artinamericaguide.com/event/creative-growth/
LOCATION:John Michael Kohler Arts Center\, 608 New York Avenue\, Sheboygan\, WI\, 53081\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2022/04/ex.cre_.2022.0001-4x3-1.png
ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220623T080000
DTEND;TZID=America/Halifax:20230108T170000
DTSTAMP:20260404T021129
CREATED:20220623T155303Z
LAST-MODIFIED:20220628T163300Z
UID:94152-1655971200-1673197200@artinamericaguide.com
SUMMARY:Alvin Roy
DESCRIPTION:Alvin Roy is a mid-career painter and sculptor who lives and works in Houston\, Texas. Roy has exhibited extensively notably as part of the national tour “Southern Journeys: African American Artists of the South” (2012). Alvin Roy’s abstract paintings from torn painted paper are inspired by the quilting tradition passed down by the women in his family and his wall sculptures are deep spiritual icons embodying the power of Egyptian myth and ancient archetypes. Alvin Roy’s abstract artworks will be on view in Bridgehampton\, NY from August 11 – 14\, 2022 and in New York City during the Art on Paper Fair Sept. 8 – 11\, 2022 at Pier 36. This virtual exhibition is a response to the difficulties that artists have faced getting their work viewed during the Pandemic. \n  Save  
URL:https://artinamericaguide.com/event/alvin-roy/
LOCATION:Cross Contemporary Art Projects\, 34 Tinker Street\, Woodstock\, NY\, 12498\, United States
CATEGORIES:Virtual Events + Viewing Rooms
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2022/06/Screen-Shot-2022-06-22-at-11.11.17-PM.png
ORGANIZER;CN="Cross Contemporary Art Projects":MAILTO:crosscontemporaryprojects@gmail.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220714
DTEND;VALUE=DATE:20221212
DTSTAMP:20260404T021129
CREATED:20221115T202311Z
LAST-MODIFIED:20221119T012112Z
UID:100517-1657756800-1670803199@artinamericaguide.com
SUMMARY:Positive Fragmentation
DESCRIPTION:Positive Fragmentation: From the Collections of the Jordan D. Schnitzer and His Family Foundation features more than 180 prints by contemporary women artists who employ a strategy of fragmentation in their artistic process. \nSome of the works focus their attention on the human body\, as in Louise Bourgeois’s Anatomy series (1990) or Wangechi Mutu’s Histology of the Different Classes of Uterine Tumors (2006). The later combines glossy fashion magazine photographs with medical illustrations to reimagine patriarchal stereotypes as powerful female avatars who stare back at oppressive social norms. Other artists like Nicola López and Sarah Morris leverage their experiences of the contemporary city to rearrange elements of the urban landscape to better capture the vibrancy of daily life. With a highly conceptual approach\, Jenny Holzer’s Inflammatory Essays (1979–82) isolates fragments of bold and sometimes confrontational statements to subvert the rigid ideologies from which they borrow. \n\n\nA notable strength of the exhibition is its focus on women artists of color who have been underrepresented in the museum’s permanent collections and in its exhibition program. Artists like Mickalene Thomas challenge historical narratives by creating compositions that echo those of nineteenth-century European painters but through wholly novel techniques and media\, combining woodblock\, screen-printing\, and digital photography. Wendy Red Star\, an indigenous American artist of the Crow Nation\, creates colorful\, often playful prints that nonetheless convey the struggles of indigenous marginalization and the legacy of European colonization on the continent by combining appropriated indigenous motifs with images of everyday life on the reservation. Ethiopian-born Julie Mehretu creates large-scale abstract compositions that speak to the traditions of European and American abstraction while compounding these histories with contemporary global concerns regarding climate change and migration. \nDerived from the Collections of Jordan D. Schnitzer and His Family Foundation—one of the largest private print collections in the world—the exhibition is presented by the National Museum of Women in the Arts (NWMA) in partnership with the American University Art Museum. It was curated by Virginia Treanor\, Associate Curator\, and Kathryn Wat\, Deputy Director for Art\, Programs\, and Public Engagement and Chief Curator at the NWMA. At the Eskenazi Museum\, the exhibition is co-organized by Elliot Reichert\, Curator of Contemporary Art\, and Galina Olmsted\, Assistant Curator of European and American Art. A fully illustrated catalogue will accompany the exhibition. \n\n  Save  
URL:https://artinamericaguide.com/event/positive-fragmentation/
LOCATION:Indiana University\, Eskenazi Museum of Art\, 1133 E 7th St\, Bloomington\, IN\, 47405\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/11/Positive-Fragmentation-Eskenazi-install-7.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220715T093000
DTEND;TZID=America/Halifax:20221231T163000
DTSTAMP:20260404T021129
CREATED:20210823T142327Z
LAST-MODIFIED:20210916T194455Z
UID:85493-1657877400-1672504200@artinamericaguide.com
SUMMARY:Chrome Dreams and Infinite Reflections: Forty Years of Photorealism
DESCRIPTION:Photorealist paintings and prints are based on photographs\, but they are not simply demonstrations of virtuosic painting skills. Instead\, they are evocative of the times in which they were created. \nFeaturing works by Richard Estes\, Robert Cottingham\, Audrey Flack\, Chuck Close\, and Janet Fish\, Chrome Dreams will highlight the glittering cityscapes\, shiny storefront windows\, and sleek automobiles of the 1960s and 70s. Visitors to the exhibition will also be transported by music and films from the era\, which will create a nostalgic look at America’s post-war boom. \n  Save  
URL:https://artinamericaguide.com/event/chrome-dreams-and-infinite-reflections-forty-years-of-photorealism/
LOCATION:Reynolda House Museum of American Art\, 2250 Reynolda Road\, Winston-Salem\, NC\, 27106\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2021/08/Chrome-Dreams_Exhibition_D-train-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220722T110000
DTEND;TZID=America/New_York:20240804T180000
DTSTAMP:20260404T021129
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:20220723T110000
DTEND;TZID=America/Halifax:20230123T180000
DTSTAMP:20260404T021129
CREATED:20220511T143406Z
LAST-MODIFIED:20220621T201500Z
UID:93527-1658574000-1674496800@artinamericaguide.com
SUMMARY:Brett Weston
DESCRIPTION:Recognized for his bold\, abstract compositions of Western American landscapes and natural forms\, and for his daring printing style\, Brett Weston was a leading photographer of the early twentieth century. The second son of acclaimed photographer Edward Weston\, Brett Weston devoted his entire life to photography\, experimenting with various printing processes and exploring a wide range of themes and contexts to create a unique body of work that transcends comparison to his famous father’s images. Although he acknowledged his father as a huge artistic influence and admired the work of other photographers including Paul Strand\, Charles Sheeler\, and Henri Cartier-Bresson\, Weston was also greatly inspired by artists working in painting and sculpture such as Georgia O’Keefe (whom he once proclaimed as the greatest living American painter)\, Constantin Brancusi\, and Henry Moore. Weston initially used his father’s second camera\, a 3 ¼ x 4 ¼ inch Graflex\, to make his first photographs in 1925. The images from this period reflect an intuitive and sophisticated approach to abstraction that would blossom later in his career when he began making pictures with an 8×10 inch camera. Brett Weston features fifty-one photographs drawn exclusively from the permanent collection of the San José Museum of Art and span approximately 40 years from the 1930s through the 1970s. The exhibition comprises images of natural landscapes and seascapes near Big Sur and Carmel\, California; the Oregon Coast; and White Sands\, New Mexico; as well as from three major portfolios: “Baja California\,” “Abstraction I\,” and “Abstraction II.” Although he traveled extensively and photographed throughout the world\, Weston’s chosen subjects—twisted branches\, tangled kelp\, rock formations\, cracked mud\, and knotted roots—remained enduring motifs in his work. \nIn 2020\, SJMA was gifted fifty photographs by Weston from the Christian Keesee Collection\, containing The Brett Weston Archive that represents the most complete body of the artist’s work in the world. Many of the photographs donated to SJMA are vintage prints\, produced in the same year as the image was taken\, and a few were printed later by the artist. On his 80th birthday\, Weston burned all but a dozen of his negatives to underscore his belief that only an artist should print their own photographs. \n  Save  
URL:https://artinamericaguide.com/event/brett-weston/
LOCATION:San Jose Museum of Art\, 110 S. Market Street\, San Jose\, CA\, 95113\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/05/51799652389_561e5c1a58_1000px.jpeg
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:20220806T100000
DTEND;TZID=America/Halifax:20230129T180000
DTSTAMP:20260404T021129
CREATED:20221017T175717Z
LAST-MODIFIED:20221017T175717Z
UID:99928-1659780000-1675015200@artinamericaguide.com
SUMMARY:LaToya Ruby Frazier: Flint Is Family In Three Acts
DESCRIPTION:“No matter how dark a situation may be\, a camera can extract the light and turn a negative into a positive. In creating Flint Is Family In Three Acts\, I see the role of photographs as empowering and enacting visible change: in Act I\, the photographs bear witness and reclaim history; in Act II\, the photographs reveal a hidden narrative; in Act III\, the photographs are a catalyst for obtaining resources.” —LaToya Ruby Frazier \nFlint Is Family In Three Acts is a multi-part exhibition by renowned artist LaToya Ruby Frazier. For five years\, Frazier researched and collaborated with two poets\, activists\, mothers and residents of Flint\, Michigan\, Shea Cobb and Amber Hasan\, as they endured one of the most devastating ecological crises in U.S. history. Resulting in a monumental oeuvre of photographs\, video\, and texts Frazier developed Flint Is Family In Three Acts (2016–2021) to advocate for access to clean and safe drinking water for all regardless of race\, religion and economic status. The series records stories of surviving and thriving\, especially within racialized and marginalized neighborhoods in Flint\, to ensure that they remained visible in national debates concerning environmental justice. Drawing inspiration from the urgency in Frazier’s work\, which also sheds light on building equitable and inclusive futures Stamps Gallery\, part of Penny W. Stamps School of Art & Design at University of Michigan\, initiated a partnership with the Flint Institute of Arts and the Eli and Edythe Broad Art Museum at Michigan State University to bring this important exhibition together for the first time in Michigan. As co-presenters of this landmark exhibition our goal is to offer a creative pedagogical platform that reaches broader audiences across Michigan and beyond—Flint is Family: Act I (2016–2017) will take place at the Flint Institute of Arts\, Act II (2017–2019) at the Eli and Edythe Broad Art Museum\, and Act III (2019) at Stamps Gallery. The exhibition served as a catalyst to bring three disparate institutions together to deepen our understanding of individual and institutional agency in advocating for equity\, transparency and environmental justice in our respective communities\, while also highlighting the role of the artist as an agent for enacting positive social change. \nOrganized by Stamps Gallery in partnership with the Eli and Edythe Broad Art Museum at Michigan State University\, and the Flint Institute of Arts. Curated by Srimoyee Mitra\, Tracee Glab\, and Steven L. Bridges with the assistance of Jennifer Junkermeier-Khan\, Rachel Winter\, and Rachael Holstege. \n  Save  
URL:https://artinamericaguide.com/event/latoya-ruby-frazier-flint-is-family-in-three-acts/
LOCATION:Eli and Edythe Broad Art Museum at Michigan State University\, 547 E. Circle Dr.\, East Lansing\, MI\, 48824\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/10/IMG_3816-Edit-scaled.jpg
ORGANIZER;CN="Eli and Edythe Broad Art Museum at Michigan State University":MAILTO:eebam@msu.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220816T110000
DTEND;TZID=America/Halifax:20230127T160000
DTSTAMP:20260404T021129
CREATED:20220817T144755Z
LAST-MODIFIED:20220817T161258Z
UID:96237-1660647600-1674835200@artinamericaguide.com
SUMMARY:Off the Press
DESCRIPTION:A print\, in the broadest definition\, is a work of art comprised of ink on paper created through an indirect transfer process.  Four major printmaking methods have been developed over the centuries: relief\, intaglio\, and the planographic techniques of lithography and screenprinting. Each printmaking method produces a work on paper that has an individual and identifiable quality. \n  \nOff the Press features works from the Hofstra University Museum of Art collection and provides examples of these four printmaking techniques.  The collection contains more than 2\,200 prints in a range of mediums and processes that date from the late 16th century to the 21st century.  As printmaking techniques have developed over the centuries\, artists have explored the possibilities and pushed the boundaries of traditional printmaking.  Digital technology has added additional pathways for this artistic exploration. \n  \nFunding has been provided by the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature. \n  \nAdmission is free. \n  Save  
URL:https://artinamericaguide.com/event/off-the-press/2022-08-16/
LOCATION:David Filderman Gallery at Hofstra University\, 112 Hofstra University\, Hempstead\, New York
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/08/7234.jpg
ORGANIZER;CN="Hofstra University Museum of Art":MAILTO:museum@hofstra.edu
GEO:40.7133721;-73.6015642
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=David Filderman Gallery at Hofstra University 112 Hofstra University Hempstead New York;X-APPLE-RADIUS=500;X-TITLE=112 Hofstra University:geo:-73.6015642,40.7133721
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20220819T100000
DTEND;TZID=America/Chicago:20230212T170000
DTSTAMP:20260404T021129
CREATED:20220128T003311Z
LAST-MODIFIED:20220708T162738Z
UID:91662-1660903200-1676221200@artinamericaguide.com
SUMMARY:You Select: A Community-Curated Exhibition
DESCRIPTION:Since its opening ten years ago\, the Clyfford Still Museum has presented more than 950 works of art by Still in over thirty different exhibitions. Yet\, over two-thirds of the Museum’s art collection remains unseen to the world. In the culminating exhibition of CSM’s tenth anniversary celebration year\, You Select: A Community-Curated Exhibition hands the curatorial reins to art lovers from the surrounding Denver community and beyond. \nCSM asked art lovers from the Denver area and beyond to select works in five different categories for the exhibition through a voting platform on the Museum’s website. The categories represent five themes in Still’s work that represent moments when the artist’s environs were particularly influential. After an eight-week voting period\, CSM’s associate curator\, Bailey Placzek\, arranged the pieces that received the most votes on the walls of the Museum’s skylit galleries. \nYou Select is designed to foster far-reaching engagement and appreciation of Clyfford Still’s art and artistic legacy. Unbeknownst to many\, the City of Denver owns the more than 3\,000 art objects held at the Clyfford Still Museum. Still gifted his art to a public entity to share his life’s work with a wide and diverse audience. He believed that art was an expression for all of humanity to enjoy and share\, not just the art historians\, critics\, and so-called “art experts.” Like the artist himself\, CSM believes that there is valuable knowledge to gain about Still’s art and the power of abstraction from the surrounding communities and passionate individuals from around the world. \n  Save  
URL:https://artinamericaguide.com/event/you-select-a-community-curated-exhibition/
LOCATION:Clyfford Still Museum\, 1250 Bannock St.\, Denver\, CO\, 80204\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/01/homehero_youselect_3paintings.jpg
ORGANIZER;CN="Clyfford Still Museum":MAILTO:press@clyffordstillmuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220820
DTEND;VALUE=DATE:20221212
DTSTAMP:20260404T021129
CREATED:20221115T202311Z
LAST-MODIFIED:20221118T201936Z
UID:100519-1660953600-1670803199@artinamericaguide.com
SUMMARY:Storywork: The Prints of Marie Watt
DESCRIPTION:Marie Watt (Seneca\, b. 1967) is one of the country’s most celebrated contemporary artists whose work draws on personal experience\, indigenous traditions\, proto-feminism\, mythology and art history. Drawing on the collections of Jordan D. Schnitzer and His Family Foundation and the University of San Diego\, Marie Watt Prints will present a mid-career retrospective of Watt’s work as a printmaker\, accompanied by a fully illustrated catalogue. \nOver the course of her career\, residencies at the Crow’s Shadow Institute of the Arts\, the Sitka Center for Art and Ecology\, and the Tamarind Institute have afforded Watt the opportunity to collaborate with master printers in producing ambitious print series. Whether working in lithography\, woodcut\, or etching\, the medium of print has served for Watt as a laboratory for large-scale pieces and concepts. In each of her prints Watt demonstrates a tactile appreciation for the particular qualities of wood\, copper\, or stone\, aiming to achieve in her words a “familiarity and intimacy” with the material that adds a layer of thematic resonance to her work. \n\n  Save  
URL:https://artinamericaguide.com/event/storywork-the-prints-of-marie-watt/
LOCATION:Art Museum of West Virginia University\, 20 Fine Arts Drive\, Morgantown\, WV\, 26505\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/11/38167-S-JFS-0229-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220820T100000
DTEND;TZID=America/Halifax:20221231T170000
DTSTAMP:20260404T021129
CREATED:20220630T165416Z
LAST-MODIFIED:20221101T144326Z
UID:94263-1660989600-1672506000@artinamericaguide.com
SUMMARY:Power to the People: Mexican Prints from the Great War to the Cold War
DESCRIPTION:Drawing on work from the James and Virginia Moffett Collection\, Power to the People: Mexican Prints from the Great War to the Cold War explores the political and social conditions of early-20thcentury Mexico and the dynamic\, groundbreaking art that emerged from the Mexican Revolution (1910–1920). \nThis period of war and dramatic social upheaval witnessed a flowering of artistic production\, particularly in printmaking and graphic arts. Mexico’s long printmaking tradition dates to the late 1500s. \nArtists such as José Guadalupe Posada\, Diego Rivera\, José Clemente Orozco\, and David Alfaro Siqueiros—icons of Mexican modernism—drew on those traditions and everyday imagery to create new messages of social justice meant to appeal directly to the working classes in the Mexican provinces. Power to the People is guest-curated by Cori Sherman North and Bill North. \nImage: Jean Charlot\, Tortillera with Child (Rest and Work)\, 1941. Color lithograph\, 12 1⁄2 x 18 1⁄2 inches. Collection of James and Virginia Moffett\, Kansas City \n  Save  
URL:https://artinamericaguide.com/event/power-to-the-people-mexican-prints-from-the-great-war-to-the-cold-war/2022-08-20/
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/2022/06/Charlot-Tortillera-with-Child-scaled.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:20220822
DTEND;VALUE=DATE:20221219
DTSTAMP:20260404T021129
CREATED:20221115T202311Z
LAST-MODIFIED:20221115T202311Z
UID:100521-1661126400-1671407999@artinamericaguide.com
SUMMARY:John Buck: Prints and Sculptures
DESCRIPTION:John Buck (American\, b. 1946) is a nationally recognized Montana artist who has created a large and powerful body of woodblock prints and wood sculptures over the past four decades. Drawn from the collections of Jordan D. Schnitzer and His Family Foundation\, this major exhibition features 30 prints and 8 sculpture that span a forty-year period. \nBorn in Ames\, Iowa in 1948\, John Buck earned his BFA degree from the Kansas City Art Institute in 1968 and his MFA degree at the University of California\, Davis in 1972\, where he studied with artists Robert Arneson\, Roy DeForest\, Manuel Neri\, and William T. Wiley. A virtuoso draftsman and imaginative sculptor\, Buck explores national and global issues in sophisticated works of art that are imbued with complex iconography and often layered with multiple meanings. \n\n\nBuck’s art demonstrates an exceptional insight and perspective on the social and political realities of the day. It often explores the enormity and complexity of conflict\, yet his figures are whimsical and resilient. Buck manages to make provocative “issues” art\, treating the conflict seriously\, while his combination of symbols and figures display a sense of humor\, and therefore an optimistic balance. \nOver the years\, Buck has become fascinated with the cultural imagery surrounding his homes in Montana and Hawaii\, current events\, popular culture\, and the irony and humor found in world history and this collected visual vocabulary is woven throughout his printed and sculptural work. \n\n  Save  
URL:https://artinamericaguide.com/event/john-buck-prints-and-sculptures/
LOCATION:Brunnier Art Museum – Iowa State University\, 1805 Center Drive\, Ames\, IA\, 50011\, United States
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220826
DTEND;VALUE=DATE:20221211
DTSTAMP:20260404T021129
CREATED:20220713T195748Z
LAST-MODIFIED:20220713T204124Z
UID:94746-1661472000-1670716799@artinamericaguide.com
SUMMARY:Kirsten Stolle: Only You Can Prevent A Forest
DESCRIPTION:Using appropriation\, wordplay\, and humor\, Kirsten Stolle co-opts advertising strategies used by agrichemical corporations to resurface and critique company history. For her exhibition\, Only You Can Prevent A Forest\,  Stolle will create photo-based collages\, visual poetry interventions\, text-based sound animation\, a neon wall piece\, and her first site-responsive sculptural installation. Building upon her decade-long research into companies like Bayer/Monsanto and Dow Chemical\, the work will forefront historical ties to chemical warfare and reveal persistent greenwashing. Stolle’s work interrogates the global influence of chemical companies on our food supply and their consistent efforts to downplay the effects of their toxic products on our health and environment.\n  Save  
URL:https://artinamericaguide.com/event/kirsten-stolle-only-you-can-prevent-a-forest/2022-08-26/
LOCATION:Halsey Institute of Contemporary Art at the College of Charleston\, 161 Calhoun Street\, Charleston\, SC\, 29401\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/07/Fast-Action-Roundup-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220827T100000
DTEND;TZID=America/Halifax:20221231T170000
DTSTAMP:20260404T021129
CREATED:20220818T203929Z
LAST-MODIFIED:20220818T204024Z
UID:96632-1661594400-1672506000@artinamericaguide.com
SUMMARY:Funerary Portraits from Roman Egypt: Facing Forward
DESCRIPTION:Come face to face with portraits of Egyptians who lived during the Roman period and discover what role these images played in funerary rituals as well as what modern technical study can reveal about ancient artistic practices. \nFeaturing several painted portrait panels\, sculptural portraits\, and a linen burial shroud\, this tightly focused exhibition asks visitors to reflect upon objects that represent the deceased and were once intimately connected with their bodies. The exact findspots and details of the excavation and dismantling of these objects were not recorded; and while the portraits present seemingly familiar faces\, we can never fully know the people behind them. So what more can we learn from the objects themselves? \nThe exhibition foregrounds scientific analysis and technical research conducted by staff in the Harvard Art Museums’ Straus Center for Conservation and Technical Studies. Their work\, part of an international research project\, helps illuminate how ancient artists created these painted and plaster faces. In-gallery displays of technical images of the objects\, samples of artists’ materials such as pigments and binding media\, and a sequence of panels illustrating painting techniques provide further context. In recovering the artistic processes\, the complicated histories of these objects have also come into view. \nThe individuals depicted in these portraits lived in the first three centuries CE\, when Egypt was a province of the Roman empire\, and their burial treatments attest to the multicultural nature of that era. Their bodies were mummified in the Egyptian tradition\, but their portraits appear in a Graeco-Roman style. They wore clothes\, jewelry\, and hairstyles that were popular in Rome\, while also participating in Egyptian religious institutions. The funerary traditions represented by the objects in this exhibition were elaborate and expensive\, privileges of an elite class who could choose how their bodies were treated in death. \nWe invite visitors to face forward as they explore this exhibition: to engage with the ancient subjects on an equal footing\, consider the problematic practices that led to the removal of these objects from their original contexts\, and imagine what questions the works and the individuals depicted might generate in the future. \n  Save  
URL:https://artinamericaguide.com/event/funerary-portraits-from-roman-egypt-facing-forward/
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220827T100000
DTEND;TZID=America/Halifax:20221231T170000
DTSTAMP:20260404T021129
CREATED:20220831T150527Z
LAST-MODIFIED:20220831T150527Z
UID:97582-1661594400-1672506000@artinamericaguide.com
SUMMARY:Funerary Portraits from Roman Egypt: Facing Forward
DESCRIPTION:Come face to face with portraits of Egyptians who lived during the Roman period and discover what role these images played in funerary rituals as well as what modern technical study can reveal about ancient artistic practices. \nFeaturing several painted portrait panels\, sculptural portraits\, and a linen burial shroud\, this tightly focused exhibition asks visitors to reflect upon objects that represent the deceased and were once intimately connected with their bodies. The exact findspots and details of the excavation and dismantling of these objects were not recorded; and while the portraits present seemingly familiar faces\, we can never fully know the people behind them. So what more can we learn from the objects themselves? \nThe exhibition foregrounds scientific analysis and technical research conducted by staff in the Harvard Art Museums’ Straus Center for Conservation and Technical Studies. Their work\, part of an international research project\, helps illuminate how ancient artists created these painted and plaster faces. In-gallery displays of technical images of the objects\, samples of artists’ materials such as pigments and binding media\, and a sequence of panels illustrating painting techniques provide further context. In recovering the artistic processes\, the complicated histories of these objects have also come into view. \nThe individuals depicted in these portraits lived in the first three centuries CE\, when Egypt was a province of the Roman empire\, and their burial treatments attest to the multicultural nature of that era. Their bodies were mummified in the Egyptian tradition\, but their portraits appear in a Graeco-Roman style. They wore clothes\, jewelry\, and hairstyles that were popular in Rome\, while also participating in Egyptian religious institutions. The funerary traditions represented by the objects in this exhibition were elaborate and expensive\, privileges of an elite class who could choose how their bodies were treated in death. \nWe invite visitors to face forward as they explore this exhibition: to engage with the ancient subjects on an equal footing\, consider the problematic practices that led to the removal of these objects from their original contexts\, and imagine what questions the works and the individuals depicted might generate in the future. \nOrganized by Susanne Ebbinghaus\, George M.A. Hanfmann Curator of Ancient Art and head of the Division of Asian and Mediterranean Art; Georgina Rayner\, associate conservation scientist; Kate Smith\, conservator of paintings and head of the paintings lab; and Jen Thum\, assistant director of academic engagement and assistant research curator. \nSupport for this exhibition is provided by the Kelekian Fund\, the Christopher and Jean Angell Charitable Fund\, and the Kornfeld Foundation (through Christopher Angell). Related programming is supported by the M. Victor Leventritt Lecture Series Endowment Fund. \nOnline Resources \nAn online digital companion offers insights into the world of the people depicted in the portraits in the exhibition and the artists who painted them. The featured essays\, written by specialists at Harvard and elsewhere\, investigate the making\, meaning\, and modern history of these funerary objects. Research is ongoing\, and the tool will be updated as new information arises. \nVisit the Getty Center’s website to learn more about the research behind this exhibition\, part of an international collaborative effort called the APPEAR (Ancient Panel Paintings: Examination\, Analysis\, and Research) Project. \n  Save  
URL:https://artinamericaguide.com/event/funerary-portraits-from-roman-egypt-facing-forward-2/
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
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220830
DTEND;VALUE=DATE:20221204
DTSTAMP:20260404T021129
CREATED:20221115T165030Z
LAST-MODIFIED:20221115T165030Z
UID:100511-1661817600-1670111999@artinamericaguide.com
SUMMARY:The Art of Food
DESCRIPTION:Featuring more than 100 works in a variety of media from the renowned collections of Jordan D. Schnitzer and His Family Foundation\, The Art of Food showcases how some of the most prominent artists of the twentieth and twenty-first centuries have considered this universal subject. Organized thematically\, this exhibition uses an artistic lens to examine food beyond its purpose as body fuel. \n\n\nIn its most prosaic sense\, food is a physical necessity for survival\, yet its overall significance transcends beyond mere sustenance. Food is integral to our communities\, relationships\, cultures and languages. People interact with food on varying levels. Some of us grow it; more of us buy it. We transform it by cutting\, cooking and dressing it with spices\, marinades and garnishes. We use food as an intermediary to connect with others through holiday meals\, business lunches\, dates and more. We fight over food. We deny food to others as a tool of suppression and cultural erasure. We fear for our health\, feeding a growing global population and the effects of climate change on food production. \nThrough the works of artists such as Enrique Chagoya\, Damien Hirst\, Hung Liu\, Analia Saban\, Lorna Simpson and Andy Warhol\, it becomes clear why food is a recurring subject in art\, ever since the spark of human creativity was ignited thousands of years ago. \n\n  Save  
URL:https://artinamericaguide.com/event/the-art-of-food/
LOCATION:Jordan Schnitzer Museum of Art at Portland State University\, 1855 SW Broadway\, Portland\, OR\, 97201\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220903T110000
DTEND;TZID=America/Halifax:20230423T180000
DTSTAMP:20260404T021129
CREATED:20220511T143406Z
LAST-MODIFIED:20220511T143406Z
UID:93529-1662202800-1682272800@artinamericaguide.com
SUMMARY:Kelly Akashi: Formations
DESCRIPTION:Kelly Akashi is known for her materially hybrid works that are compelling both formally and conceptually. Originally trained in analog photography\, the artist is drawn to fluid\, impressionable materials and old-world craft techniques\, such as glass blowing and casting\, candle making\, bronze and silicone casting\, and rope making. Encompassing a selection of artworks made over the past decade\, Kelly Akashi: Formations is the first major exhibition of the artist’s work\, and will feature a newly commissioned series in which Akashi explores the inherited impact of her family’s imprisonment in a Japanese American incarceration camp during World War II. \nThrough evocative combinations that seem both familiar and strange\, Akashi cultivates relationships among a variety of things to investigate how they can actively convey their histories and potential for change. She often pairs hand-blown glass or wax forms with unique and temporally specific bronze casts of her own hand\, each a unique record of the slow-changing human body. Akashi’s interest in time—embedded in the materiality of many of her processes—has led her to study fossils and botany\, locating humankind within a longer geological timeline. \nKelly Akashi: Formations is the first major exhibition and catalog of Akashi’s work. The exhibition will be on view from September 3\, 2022—April 23\, 2023 in San Jose before touring nationally. \n  Save  
URL:https://artinamericaguide.com/event/kelly-akashi-formations/
LOCATION:San Jose Museum of Art\, 110 S. Market Street\, San Jose\, CA\, 95113\, United States
CATEGORIES:Exhibition
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GEO:37.3327419;-121.8905201
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=San Jose Museum of Art 110 S. Market Street San Jose CA 95113 United States;X-APPLE-RADIUS=500;X-TITLE=110 S. Market Street:geo:-121.8905201,37.3327419
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220906
DTEND;VALUE=DATE:20221204
DTSTAMP:20260404T021129
CREATED:20221115T202311Z
LAST-MODIFIED:20221118T203245Z
UID:100523-1662422400-1670111999@artinamericaguide.com
SUMMARY:Louise Bourgeois: What is the Shape of This Problem
DESCRIPTION:Although best known for her profound sculptures of monumental spiders\, evocative human figures\, and fleshly anthropomorphic forms\, Louise Bourgeois maintained a prolific drawing and writing practice and an ongoing interest in illustrated books and printmaking throughout the course of her long career. Louise Bourgeois: What is the Shape of This Problem presents 119 works with a focus on prints\, textiles\, and a series of eight holograms\, ranging in date from the 1940s to the early 2000s. These works build on the raw emotional terrain of Bourgeois’ practice\, and explore feelings of isolation\, anger\, and fear through the recurring depiction of the body\, childhood\, family\, architecture\, and the passage of time. \nBourgeois described her relationship to making art as one of survival and dependence; she experienced a lifelong struggle with trauma and anxiety which was appeased only by the outward expression of her own artistic and written production. She openly acknowledged her vulnerability because it gave her purpose\, and the work born from that purpose gave form to her particular kind of suffering. In relation to this condition of living and working Bourgeois aptly coined the now famous phrase: “Art is a guarantee of sanity.” \n\n\nBourgeois was keenly sensitive to the power of language when combined with image. She had a prolific writing practice her entire life\, with her most active periods occurring in the 1950s and 1960s while she underwent psychoanalysis. Her writing is honest\, poetic\, and often autobiographical. Read alongside the entirety of her work\, these words depict an individual in crisis\, a running narrative of a woman struggling with the pressures and expectations of being a daughter\, a wife\, a mother\, and an artist. \n“What is the shape of this problem?” is a question presented on the opening page of a series of nine letterpress diptychs of image and text produced by Bourgeois in 1999 and in many ways it is a poignant frame for this exhibition. This question\, like much of the text used in her prints\, positions these works within Bourgeois’ multi-layered practice of identifying and bravely exploring her personal history\, her creative process\, and her mental health. These words boldly place suffering and making parallel to each other\, suggesting that abstract emotions can\, and should\, be given form. It is this acknowledgment that provides the balance of her creative practice and life\, an entwined dependence that makes the work of Louise Bourgeois artistically and emotionally intelligent. \nThis exhibition is organized by the Jordan Schnitzer Family Foundation and the Esker Foundation. It is curated by Naomi Potter\, Director/Chief Curator\, Esker Foundation\, Calgary\, Canada. \n\nImage courtesy of USC Fisher Museum of Art\, Photo: Peter Perigo \n  Save  
URL:https://artinamericaguide.com/event/louise-bourgeois-what-is-the-shape-of-this-problem/
LOCATION:University of Southern California\, USC Fisher Museum of Art\, 823 Exposition Blvd.\, Los Angeles\, CA\, 90089\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/11/LOUISE-BOURGEOIS-9-12-22_0338.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220906T100000
DTEND;TZID=America/Halifax:20221211T170000
DTSTAMP:20260404T021129
CREATED:20220804T175144Z
LAST-MODIFIED:20220804T175144Z
UID:95474-1662458400-1670778000@artinamericaguide.com
SUMMARY:Miriam Beerman: 1923–2022 NOTHING HAS CHANGED
DESCRIPTION:Exhibition shines a spotlight on the late Miriam Beerman\, a New Jersey artist whose works are included in the permanent collections of over 60 museums worldwide and a female pioneer in the 20th-century art world\nWEST LONG BRANCH\, NJ—The Monmouth University Center for the Arts announces the launch of its fall 2022 season with Miriam Beerman: 1923–2022 NOTHING HAS CHANGED. \nThe exhibition showcases Beerman (1923–2022) as one of the 20th-century’s most provocative artists\, whose humanist expressionist works highlight her talent as a colorist. A pioneer as one of the first female artists to be given a solo exhibition at the Brooklyn Museum of Art\, Beerman is part of a canon of 20th-century women artists who were nearly lost to obscurity due to their gender in a male-dominated art world. \nThe show runs from September 6 to December 11 in the Rechnitz Hall DiMattio Gallery in the Monmouth University Center for the Arts. The opening reception is September 22 from 6 to 9 p.m. \nInfluenced by the social injustice seen around her\, Beerman shines a spotlight on the horror and pathos of man’s inhumanity to man. The themes prove to be timeless\, resonating today as much as when they were created in the 20th century. Her life and art were explored in the 2015 documentary Miriam Beerman: Expressing the Chaos. \nNearly 20 large-scale canvases by Beerman will be represented. The show is guest curated by gallerist James Yarosh and draws upon the recent exhibition Miriam Beerman – REDISCOVER\, shown at James Yarosh & Associates Gallery in Holmdel\, N.J.\, which opened in spring 2022. The exhibition\, Miriam Beerman\, 1923-2022 NOTHING HAS CHANGED marks the second guest curator role at the university for Yarosh who curated Sheba Sharrow: Balancing Act in 2017. A companion show of Beerman’s works on paper and collages is simultaneously on view at James Yarosh & Associates Gallery. \n“Living with Miriam Beerman’s paintings at the gallery with the current exhibit REDISCOVER\, one cannot help but be both moved and stirred to be in the presence of the colossal works\, heavy with paint\, laden with subject. When you see these humanist expressionist works existing silently\, holding the weight of the world\, you begin to understand the gallery’s presentation\,” says Yarosh\, a gallerist fueled by curatorial activism in recent years. “As I described Miriam’s art with clients\, it occurred to me that those words also described the role of female artists of the 20th century whose voices were more stifled in favor of male artists—and of women’s roles in a patriarchal society. \n“If our art history is male-dominant\, and the artists before us our teachers\, we are only getting half the lessons to be learned\,” he continues. “We have an opportunity to do better. This presentation with Monmouth University allows the conversations to continue and include a younger generation.” \n“NOTHING HAS CHANGED picks up the dialogue from the 2017 Sheba Sharrow: Balancing Act exhibition. Although their art is different\, the mission is similar: A female artist who rails against social injustices in her art as a call to action to evoke change\,” says Scott Knauer\, Director of Galleries and Collections\, Department of Art & Design\, Monmouth University. “Much of the subject matter that Miriam Beerman delved into is still so relevant and threatened today: political\, social\, religious rights\, women’s rights and threats against minorities.” \nThe show’s title piece\, Beerman’s 2009 canvas Nothing Has Changed\, (shown above) is described by Yarosh as “a later work\, a portrait of a monumental female face\, whose eyes are closed in resignation of her role. She disappears behind the facade of joyous yellows and pink\, and yet her hopes are painted on the right—an abstract dream vision of her imagined joy\, to run away\, to color outside the lines and create her own ideas of ‘happy ever after.’ The archetypal portrait is Beerman’s Mona Lisa\, except here\, the smile is upside-down.” \nGallerist Mitchell Algus and artist Heather L. Barone (a mentee and longtime assistant of Beerman) and Corey Dzenko and Theresa Grupico in the Monmouth University Department of Art & Design are contributing to the catalogue. A smartphone tour is also being planned with a potential online discussion with artist\, author and former Asbury Park Press art columnist Tova Navarra. Other planned events include a series of salon evenings\, a Q&A evening with the Expressing the Chaos filmmaker and an event closing show. For details on upcoming events\, visit the “What’s New” page on the James Yarosh Associates Fine Art & Design Gallery website: www.jamesyarosh.com. \n\n\nABOUT MIRIAM BEERMAN: Miriam Beerman studied painting at the Rhode Island School for Design\, where she earned a BFA. Afterward\, she spent two years in France as a Fulbright Scholar\, working in Atelier 17 and having her painting critiqued by Marcel Brion. In New York\, she studied with Yasuo Kuniyoshi at the Art Students League and Adja Yunkers at the New School for Social Research. She has had over 30 solo shows\, including at the Brooklyn Museum\, Graham Gallery\, the New Jersey State Museum and the Everson Museum. \nBeerman’s work is included in many major collections\, including Metropolitan Museum\, Whitney Museum\, LACMA\, National Gallery of Art\, Phillips Collection\, National Museum of Women in the Arts\, Victoria and Albert Museum\, the Fitzwilliam Museum in England\, the MEAM in Spain\, the Israel Museum and the National Portrait Gallery in Washington\, D.C.\, among others. Beerman’s painting “Scorpio” is also currently on display as part of The Vault Show exhibit at University of Arizona Museum of Art through fall 2022. She has won many awards\, including awards from the Joan Mitchell Foundation\, Pollock-Krasner Foundation\, RSID and others. \nABOUT JAMES YAROSH: Established in 1996\, the James Yarosh Associates Gallery in Holmdel\, New Jersey\, was founded upon and remains loyal to its vision: to represent fine art for art’s sake and to curate gallery collections and thoughtfully present art and interior design specification with an artist’s eye and understanding. Yarosh\, an artist and well- published interior designer\, offers a full-scale gallery and design center where clients can associate with other like-minded individuals located just one hour outside Manhattan. \nYarosh advocates for what greatness looks like in the arts\, showcasing at his destination gallery the works of both new and established museum-recognized artists of merit in a space designed to replicate the intimacy of an artist’s home. Current exhibitions such as Miriam Beerman – REDISCOVER (2022)\, The Humanist Show (2021)\, Sheba Sharrow: History Repeats (2020) and the NYC art fair Art on Paper (2021) help foster the idea of art as intellectual engagements that sit above decoration in design hierarchy\, adding exponentially to the experience of living with art.  www.jamesyarosh.com\n \n\n\n  Save  
URL:https://artinamericaguide.com/event/miriam-beerman-1923-2022-nothing-has-changed/2022-09-06/
LOCATION:Monmouth University – DiMattio Gallery at Rechnitz Hall\, 400 Cedar Avenue\, West Long Branch\, NJ\, 07764\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="James Yarosh":MAILTO:jamesyarosh@yahoo.com
END:VEVENT
END:VCALENDAR