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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260622T100450
DTEND;TZID=America/New_York:20250920T170000
DTSTAMP:20260622T100450
CREATED:20250722T184747Z
LAST-MODIFIED:20250722T184747Z
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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:20260622T100450
DTEND;TZID=America/New_York:20250926T200000
DTSTAMP:20260622T100450
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:20260622T100450
DTEND;TZID=America/New_York:20250927T180000
DTSTAMP:20260622T100450
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:20260622T100450
DTEND;TZID=America/New_York:20251018T170000
DTSTAMP:20260622T100450
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:20260622T100450
DTEND;TZID=America/New_York:20251122T170000
DTSTAMP:20260622T100450
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:20260622T100450
DTEND;TZID=America/New_York:20260221T180000
DTSTAMP:20260622T100450
CREATED:20260120T172859Z
LAST-MODIFIED:20260120T172859Z
UID:115685-0-1771696800@artinamericaguide.com
SUMMARY:Robert Braczyk: Cardinal Directions
DESCRIPTION:Exhibition Dates: January 27 – February 21\, 2026\nOpening Reception: Thurs.\, January 29\, 2026\, 5PM-8PM\nArtist Talk: Saturday\, February 14\, 2026\, 3PM-4PM\nGallery Hours: Tuesday – Saturday\, 11AM-6PM \nBowery Gallery is pleased to present “Cardinal Directions\,” an exhibition of new sculpture by Robert Braczyk.  \nFor many years a prize-winning figurative sculptor\, in recent years Braczyk has turned to abstraction. In his new work—most about 24 inches high—he assembles various tree elements into vertical compositions that echo figural forms\, but whose abstract vocabulary of open volumes and discontinuous contours suggests the possibility of multiple allusions. Each work evinces a powerful spatial tension between the cardinal point from which it is begun and the complex three-dimensional image that Braczyk builds with primary thrust\, axis\, and meridian.  \nBraczyk’s trajectory from figure to abstract figure may be seen as a temporal through line connecting the events of a life. The artist’s comment that he brings all his life’s experiences into the studio reminds us that in the long arc of his career\, the spatial and temporal are never far apart. \nView the exhibition website. \n  \nBowery Gallery\n547 W. 27th Street\, Suite 508\nNew York\, NY 10001 \n  Save  
URL:https://artinamericaguide.com/event/robert-braczyk-cardinal-directions/
LOCATION:Bowery Gallery\, 547 W 27TH ST Suite 508\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/01/Braczyk_Reel_for_eVite-and_Web_landing-page-scaled.jpg
ORGANIZER;CN="Bowery Gallery":MAILTO:info@bowerygallery.org
GEO:40.7493621;-74.0047021
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Bowery Gallery 547 W 27TH ST Suite 508 New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=547 W 27TH ST Suite 508:geo:-74.0047021,40.7493621
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260622T100450
DTEND;TZID=America/New_York:20260621T170000
DTSTAMP:20260622T100450
CREATED:20260601T192532Z
LAST-MODIFIED:20260601T192532Z
UID:116547-0-1782061200@artinamericaguide.com
SUMMARY:Volta Basel 2026
DESCRIPTION:Returning this June to Basel\, Switzerland\, The Contemporary Art Modern Project is pleased to announce its booth C13 at Volta. Joining us are: Karola Pezarro\, Molly Gambardella\, Aurora Molina\, Silvia Trappa\, Giulia Ronchetti\, Dominik Schmitt and Stefano Ogliari Badessi each offering a artworks brimming in color and imagination in our exhibition entitled: The Real\, The Imagined and The necessary. \nLooking at the themes of: the environment\, imagination and society tied together by color the booth aims to offer alternatives to any present. Considering the array of bold and confident colors throughout the booth\, these artists remove cultural expectations of color designations and offer insight into the essence of an idea.\n \n  Save  
URL:https://artinamericaguide.com/event/volta-basel-2026/
LOCATION:NY
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/05/VOLTA_Landing-Visual-01-1-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220722T110000
DTEND;TZID=America/New_York:20240804T180000
DTSTAMP:20260622T100450
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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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230128
DTEND;VALUE=DATE:20231002
DTSTAMP:20260622T100450
CREATED:20230123T193027Z
LAST-MODIFIED:20230123T193027Z
UID:101496-1674864000-1696204799@artinamericaguide.com
SUMMARY:Andrea Chung: if they put an iron circle around your neck I will bite it away
DESCRIPTION:In a new multiroom installation\, artist Andrea Chung confronts the legacy and trauma of slavery from the perspective of an Afrofuturist utopia. \nFor this work\, Chung activates the possibility of a new world\, a “Black Atlantis” called Drexciya\, to subvert the horrors of the transatlantic slave trade. Drexciya is an underwater world populated by the amphibious offspring of women thrown from slave ships during the Middle Passage. It was conceived by the eponymous and enigmatic electronic music duo active in Detroit in the 1990s and early 2000s. \nChung’s installation is a meditation on the laws of Black physics. It highlights the ways Black people relate and respond to time and space in order to navigate a world full of dangerous and harmful systems. Within her evocation of this watery realm we can inhabit imagined pasts\, presents\, and futures to craft alternative realities forged by liberation\, adaptation\, resilience\, defiance\, and survival. \nImage: Andrea Chung\, Filthy Water Cannot Be Washed\, 2017; cyanotype and watercolor; 88 x 240 in. Courtesy of the artist. \n  Save  
URL:https://artinamericaguide.com/event/andrea-chung-if-they-put-an-iron-circle-around-your-neck-i-will-bite-it-away/
LOCATION:John Michael Kohler Arts Center\, 608 New York Avenue\, Sheboygan\, WI\, 53081\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230217T100000
DTEND;TZID=America/Chicago:20230910T170000
DTSTAMP:20260622T100450
CREATED:20220708T163336Z
LAST-MODIFIED:20220708T163336Z
UID:94620-1676628000-1694365200@artinamericaguide.com
SUMMARY:Awful Bigness
DESCRIPTION:Clyfford Still spent his childhood and adolescence in the West and saw how the boundless plains could offer generous bounty in times of plenty or pitilessly starve in dust and wind. In an interview\, he referred to that experience as one that taught him to respect the “awful bigness of the land\, the men and the machines.” In subsequent years\, he worked on an enormous scale\, and each time\, he had to confront the awful bigness of the vast expanse of blank canvas. \nOrganized by the Clyfford Still Museum’s associate curator\, Bailey Placzek\, in collaboration with CSM’s director\, Joyce Tsai\, Awful Bigness fills the Museum’s largest\, skylit galleries and celebrates Still’s biggest\, most ambitious works. This installation follows a chronological display of Still’s works in CSM’s first four rooms\, which overviews Still’s groundbreaking path to abstraction. \n  Save  
URL:https://artinamericaguide.com/event/awful-bigness/
LOCATION:Clyfford Still Museum\, 1250 Bannock St.\, Denver\, CO\, 80204\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Clyfford Still Museum":MAILTO:press@clyffordstillmuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230310T110000
DTEND;TZID=America/New_York:20231015T180000
DTSTAMP:20260622T100450
CREATED:20230612T205617Z
LAST-MODIFIED:20230612T211124Z
UID:103918-1678446000-1697392800@artinamericaguide.com
SUMMARY:Sadie Barnette: Family Business
DESCRIPTION:Sadie Barnette’s multimedia practice explores her own family history as it mirrors a collective history of repression and resistance in the United States. In a new commission for the ongoing Visualizing Abolition collaboration with the Institute of the Arts and Sciences at University of California\, Santa Cruz\, Barnette proposes an alternate history of Black America\, one shaped by state-sanctioned terror but also by love\, support\, celebration\, and the fullness of human relationships. \n  Save  
URL:https://artinamericaguide.com/event/sadie-barnette-family-business/
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:20230311T100000
DTEND;TZID=America/Halifax:20230917T160000
DTSTAMP:20260622T100450
CREATED:20230302T190314Z
LAST-MODIFIED:20230302T190314Z
UID:102033-1678528800-1694966400@artinamericaguide.com
SUMMARY:Moisés Salazar Tlatenchi:  A Quién le Importa
DESCRIPTION:A nonbinary artist and first-generation Mexican American raised by undocumented parents\, Moisés Salazar Tlatenchi infuses their work with their lived experience. \n  \nSalazar’s art frequently addresses the lack of agency and freedom the marginalized face in physical and theoretical spaces\, and the trauma and barriers specific to queer and immigrant bodies. They create works using materials and techniques—such as faux fur\, glitter\, and sequins\, crochet\, and tufting—that honor Salazar’s familial cultural heritage and speak to the legacy of queer craft. \n  \nFor A Quién le Importa\, Salazar reimagines the gallery as a sanctuary of inclusivity and acceptance\, filling it with mixed-media paintings and soft sculptures exploring alternative forms of identity\, belonging\, and community through the lens of queer kinship. The exhibition’s title is taken from a pop anthem beloved by the world’s Spanish-speaking LGBTQ community that celebrates self-affirmation and openness about one’s sexuality. Drawing from the song’s fierce spirit of pride\, self-respect\, and liberation\, Salazar’s glittering\, jewel-like portraits of their queer kin extol the joy that comes from the mutual support and love provided by friends and chosen family. \n\nImage: Moises Salazar\, Angel\, 2022; faux fur\, glitter on board\, and sequin applique; 36 x 24 in. Courtesy of the artist and Mindy Solomon Gallery. \n  Save  
URL:https://artinamericaguide.com/event/moises-salazar-tlatenchi-a-quien-le-importa/
LOCATION:John Michael Kohler Arts Center\, 608 New York Avenue\, Sheboygan\, WI\, 53081\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230318T100000
DTEND;TZID=America/Halifax:20240609T170000
DTSTAMP:20260622T100450
CREATED:20230316T154058Z
LAST-MODIFIED:20230316T154058Z
UID:102487-1679133600-1717952400@artinamericaguide.com
SUMMARY:Bosco Sodi: Origen
DESCRIPTION:Visit our galleries for FREE on Sundays. Check the visit page for all free admission opportunities at the Harvard Art Museums. \nA new installation of sculptures by Mexican-born artist Bosco Sodi (b. 1970) places 14 of the artist’s handmade clay spheres at the Harvard Art Museums and marks the first-ever presentation of art on the museums’ outdoor Broadway terrace. Sodi’s practice explores the earth’s elements\, marrying age-old traditions of sculpting clay with a contemporary vision of creating simple universal forms that prompt reflection. Drawing on centuries-old techniques passed through the Zapotec culture\, Sodi works with Oaxacan artisans\, using local clay to sculpt each sphere\, drying it outside for up to eight months\, and then firing it in a kiln built upon a beach. The resulting terracotta forms reveal the effects of nature’s forces—the sun\, sea air\, and fire—as demonstrated by the cracks\, chips\, and blackened and crusty patches that distinguish each sphere. In a first for a U.S. installation of the artist’s work\, Sodi will also unveil three gold-glazed spheres as part of his site-specific arrangement. Moving from outside to inside the museums\, these gold spheres connect to and engage with the meditative atmosphere evoked by the installation of Buddhist figures in Gallery 1610. \n  Save  
URL:https://artinamericaguide.com/event/bosco-sodi-origen/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/03/Bosco-Sodi.jpg
ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230318T100000
DTEND;TZID=America/Halifax:20240609T170000
DTSTAMP:20260622T100450
CREATED:20230320T150548Z
LAST-MODIFIED:20230320T150548Z
UID:102492-1679133600-1717952400@artinamericaguide.com
SUMMARY:Bosco Sodi: Origen
DESCRIPTION:Visit our galleries for FREE on Sundays. Check the visit page for all free admission opportunities at the Harvard Art Museums. \nA new installation of sculptures by Mexican-born artist Bosco Sodi (b. 1970) places 14 of the artist’s handmade clay spheres at the Harvard Art Museums and marks the first-ever presentation of art on the museums’ outdoor Broadway terrace. Sodi’s practice explores the earth’s elements\, marrying age-old traditions of sculpting clay with a contemporary vision of creating simple universal forms that prompt reflection. Drawing on centuries-old techniques passed through the Zapotec culture\, Sodi works with Oaxacan artisans\, using local clay to sculpt each sphere\, drying it outside for up to eight months\, and then firing it in a kiln built upon a beach. The resulting terracotta forms reveal the effects of nature’s forces—the sun\, sea air\, and fire—as demonstrated by the cracks\, chips\, and blackened and crusty patches that distinguish each sphere. In a first for a U.S. installation of the artist’s work\, Sodi will also unveil three gold-glazed spheres as part of his site-specific arrangement. Moving from outside to inside the museums\, these gold spheres connect to and engage with the meditative atmosphere evoked by the installation of Buddhist figures in Gallery 1610. \n  Save  
URL:https://artinamericaguide.com/event/bosco-sodi-origen-2/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/03/Bosco-Sodi-1.jpg
ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230321
DTEND;VALUE=DATE:20240205
DTSTAMP:20260622T100450
CREATED:20221208T214310Z
LAST-MODIFIED:20221208T214310Z
UID:100862-1679356800-1707091199@artinamericaguide.com
SUMMARY:Calling on the Past: Selections from the Collection
DESCRIPTION:Calling on the Past invites visitors to experience the Smart Museum’s collection anew\, through a sensory exploration of color\, texture\, and form. \nIn lieu of customary chronological or geographical divisions\, such as those that have often guided the display of the collection in the past\, this installation draws on the breadth and depth of the Museum’s holdings to situate key works side by side across centuries. From antiquities to contemporary painting and sculpture\, the cross-historical selection of objects speaks to the varied materials\, ideas\, and questions artists continue to explore\, while emphasizing the editing of history. \nCalling on the Past is inspired in part by art historian George Kubler’s seminal text The Shape of Time: Remarks on the History of Things (1962)\, which argues the art of the past is in constant conversation with the present. Kubler replaces the notion of art historical styles with the understanding that time is both linear and looped\, and artists have been revisiting the same sets of questions across the ages. Rather than emphasizing objects’ original context\, this exhibition inserts them into imaginative groupings\, unraveling historical hierarchies and encouraging us to see the collection with fresh eyes. \n  Save  
URL:https://artinamericaguide.com/event/calling-on-the-past-selections-from-the-collection/
LOCATION:Smart Museum of Art\, 5550 S. Greenwood Avenue\, Chicago\, IL\, 60637\, United States
CATEGORIES:Exhibition
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X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Smart Museum of Art 5550 S. Greenwood Avenue Chicago IL 60637 United States;X-APPLE-RADIUS=500;X-TITLE=5550 S. Greenwood Avenue:geo:-87.6002004,41.7934642
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230324
DTEND;VALUE=DATE:20231204
DTSTAMP:20260622T100450
CREATED:20230109T180703Z
LAST-MODIFIED:20230213T154532Z
UID:101317-1679616000-1701647999@artinamericaguide.com
SUMMARY:In a New Light: Paintings from the Yale Center for British Art
DESCRIPTION:In a New Light: Paintings from the Yale Center for British Art presents a selection of YCBA artworks in the Yale University Art Gallery’s Louis Kahn building while the YCBA’s own iconic Kahn building is closed for its next phase of conservation. The nearly sixty works on view span four centuries of British landscape and portraiture traditions. Highlights include Joseph Mallord William Turner’s Dort or Dordrecht: The Dort Packet-Boat from Rotterdam Becalmed (1818); several of John Constable’s atmospheric Cloud Studies (1821–25); James McNeill Whistler’s Nocturne in Blue and Silver (1872–78); and Francis Bacon’s Study of a Head (1952). The exhibition offers a rare opportunity to see these and other artworks from the YCBA’s collection in a new setting\, yet one that—like the YCBA itself—displays the notable elements of Kahn’s simple but elegant museum architecture: basic geometric forms\, natural materials in muted palettes\, and galler­ies filled with diffuse daylight. \n  Save  
URL:https://artinamericaguide.com/event/crafting-worldviews-art-and-science-in-europe-1500-1800/
LOCATION:Yale University Art Gallery\, 1111 Chapel St\, New Haven\, CT\, 06510\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Yale University Art Gallery":MAILTO:artgalleryinfo@yale.edu
GEO:41.30839;-72.930958
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Yale University Art Gallery 1111 Chapel St New Haven CT 06510 United States;X-APPLE-RADIUS=500;X-TITLE=1111 Chapel St:geo:-72.930958,41.30839
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230506T000000
DTEND;TZID=America/Halifax:20231117T000000
DTSTAMP:20260622T100450
CREATED:20230512T201102Z
LAST-MODIFIED:20230512T201102Z
UID:103441-1683331200-1700179200@artinamericaguide.com
SUMMARY:Mark Handforth "Franklin Four"
DESCRIPTION:Luhring Augustine is delighted to announce that Mark Handforth’s public sculpture\, Franklin Street Four\, will be installed in Tribeca’s Barnett Newman Triangle as part of NYC Parks’ Art in the Parks program from May – November 2023. \n  Save  
URL:https://artinamericaguide.com/event/mark-handforth-franklin-four/
LOCATION:Barnett Newman Triangle\, White\, Church\, Sixth Street\, New York\, 10011\, United States
CATEGORIES:Event
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2023/05/02.23.2023-Franklin-Street-Four-revised-mock-up.png
ORGANIZER;CN="Luhring Augustine":MAILTO:info@luhringaugustine.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230513T100000
DTEND;TZID=America/Halifax:20231008T170000
DTSTAMP:20260622T100450
CREATED:20230502T182207Z
LAST-MODIFIED:20230502T182207Z
UID:103168-1683972000-1696784400@artinamericaguide.com
SUMMARY:Kea Tawana: I Traveled into the Future in a Dream
DESCRIPTION:Kea Tawana (c. 1935–2016) is known for creating the Ark\, an 86-foot-long\, three-story ship she built in Newark\, New Jersey\, starting in 1982\, with the intention of making it her home. \nFor decades prior\, she had collected salvaged wood\, glass shards\, and other materials from abandoned buildings in the city’s Central Ward. Incorporating those materials\, she built the Ark on an empty lot; it was still unfinished when the city condemned it in 1987. Unable to find a new location\, Tawana dismantled her ship in 1988. She spent the decades after the Ark’s destruction traveling\, eventually settling and dying in Port Jervis\, New York. \nThe Arts Center recently acquired the contents from her small apartment there\, which included about thirty handmade boxes containing collaged and tied “encyclopedic files” and personal effects; Tawana’s blueprints for utopic\, unrealized building projects; handmade stained-glass windows; and hundreds of sketches and manuscripts. \nKea Tawana: I Traveled into the Future in a Dream represents the first museum show of Tawana’s work\, and the first exhibition outside of the northeastern United States. Many of the objects are on view for the first time. It recontextualizes her work and life in several ways\, including her long-running and largely unknown roles as architect\, community activist\, historian\, educator\, and craftsperson. \nImage: Kea Tawana\, untitled\, n.d.; glass and wood; 21 x 17 x 1/2 in. Kea Tawana’s work presented in cooperation with PCK Media\, Gallery Aferro\, and the Clement A. Price Institute on Ethnicity\, Culture\, and the Modern Experience at Rutgers University. \n  Save  
URL:https://artinamericaguide.com/event/kea-tawana-i-traveled-into-the-future-in-a-dream/
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/2023/05/ex.taw_.2023.5003-1201x1478-1.png
ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230520T100000
DTEND;TZID=America/Halifax:20240421T160000
DTSTAMP:20260622T100450
CREATED:20230502T182207Z
LAST-MODIFIED:20230502T182207Z
UID:103170-1684576800-1713715200@artinamericaguide.com
SUMMARY:Sharing The Same Breath
DESCRIPTION:In her 2021 essay “A Family Reunion Near the End of the World\,” botanist Robin Wall Kimmerer contemplates our kinship with nature and proposes a road map for deepening our care and respect for all living things. \n“Being a relative\,” she writes\, “is more than shared blood from a common past. Real kinship arises when we realize that we have a common future\, that our fates are linked.” She goes on to suggest\, “Real kinship comes when you live it. It’s not a noun\, but a verb\, it’s not a thing\, it’s what you do.” \nThe cultivation of kinship with the living world is the foundation for Sharing the Same Breath. The exhibition brings together nine artists who consider the world’s complex web of relations through artworks that emphasize human\, nonhuman\, and interspecies forms of kinship and connectivity. These relationships are explored through a wide range of mediums including sculpture\, photography\, drawing\, video\, film\, and installation. Together the works form a kincentric viewpoint that challenges narratives of human exceptionalism and encourages us to regard our symbiotic relationship and shared fate with our more-than-human family with greater attention and care. \nArtists in the exhibition include Juan William Chávez\, David Freid\, Lindsey French\, Emilie Louise Gossiaux\, Nina Katchadourian\, Cannupa Hanska Luger\, Marie Watt\, William Wegman\, and Dyani White Hawk. \nImage: Emilie L. Gossiaux\, True Love Will Find You in the End\, 2021; polystyrene foam\, aluminum pipes\, papier-mâché\, epoxy resin\, and acrylic matte medium. Courtesy of the artist and Mother Gallery. Photo: Ronald Amstutz. \n  Save  
URL:https://artinamericaguide.com/event/sharing-the-same-breath/
LOCATION:John Michael Kohler Arts Center\, 608 New York Avenue\, Sheboygan\, WI\, 53081\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2023/05/ex.sha_.2023.5011-1440x1920-1.png
ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230603T110000
DTEND;TZID=America/New_York:20230917T170000
DTSTAMP:20260622T100450
CREATED:20230613T164047Z
LAST-MODIFIED:20230613T164047Z
UID:103929-1685790000-1694970000@artinamericaguide.com
SUMMARY:A Living Legacy: Recent Acquisitions in Contemporary Art
DESCRIPTION:Since its opening in 1952\, the Frye has maintained its dedication to the art and culture of the present through collecting and exhibiting contemporary art. This practice is guided by the example of museum founders Charles and Emma Frye\, who amassed a collection of paintings made within their own lifetimes\, often by purchasing works directly from living artists. Over the past fifteen years\, the museum has intentionally focused on broadening its holdings to include previously underrepresented identities\, perspectives\, and forms of expression. This ongoing work is an essential facet of the institution’s commitment to diversity\, equity\, and inclusion. \nA Living Legacy marks the Frye’s seventieth anniversary\, bringing together eight artworks—all acquired in 2022 and on view at the museum for the first time—by Amoako Boafo\, Sky Hopinka\, Gisela McDaniel\, Bony Ramirez\, Tschabalala Self\, Ann Leda Shapiro\, and Sadie Wechsler. Ranging from altered photographs to mixed-media assemblages\, the works expand or complicate narratives around genres such as landscape and portraiture traditionally associated with the Frye’s Founding Collection of nineteenth- and twentieth-century European and American art. The exhibition reflects the museum’s engagement with both local and global artists and celebrates the collection as a unique\, ever-evolving\, and always imperfect chronicle of artistic production: a living legacy of the Fryes’ visionary patronage. \n  Save  
URL:https://artinamericaguide.com/event/a-living-legacy-recent-acquisitions-in-contemporary-art/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/06/McDaniel_2022.006-scaled.jpg
ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230608T180000
DTEND;TZID=America/New_York:20230901T180000
DTSTAMP:20260622T100450
CREATED:20230620T133433Z
LAST-MODIFIED:20230620T133433Z
UID:104005-1686247200-1693591200@artinamericaguide.com
SUMMARY:Margaret Morrison Paradigm Shift
DESCRIPTION:Woodward Gallery is proud to announce Margaret Morrison’s new solo exhibition\, Paradigm Shift\, at the Lyndon House Arts Center in Athens\, GA this Summer. Margaret Morrison’s paintings investigate Caravaggio’s use of theatrical light. This narrative series of ten large oil paintings on canvas describes various stages of faith-based\, spiritual enlightenment from awakening to transcendence. Morrison has been represented by Woodward Gallery since 1995. \nIn 2017\, Professor Margaret Morrison proposed a Faculty Research Grant to the University of Georgia’s (UGA) Willson Center for the project\, Contemporary Examination of Caravaggio’s Dramatic Staging and Lighting – A Collaboration between Painting and Theatre. This project resulted in a series of paintings investigating Caravaggio’s use of theatrical light. Morrison and her collaborator\, Professor Anthony Marotta of the UGA Department of Theatre and Film Studies\, explored various methods of stage choreography for the purpose of photographing and collecting reference images. \n“As a fifth-generation Mormon\,” Morrison recalls\, “I grew up on faith-promoting stories of my ancestors who left everything behind to build a new Zion in the wilderness of the American West. This faithful narrative of Mormonism’s founding was unblemished\, spiritually uplifting\, and literally a part of my DNA.  If any aspect of our history or practice gave me consternation\, I placed it on my metaphorical shelf to be dealt with later.” \nProfessors Anthony Marotta and Margaret Morrison discussed how to include the theater students in their Caravaggio theater project and\, in response\, Morrison created a script for Marotta and his students. This resulted in a stage performance\, directed by Marotta and documented by photographer\, Gabrielle Rosenthal. The resulting collaboration provided Margaret Morrison with exceptional reference material for a body of artwork entitled\, Paradigm Shift. This suite of ten large oil paintings on canvas describes various stages of enlightenment from awakening to transcendence— a faith-based\, spiritual experience that Margaret Morrison had been through\, personally. \n“In the early 2000s\,” says Morrison\, “an enormous treasure trove of historical documents\, letters\, and journals from Mormon history flooded the internet.  The Church could no longer be the gatekeeper\, withholding the unsavory and salacious moments in its history.  As I voraciously read everything that I could get my hands on\, it became apparent that the tidy “faithful narrative” that I had been raised to believe in did not exist.  In actuality\, it was raw\, messy\, and filled with sexual intrigue.  My “shelf” was instantly shattered into a million pieces.  I was devastated and angry. In the past\, there had been such comfort in the notion of a perfect church.  Where was that to be found now? How was I to process this flood of distressing and unsettling information? Should I divorce myself from my faith tradition like so many others were doing?  I was plunged into the most painful experience of my life and it was exhausting physically\, emotionally\, and spiritually.” \nMorrison continues\, “Slowly\, very slowly\, I began to pull away from my anger and disillusionment to make room for a new paradigm. I explored the idea that a “perfect” church could not possibly exist\, that the leaders that I had grown up revering as near perfect were flawed and exhibited the very same weaknesses common to all humankind.  With this new-found cathartic insight\, I no longer felt the pressure to outwardly conform.  Instead\, I turned inward and rekindled a deeper\, more personal spirituality. I sifted through the ruins of my faith tradition and found the pieces that resonated with me. As I rebuilt\, I began to experience deeper spiritual connections\, a true sense of transcendence in my search for the Divine.” \n“My Paradigm Shift Series springs from the devastating sense of loss I felt when my belief in the “faith-promoting” history of Mormonism imploded\, forcing me to build a new\, and infinitely deeper spiritual foundation\,” Morrison concludes. “The narrative in each painting traces the arc of my journey from naïve believer\, passing through cataclysmic destruction and terrible sadness\, finally arriving at the reclamation of my inner peace and a closer connection to God.” \nMargaret Morrison’s Paradigm Shift\, at the Lyndon House Arts Center\, will be open to the public\, free of charge\, from June 8th through September 1st\, 2023. A special Artist Event will be held on August 24th\, at 6pm. Exhibitions are on view during regular gallery hours Tuesday and Thursday 10:00 a.m. – 8:00 p.m.\, Wednesday\, Friday\, and Saturday 10:00 a.m. – 5:00 p.m. Children must be accompanied by an adult. \n  Save  
URL:https://artinamericaguide.com/event/margaret-morrison-paradigm-shift/
LOCATION:Lyndon House Arts Center\, 211 Hoyt Street\, Athens\, GA\, 30601\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/06/Processional-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230615
DTEND;VALUE=DATE:20231023
DTSTAMP:20260622T100450
CREATED:20221118T195036Z
LAST-MODIFIED:20230613T174827Z
UID:100534-1686787200-1698019199@artinamericaguide.com
SUMMARY:The Art of Food: From the Collections of Jordan D. Schnitzer and His Family Foundation
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: From the Collections of Jordan D. Schnitzer 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. \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. \n\n\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-2/
LOCATION:Asheville Art Museum\, 2 South Pack Square\, Asheville\, NC\, 28801\, United States
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230617T100000
DTEND;TZID=America/New_York:20231029T160000
DTSTAMP:20260622T100450
CREATED:20230623T161042Z
LAST-MODIFIED:20230623T161042Z
UID:104083-1686996000-1698595200@artinamericaguide.com
SUMMARY:Patricia Piccinini: encounters of another plot
DESCRIPTION:As a storyteller\, Patricia Piccinini gathers information from scientific research and current events to envision genetically and physically adapted organisms. These creatures\, predominantly constructed with fiberglass\, silicone\, and hair\, are geared for survival against human impact and rapidly changing environmental conditions. The creatures’ reconfigured bodies and new survival mechanisms hint at possibilities of new earth-dwelling species\, modes of resilience\, and evolutionary potentials in response to our changing Earth/home. \nInspired by local ecosystems\, a life-size diorama constructed with recycled materials shelters Piccinini’s sculptures. The diorama is accompanied by a film following the journey of a human animal and a fictional Earth being walking through landscapes from Piccinini’s home of Australia. \nPiccinini’s work illustrates scenes of mothering\, fear\, and alertness. Her depiction of recognizable physical and emotive mannerisms offers viewers the chance to connect with the sculptures\, possibly inciting responses such as empathy\, disgust\, and fear. The sculptures’ mammalian bodies and expressions reduce the option for dissociation; any discomfort that may arise is that of making eye contact with an unfamiliar relative. \nPatricia Piccinini\, A Tangled Path Sustains Us (installation view\, Hosfelt Gallery\, 2022). Courtesy of the artist and Hosfelt Gallery. Photo: Miles Petersen. \nhttps://www.jmkac.org/exhibition/patricia-piccinini-encounters-of-another-plot/ \n  Save  
URL:https://artinamericaguide.com/event/patricia-piccinini-encounters-of-another-plot/
LOCATION:John Michael Kohler Arts Center\, 608 New York Avenue\, Sheboygan\, WI\, 53081\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/06/ex.pic_.2023.5006-1920x1280-1.jpg
ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230617T100000
DTEND;TZID=America/New_York:20231029T160000
DTSTAMP:20260622T100450
CREATED:20230623T161042Z
LAST-MODIFIED:20230623T161042Z
UID:104087-1686996000-1698595200@artinamericaguide.com
SUMMARY:Regional Responses to the Art Preserve
DESCRIPTION:In the summer of 2022\, the Arts Center invited Wisconsin-based artists and Arts Center members to submit proposals for work in any medium that makes tangible the feelings of wonder\, curiosity\, and exploration awakened by the collection of artist-built environments on the first floor of the Art Preserve. \nThis exhibition includes five responses to the work of Mary Nohl\, Eugene von Bruenchenhein\, Levi Fisher Ames\, and James Tellen by artists Clara McElfresh\, Christina Wilke-Burbach\, Kristin Plucar\, Sarah Rose\, and Jennifer Kaiser. \nImage: James Tellen Woodland Sculpture Garden (site detail\, roadside fallen log fence with Native Americans and bears tableau\, 1997)\, Black River\, WI\, c. 1942–1957. John Michael Kohler Arts Center Collection\, gift of Kohler Foundation Inc. Photo: Ron Byers. \nhttps://www.jmkac.org/exhibition/regional-responses-to-the-art-preserve/ \n  Save  
URL:https://artinamericaguide.com/event/regional-responses-to-the-art-preserve/
LOCATION:John Michael Kohler Arts Center\, 608 New York Avenue\, Sheboygan\, WI\, 53081\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/06/site_tellen_1997_0001-1920x1293-1.jpg
ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230617T100000
DTEND;TZID=America/New_York:20240225T160000
DTSTAMP:20260622T100450
CREATED:20230623T161042Z
LAST-MODIFIED:20230623T161042Z
UID:104085-1686996000-1708876800@artinamericaguide.com
SUMMARY:Rose B. Simpson: Counterculture
DESCRIPTION:The seven cast-concrete figures in Rose B. Simpson’s Counterculture are witnesses—reminders that the natural world is continuously watching humanity. Despite their over ten foot height\, the feminine-bodied forms show grace in their vigilance and space taking\, carrying necklaces made of ceramic beads instead of taking up weapons. \nSimpson’s sculptures are traveling to different sites across the country\, including the grounds of the Art Preserve\, where they will observe the seasons shift from summer to fall and into winter. Their presence suggests that we\, too\, should listen and humble ourselves to the natural world\, tuning into the ways in which we are responsible for the exploitation of our environment’s limited resources. \nIf we know something greater than ourselves is watching\, will we do things differently? \nCounterculture was created for and originally installed on the ancestral lands of the Stockbridge-Munsee Community Band of Mohican Indians\, in present-day Williamstown\, Massachusetts. The sculptures’ move to Wisconsin traces the path of forced removal experienced by the Stockbridge-Munsee Community\, which today is located on their reservation in northeastern Wisconsin\, with members also living in other parts of Wisconsin\, the United States\, and the world. \nImage: Rose B. Simpson\, Counterculture\, 2022; dyed concrete\, steel\, clay\, and cable; seven sculptures\, 128 x 24 x 11 in. each. Courtesy of the artist\, Jessica Silverman\, San Francisco\, and Jack Shainman Gallery\, New York. On view at Field Farm\, Williamstown\, MA\, June 2022–May 2023. Photo: Stephanie Zollshan. \nhttps://www.jmkac.org/exhibition/rose-b-simpson-counterculture/ \n  Save  
URL:https://artinamericaguide.com/event/rose-b-simpson-counterculture/
LOCATION:John Michael Kohler Arts Center\, 608 New York Avenue\, Sheboygan\, WI\, 53081\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/06/ap.sim_.2023.5004-1920x1279-1.jpg
ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230617T110000
DTEND;TZID=America/New_York:20230903T170000
DTSTAMP:20260622T100450
CREATED:20230613T164113Z
LAST-MODIFIED:20230613T164113Z
UID:103927-1686999600-1693760400@artinamericaguide.com
SUMMARY:Kelly Akashi: Formations
DESCRIPTION:Originally trained in analog photography\, Kelly Akashi (born 1983\, Los Angeles) is drawn to materials like glass\, wax\, and bronze for their alchemical potential to change states. The artist blows and sculpts these fluid materials into forms bearing the literal imprint of her body’s breath and touch. She regularly makes unique life casts of her hands\, subtly marking time as fingernails grow and lifelines deepen. \nThis pervasive interest in time is embedded in many of Akashi’s processes and led her to studies in botany\, paleontology\, and biology—fields that locate the human body within deep geologic history. She gives form to this research through both old-world craft techniques such as glass working and stone carving and new imaging technologies like CT scans and EKGs. Weeds\, shells\, flowers\, and rocks become poetic points of departure for exploring fundamental questions of existence: about being in the physical world and being in time. \nKelly Akashi: Formations is the largest exhibition of the artist’s work to date. It spans nearly ten years of practice\, from graduate school to recent research into the inherited impact of Japanese Americans’ incarceration during World War II. There is no chronology to the exhibition’s organization. Each artwork suggests an intimate encounter\, and these encounters expand and reshape meaning as they accumulate. Together\, Akashi’s works reveal that we are tethered to the lifeforms around us and are ourselves aggregate beings\, formed of ancestral experiences and histories. \nThe Frye is proud to partner in a multisite exploration of Akashi’s work with the Henry Art Gallery\, where the artist will present a new commission opening September 30\, 2023. \n  Save  
URL:https://artinamericaguide.com/event/kelly-akashi-formations-2/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230629
DTEND;VALUE=DATE:20230924
DTSTAMP:20260622T100450
CREATED:20230706T181159Z
LAST-MODIFIED:20230706T181159Z
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SUMMARY:At First Blush
DESCRIPTION:New York\, NY – Beginning June 29\, 2023\, Forum Gallery presents At First Blush\, an exhibition of paintings and drawings\, each of which is more than it first seems.  These provocative works invite the viewer to create their own story and frame of reference for the subject the artist depicts.  Something is happening\, has just happened or is anticipated in every work\, but that something is not explicit\, it is up to us to define. \nRaphael Soyer’s Nude with Self-Portrait\, 1961\, the earliest work in the show\, is about an artist and his model\, but there’s more to it than just the fact he’s painting her; while Alyssa Monks’ Be Perfectly Still and Selective Perception\, two of the most recent\, both from 2021\, exhibit psychologically charged expressions of the female experience.  William Beckman’s Marseille (Bathers)\, 2017-23\, imagines a relationship between two women that’s undefined while Steven Assael’s Susan with Dog\, 1994\, suggests a very different kind of relationship.  Two women are again the subject of Philip Pearlstein’s masterful Two Models with Bedouin Rug\, 1987; while Alan Feltus shows another\, intimately personal\, relationship in The Best of Times\, 2007.  These fully human\, highly charged works may not have the same meaning to any two viewers\, but everyone will bring their background\, dreams and thoughts to each work. \nThe clarity of Guillermo Munoz Vera’s Zara\, 2017\, in which a shopper shops while we observe from a distance\, is matched by the opacity of Paul Fenniak’s Man with Collapsible Umbrella\, 2012-13; and Offshore\, 2011\, that set scenes of dream-like mystery.  Individual figures in With the Stones\, 1999\, one of Richard Maury’s most masterly paintings\, and Woman on Red Background\, 1967-68\, by Gregory Gillespie\, are shown in a context that compels imagination and presents intrigue. \nArresting for the unapologetic directness of their subjects are Susan Hauptman’s Self-Portrait (La Perla #1)\, 2006; Kent Bellow’s Megan: October 1995\, 1995; Bill Vuksanovich’s\, Woman with a Scar\, 2001; and Nelson Shanks’ Grace\, 1996; while ambiguity is Clio Newton’s subject in Harper\, 2019. Each work cries out for us to supply our personal narrative\, a story we think of when we see the work. \nAt First Blush will be on view from June 29 to September 23\, 2023.  Forum Gallery is open Monday through Friday\, 10 AM to 5:30 PM\, and closed Saturday and Sunday during June\, July and August. \nYou are invited to explore our Online Viewing Room for At First Blush here: viewingroom.forumgallery.com/viewing-room/at-first-blush \n### \nForum Gallery is located at 475 Park Avenue at 57th Street\, New York\, NY 10022. Please visit viewingroom.forumgallery.com/viewing-room/at-first-blush to view the entire exhibition online. The exhibition begins on June 29 and will be on view through September 23\, 2023. Forum Gallery‘s summer hours are Monday through Friday\, 10am to 5:30pm. The gallery is closed Saturdays\, Sundays and holidays through the Labor day Weekend. \n  Save  
URL:https://artinamericaguide.com/event/at-first-blush/
LOCATION:Forum Gallery\, 475 Park Avenue\, New York\, NY\, 10022\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/New_York:20230707T110000
DTEND;TZID=America/New_York:20231029T170000
DTSTAMP:20260622T100450
CREATED:20230612T210525Z
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SUMMARY:Yolanda López: Portrait of the Artist
DESCRIPTION:Yolanda López: Portrait of the Artist is the first solo museum presentation of the work of Yolanda López\, the pathbreaking Chicana artist and activist whose career in California spanned five decades. The exhibition presents a compendium of López’s work from the 1970s and 1980s\, when she created an influential body of paintings\, drawings\, and collages that investigate and reimagine representations of women within Chicano/a/x culture and society at large. \nIn her best-known work\, Portrait of the Artist as the Virgin of Guadalupe (1978)\, López depicts herself wearing running shoes and the Virgin Mary’s star-patterned mantle\, an emblem of defiant joy. One of the most iconic artworks to emerge from the Chicano Movement\, López’s Portrait challenges the colonial and patriarchal origins of the Guadalupe iconography\, transforming the symbol into one of radical feminist optimism. López frequently used herself\, her mother\, and her grandmother as models and “prototypes” in her conceptual drawing projects of the 1970s\, bringing visibility to women of distinct roles and life stages through heroic\, often larger-than-life portraits. \nOrganized by the Museum of Contemporary Art\, San Diego and augmented at the San José Museum of Art with a new space focused on her role as a Bay Area activist and cultural worker\, the exhibition brings together a compendium of 50 works in oil pastel\, paint\, charcoal\, collage\, and photography that highlight López’s use of portraiture as a strategy for visualizing collective empowerment. The exhibition examines López’s profound influence as a feminist artist and activist whose works are characterized by their analysis\, indelible imagery\, and wit. \n  Save  
URL:https://artinamericaguide.com/event/yolanda-lopez-portrait-of-the-artist/
LOCATION:San Jose Museum of Art\, 110 S. Market Street\, San Jose\, CA\, 95113\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20230710
DTEND;VALUE=DATE:20230910
DTSTAMP:20260622T100450
CREATED:20230510T011835Z
LAST-MODIFIED:20230530T162027Z
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SUMMARY:Emma Amos: Classical Legacies
DESCRIPTION:Emma Amos\nClassical Legacies\nJuly 10 – September 9\, 2023 \nRYAN LEE is pleased to announce Emma Amos: Classical Legacies\, an exhibition of three paintings\, six prints\, and one cycle of epic monoprints by Emma Amos. The fourth solo presentation of Amos’s work—and sixth overall—at the gallery\, the exhibition will focus on the classicist influence on Amos’s œuvre\, a fresh take on her substantial body of work. \nThe exhibition will feature works ranging from 1966 to 2001 that demonstrate Amos’s longstanding interest in the antiquities. Amos would visit Rome as a child with her family\, and her early exposure to Roman ruins and epics translated in her work\, in which she frequently explored themes of longevity and deep histories within shifting times. Across the works presented at RYAN LEE this summer\, Amos displays her deep interest in history\, longevity and memory. By implementing themes from Greek and Roman antiquity in her work\, Amos marries the wide and converging interests that informed her art for decades and reflected the breadth of her culture. Her incorporation of the ancient West in her work coopted the built-in pedigree connoted with these motifs\, which she claimed as her own by right. \nThis will be the first time that Amos’s landmark Odyssey prints will be exhibited to the public in twenty years. Valerie J. Mercer wrote in an essay accompanying Amos’s major 1995 exhibition Emma Amos: Paintings and Prints\, 1982-1992: “Because of the monumental scale of the prints\, Odyssey can take up the spaces of a whole room when it is shown. The series focused on 100 years of the history of the artist’s family in Atlanta\, from the period shortly after slavery up to the 1960s. It was inspired by the splendid collection of family photographs belonging to Amos’s parents and represents pride in her family and in their achievements.”  \nThe exhibition starts with Pompeii\, made in 1960: a pivotal year for Amos. This marks her departure from her hometown of Atlanta for New York City\, which is coincidentally the event that later capped her landmark\, 10-panel Odyssey (1988). Equipped with the etching skills she learned at the Central School of Art in London\, Pompeii exemplifies Amos’s early interest in rooting her works in ancient traditions.  \nThis interest resurfaces with her important Falling Figures paintings: a series that reverberates with anxiety\, which Amos described as a response to a sense of “the impending loss of history\, place\, and people” among African Americans. This important work is capped by the monumental Flying Circus\, in which Amos’s multi-toned figures are catapulted down a gesturally vivid background. Plummeting along with her are a wealth of Greek and Roman references: with the frightful loss of African American stories\, along goes the Temple Mount in Jerusalem\, the Coliseum\, and the Circus Maximus. The resulting composition is an energetic meditation on memory\, legends\, and dissipating histories. \nBy incorporating her own weaving and African fabric in her paintings referencing Greek and Roman antiquity\, Amos marries her converging interest in Black history and classical literature. In Way Away (1996)\, ancient Western symbolism becomes Black symbolism as well. Framed by the African fabrics that Amos frequently uses in her work\, she carves herself a place within the Western canon: a mixed-race\, Black minority within the Western world\, she is just as much an inheritor of Homer\, Hercules\, and Circe as any of her peers. \nInspired by Homer’s epic poem\, Odyssey serves as a counterbalance to Amos’s anxious Falling Figures series by unflinchingly inscribing her own family history in the ranks of the legendary. With this series of ten hand-painted monoprints\, the artist and her proud Georgian heritage is never to be forgotten. \nEmma Amos: Classical Legacies will be accompanied by a fully illustrated catalogue with essays by Michele Valerie Ronnick\, Distinguished Professor in the Department of Classical and Modern Languages\, Literatures\, and Cultures at Wayne State University; and Gabriella Shypula\, PhD Candidate in Art History and Criticism at Stony Brook University.  \n  \nEmma Amos (b. 1937 Atlanta\, GA – d. 2020 Bedford\, NH) was a pioneering artist\, educator\, and activist. A dynamic painter and masterful colorist\, her commitment to interrogating the art-historical status quo yielded a body of vibrant and intellectually rigorous work. Influenced by modern Western European art\, Abstract Expressionism\, the Civil Rights movement and feminism\, Amos was drawn to exploring the politics of culture and issues of racism\, sexism and ethnocentrism in her art. “It’s always been my contention\,” Amos once said\, “that for me\, a black woman artist\, to walk into the studio is a political act.” Amos was the youngest and only woman member of Spiral\, the historic African American collective founded in 1963\, as well as a member of the feminist collective and publication\, Heresies\, established in the 1980s.  \nAmos graduated from Antioch College in Ohio in 1958 and the Central School of Art in London in 1960. She subsequently moved to New York and became active in the downtown arts scene\, working alongside prominent Spiral artists such as Romare Bearden\, Hale Woodruff\, Norman Lewis\, Alvin Hollingsworth and Charles Alston. In 1965\, she earned her Masters in Arts from New York University and taught art at the Dalton School in New York. She is a former Professor and Chair in Visual Arts at the Mason Gross School of Art at Rutgers University where she taught for 28 years. \nAmos’s work is currently exhibited in It’s Pablo-matic: Picasso According to Hannah Gadbsy at the Brooklyn Museum\, NY\, and in 2021\, Emma Amos: Color Odyssey\, a major retrospective of Amos’s work\, traveled from the Georgia Museum of Art to the Munson-Williams-Proctor Arts Institute and Philadelphia Museum of Art. She has also been included in exhibitions at the Pinacoteca de São Paulo\, Brazil (2022); Modern Art Museum at Fort Worth\, TX (2022); Minneapolis Institute of Art\, MN (2019); National Portrait Gallery\, UK (2018); de Young Museum\, CA (2017); Whitney Museum of American Art (2017); British Museum (2017); Tate Modern\, UK (2017); and Musée du Quai Branly\, France (2016)\, among others. Her work is held in over 40 museum collections\, including the British Museum\, UK; Detroit Institute of Arts\, MI; Museo de las Artes\, Mexico; Metropolitan Museum of Art\, NY; Museum of Modern Art\, NY; National Gallery of Art\, DC; Whitney Museum of American Art\, NY; and Yale University Art Gallery\, CT\, among others. \n  \nAbout RYAN LEE\nCelebrating emerging and established artists and estates\, RYAN LEE takes a multi-generational approach to its programming\, presenting innovative and scholarly exhibitions across all spectrums of art practices\, including painting\, photography\, video\, sculpture\, and performance. The gallery takes chances on a wide variety of boundary-pushing artists; their work consistently transcends political\, cultural\, material\, or technical boundaries. In addition\, RYAN LEE has\, throughout its history\, demonstrated its long-standing interest and dedication to feminist\, Black and Asian American\, as well as queer narratives in the twentieth and twenty-first centuries. Founded in 2013 by Mary Ryan and Jeffrey Lee\, the gallery is led by partners of different generations and backgrounds with over six decades of combined experiences informing its unique approach. \n\n\n\n  Save  
URL:https://artinamericaguide.com/event/emma-amos-classical-legacies/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/New_York:20230720T100000
DTEND;TZID=America/New_York:20240128T170000
DTSTAMP:20260622T100450
CREATED:20230703T154022Z
LAST-MODIFIED:20230703T154022Z
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SUMMARY:Ellen Carey: Struck By Light
DESCRIPTION:Ellen Carey: Struck By Light \nThursday\, July 20\, 2023 —  Sunday\, January 28\, 2024 \n\n\n\n\n\nPart One: On view starting June 24 in the Helen T. and Philip B. Stanley Gallery \nPart Two: Opens July 20 in the Maximilian E. and Marion O. Hoffman Foundation Gallery \nThis two-part exhibition presents three decades of work by acclaimed Hartford-based artist Ellen Carey. \nSince the early 1990s\, artist Ellen Carey (b. 1952) has created experimental and abstract works that defy photographic conventions. Struck by Light represents the largest survey of Carey’s innovative photo-objects and lens-based artworks. Spanning 30 years of her prolific career\, the exhibition includes examples of her Photography Degree Zero (1996–2023) practice of Polaroid 20 X 24 lens-based images—including Pulls and Rollbacks—as well as her Struck by Light (1992–2023) series of camera-less photograms—Dings and Shadows—inspired by the earliest examples of paper photography. Collectively\, the works trace Carey’s enormous contributions to the field of photography through her pioneering explorations of light\, color\, and shadow\, and are drawn from the collections of the New Britain Museum of American Art and the artist. \nEllen Carey received her BFA from KCAI-Kansas City Art Institute (1971-1975) and her MFA (1976-1978) from SUNY@Buffalo (now UB). She is Associate Professor of Photography (1983-2023) Hartford Art School (HAS)-University of Hartford. \nA recent article written by Chris Wiley for The New Yorker (February 2023) sees the arc of her career as well as the solo exhibition Light Struck at Fox Talbot Museum (2023-2024)\, the home of photography in Lacock (England). \n  \nEllen Carey’s Artist Statement: \nPhotography changed our world. Now universal\, a photograph links a global humanity with our picture culture from each image to hundreds\, millions\, billions seen every day; we are visual. \nA Picture is a Poem without Words – Horace \nStruck by light is a phrase that sparks imagination\, tells of inspiration\, a metaphor for discovery\, to conceive something anew\, a rare feeling\, a brainstorm … Eureka! … says it all. Photography\, discovered in the 19th century\, is Greek – phōs for light\, graphis for drawing – light drawing. \nLight’s immateriality challenges its ‘camera operators’ today. Analog versus digital technologies double these challenges. Struck by light has multiple meanings for my experimental and lens-based works. It names my creative practice in photogram\, while Photography Degree Zero sees my Polaroid 20 X 24 works. Light\, wherever/whenever it strikes\, is to be free. \nStruck by Light is different in meaning for photographers. When light-sensitive paper/film is exposed to/struck by light\, if intentional\, a negative/film or image/paper is made; however\, if light strikes the paper/film\, accidentally it is “fogged” – darkened – light travels. Photographers are often called light travelers; I see my work in this context\, giving content to it. \nAll journeys have secret destinations of which the traveler is unaware – Martin Buber \nPhotographers use light in all different ways – silhouette\, shadow\, outline\, reflection; however\, I often cannot see light while I work [in the darkroom]\, leading me to wonder what the light does on its own. What are light’s first traces? \nLight finds my Catholic birth name – Celtic\, Gaelic\, Irish – a prescient gift from my parents; Ellen means light or bringer of light. Color is universal\, an artist’s universe\, in that universe is photography’s planet\, where light and color overlap and meet; it is called photographic color theory – RGBYMC – a palette that conceptually underscores my twin practices. \nStruck by Light is the DNA of my dual artistic endeavors\, a double helix with light and color\, photography within process\, that combines destiny and fate. When light becomes visible the photo-object speaks. My photographs say craquelure\, parabola\, hue\, abstract\, process\, minimal\, photogram\, light\, beauty\, color\, wonder\, invention\, innovation. \n  \n\n\n  Save  
URL:https://artinamericaguide.com/event/ellen-carey-struck-by-light/
LOCATION:New Britain Museum of American Art\, 56 Lexington Street\, New Britain\, CT\, 06052\, United States
CATEGORIES:Exhibition
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