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BEGIN:VEVENT
DTSTART;VALUE=DATE:20231208
DTEND;VALUE=DATE:20261207
DTSTAMP:20260408T113105
CREATED:20240522T193731Z
LAST-MODIFIED:20240522T193731Z
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SUMMARY:Isaac Julien: Lessons of the Hour — Frederick Douglass
DESCRIPTION:Sir Isaac Julien’s moving image installation Lessons of the Hour (2019) interweaves period reenactments across five screens to create a vivid picture of nineteenth-century activist\, writer\, orator\, and philosopher Frederick Douglass. Through critical research\, fictional reconstruction\, and a marriage of poetic image and sound\, Julien asserts Douglass’ enduring lessons of justice\, abolition\, and freedom that remain just as relevant today. \nLessons of the Hour features passages from Douglass’ key speeches\, including the titular “Lessons of the Hour\,” “What to the Slave Is the Fourth of July?” and “Lecture on Pictures.” \nJulien weaves together reenacted scenes from Douglass’ life and lectures\, filming at his historic home in Washington\, DC\, and a restaged studio of famed Black photographer J.P. Ball (1825–1904) as he makes a portrait of Douglass. Images of contemporary Baltimore—the city where Douglass was enslaved and escaped from bondage in 1838—including footage of fireworks and protests in 2015 following the death of Freddie Gray\, Jr. while in police custody\, are interspersed as the struggle to make good on America’s promise of equality continues. \nLessons of the Hour was jointly acquired by SAAM and the National Portrait Gallery in 2023. The 28-minute work debuted for Washington audiences December 8\, 2023\, and remains on public view through the 250th anniversary of the founding of the United States in 2026. \n  Save  
URL:https://artinamericaguide.com/event/isaac-julien-lessons-of-the-hour-frederick-douglass/
LOCATION:Smithsonian American Art Museum\, 750 9th St. N.W.\, Washington\, DC\, 20001\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Smithsonian American Art Museum":MAILTO:americanartpressoffice@si.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240726T080000
DTEND;TZID=America/New_York:20280726T170000
DTSTAMP:20260408T113105
CREATED:20240703T180957Z
LAST-MODIFIED:20240703T180957Z
UID:109170-1721980800-1848243600@artinamericaguide.com
SUMMARY:Glenn Kaino: Bridge
DESCRIPTION:Glenn Kaino’s powerful aerial sculpture Bridge is comprised of 200 golden arms hanging from the ceiling of SAAM’s Luce Foundation Center. Each is a casting of the outstretched right arm of Tommie Smith\, the American winner of the men’s 200-meter race at the 1968 Olympic Games in Mexico City. During the medal ceremony\, Smith bowed his head and raised his black-gloved fist in a symbolic act of protest. Coming at a moment of turmoil in the United States\, where public unrest flared over the war in Vietnam\, racial discrimination and inequality\, and the assassinations of Martin Luther King Jr. and Robert F. Kennedy\, his gesture was an assertion of Black solidarity in the fight for human rights. Echoed by the American bronze medalist John Carlos\, it inspired social causes around the world and irrevocably changed Smith’s own life. \n  Save  
URL:https://artinamericaguide.com/event/glenn-kaino-bridge/
LOCATION:Smithsonian American Art Museum\, 750 9th St. N.W.\, Washington\, DC\, 20001\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/07/bridge.jpeg
ORGANIZER;CN="Smithsonian American Art Museum":MAILTO:americanartpressoffice@si.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250307T110000
DTEND;TZID=America/New_York:20271231T180000
DTSTAMP:20260408T113105
CREATED:20250224T180514Z
LAST-MODIFIED:20250224T180514Z
UID:112255-1741345200-1830276000@artinamericaguide.com
SUMMARY:Tending and Dreaming: Stories from the Collection
DESCRIPTION:Tending and Dreaming: Stories from the Collection launches the first dedicated collection galleries at the Museum. Providing unprecedented access to core works in San José’s only publicly held art collection\, SJMA’s collection galleries position artists as storytellers to imagine the Museum as a space where culture and meaning are actively made and always in process.  \nOrganized into thematic groupings\, Tending and Dreaming offers poetic starting points for engaging with ideas woven through the works of almost fifty artists from the Bay Area and beyond\, including  Ruth Asawa\, Martha Atienza\, Shilpa Gupta\, Yolanda López\, and Elias Sime\, among many others.  \n  Save  
URL:https://artinamericaguide.com/event/tending-and-dreaming-stories-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;TZID=America/Denver:20250919T100000
DTEND;TZID=America/Denver:20260510T170000
DTSTAMP:20260408T113105
CREATED:20250123T201026Z
LAST-MODIFIED:20250123T201026Z
UID:111745-1758276000-1778432400@artinamericaguide.com
SUMMARY:“Tell Clyfford I Said ‘Hi’”: An Exhibition Curated by Children of the Colville Confederated Tribes
DESCRIPTION:“Tell Clyfford I Said ‘Hi’”: An Exhibition Curated by Children of the Colville Confederated Tribes is a collaborative exhibition co-curated with youth from the Colville Confederated Tribes in Washington State\, on view from September 19\, 2025–May 10\, 2026\, at the Clyfford Still Museum. It highlights the perspectives of Colville children on Clyfford Still’s depictions of their ancestors and their home\, as well as his abstract works. Installed in all nine of the Museum’s galleries\, this exhibition investigates six themes identified by our co-curators: Family & Culture\, Connection\, Storytelling\, Wilderness\, Love\, and Paint & Color. \nClyfford Still Museum’s curatorial and education staff worked with young children (ages three years to fourteen years old) and teachers from partner schools and childcare centers on the Colville Confederated Tribes Reservation on every level of the exhibition\, including artwork selection and arrangement\, object interpretation and gallery text\, and interactive space. \nThis exhibition continues CSM’s efforts to foster engagement with its collections by sharing authority on Still’s work with the Museum’s critical communities and is an occasion to bridge various gaps—physical\, cultural\, metaphorical—that exist between Indigenous communities and the traditional art museum space. \nBackground and Development \nWhile working as an instructor at the Washington State College Fine Arts Department\, Clyfford Still assisted in founding a summer art colony for WSC community members and became one of its first instructors in the summers of 1937 and 1938. Instructors held classes in Nespelem on the Colville Reservation and Toppenish on the Yakama Indian Reservation in Washington. The Clyfford Still Museum collections include three paintings on canvas\, over 85 drawings and sketches on paper\, nearly 20 documentary photographs\, and other archival ephemera documenting Still’s time in the area. These objects reveal how Still’s experiences with the Colville community profoundly impacted his work for years. \nWhile culturally distinct and diverse\, the twelve bands of the Confederated Tribes of the Colville Reservation—Chelan\, Chief Joseph Band of Nez Perce\, Colville\, Entiat\, Lakes\, Methow\, Moses-Columbia\, Nespelem\, Okanogan\, Palus\, San Poil\, and Wenatchi—share cultural practices and 1.4 million acres of land. Though CSM has focused past exhibitions and programs on Still’s work from Nespelem since 2013\, this exhibition seeks to extend and deepen CSM’s relationship with the Colville Tribal community. \nCo-curated with children in the Colville Confederated Tribes in northeastern Washington\, this exhibition explores Clyfford Still’s work through the perspectives of children\, some of whom are direct descendants of individuals Still portrayed in his art. “Tell Clyfford I Said ‘Hi’” centers young Indigenous voices by engaging them to collaboratively develop an exhibition that builds upon previous evaluation\, research\, and CSM exhibitions. \n  Save  
URL:https://artinamericaguide.com/event/tell-clyfford-i-said-hi-an-exhibition-curated-by-children-of-the-colville-confederated-tribes/
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/Los_Angeles:20251015T110000
DTEND;TZID=America/Los_Angeles:20260412T170000
DTSTAMP:20260408T113105
CREATED:20251002T210138Z
LAST-MODIFIED:20251002T210138Z
UID:114915-1760526000-1776013200@artinamericaguide.com
SUMMARY:Boren Banner Series: Camille Trautman
DESCRIPTION:Every photograph is a reminder that the act of framing is never neutral. In Camille Trautman’s first solo museum exhibition in their hometown\, the Seattle-born Duwamish artist uses photography and video to challenge colonial narratives and counter Indigenous erasure. The exhibition presents selections from their ongoing series The North American LCD—spectral self-portraits staged in varied natural landscapes. Rooted in Trautman’s process of coming out as transgender\, the images show the artist’s body partially obscured by large LCD screens. The series examines how both landscape photography and digital media can shape or distort cultural identity\, often by promoting or denying visibility. \n  Save  
URL:https://artinamericaguide.com/event/boren-banner-series-camille-trautman/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/10/till_001_01_X1_0018_small.jpg
ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251017T110000
DTEND;TZID=America/New_York:20260607T170000
DTSTAMP:20260408T113105
CREATED:20250930T190523Z
LAST-MODIFIED:20250930T190523Z
UID:114809-1760698800-1780851600@artinamericaguide.com
SUMMARY:ektor garcia: loose ends
DESCRIPTION:In a materials-based practice that draws on Mexican handcraft traditions and a DIY sensibility\, ektor garcia subtly challenges hierarchies ​of​ gendered and racialized labor while undermining notions of static identity. ​He draws from a​ ​unique ​vocabulary of materials—copper wire\, cast metals\, glass\, clay\, horsehair\, seashells\, and leather—​which he​ w​ea​ve​s​\, knot​s​\, and crochet​s​​ into objects​ at once​ vulnerable and resistant\, soft and hard. ​He begins e​ach piece with a single gesture or stitch\, ​which he ​repeat​s​ over countless hours to ​create​ long chains\, textiles\, nets\, and altar-like accumulations. Such works are shaped by the artist’s responsiveness to materials\, environmental and social context​s​\, and the intuitive inattention that develops with manual repetition. As sculptures​\,​ they ​are​ quiet but restless​—​psychologically and politically charged in their ​misleading ​delicacy and susceptibility to transformation. \nRecords of time and labor\, garcia’s creations are only ever paused in their growth\, never complete. The artist is ​also ​known to undo previously exhibited objects\, reshaping and gathering them into ​new​ constellations. ​Through​​ ​his​ ​practice\, ​he​ opens up​ new​ possibilities for making and knowing that are constantly engaged in a process of unraveling and reworking\, learning and quiet change. \nIn SJMA’s Davies ​G​allery\, garcia’s installation will incorporate existing and new sculptures repurposed into a single\, new installation. Originally from California​\, the artist is​ currently living nomadically​;​ this exhibition marks his homecoming to the ​B​ay ​A​rea. \n  Save  
URL:https://artinamericaguide.com/event/ektor-garcia-loose-ends/
LOCATION:San Jose Museum of Art\, 110 S. Market Street\, San Jose\, CA\, 95113\, United States
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20251018T110000
DTEND;TZID=America/Los_Angeles:20260419T170000
DTSTAMP:20260408T113105
CREATED:20251002T210138Z
LAST-MODIFIED:20251002T210138Z
UID:114907-1760785200-1776618000@artinamericaguide.com
SUMMARY:Priscilla Dobler Dzul: Water Carries the Stories of Our Stars
DESCRIPTION:Water Carries the Stories of our Stars is the expansive museum debut from artist Priscilla Dobler Dzul\, who lives in Tacoma\, Washington\, and Yucatán\, Mexico. The exhibition brings together an entirely new body of sculpture\, textile\, and video work to chart urgent stories of environmental harm and cultural justice. Drawing from her Maya and multicultural heritage and building on years of research\, the artist merges pre-Hispanic techniques\, collaborations with Yucatec Maya elders\, and regionally sourced materials to reflect on the loss of water and its consequences. From Mexican cenotes to Washington wetlands\, Dobler Dzul’s work centers living waters as portals of cosmic ancestral knowledge. She calls on us to listen—to the birds\, the winds\, the elders—and to reimagine collective existence through the labor of craft. \n  Save  
URL:https://artinamericaguide.com/event/priscilla-dobler-dzul-water-carries-the-stories-of-our-stars/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/10/Turtle-and-vulture-gathered-the-bones-to-awaken-margay-tapirus-and-human-iguana_small.jpg
ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20251025T110000
DTEND;TZID=America/Los_Angeles:20260920T170000
DTSTAMP:20260408T113105
CREATED:20251002T210138Z
LAST-MODIFIED:20251002T210138Z
UID:114919-1761390000-1789923600@artinamericaguide.com
SUMMARY:Frye Salon + Jonathan Lasker
DESCRIPTION:Frye Salon is both a fixture and a living experiment—an ever-evolving installation that invites fresh perspectives on the museum’s founding-era collection. The gallery features more than one hundred paintings in a floor-to-ceiling presentation mode known as “salon style\,” recalling the striking displays once found in Charles and Emma Frye’s First Hill home. In Frye Salon + Jonathan Lasker\, a selection of large canvases by the contemporary American painter—subject of the concurrent exhibition Drawings and Studies—intermingle with the featured collection works. Known for his bold visual language of biomorphic forms and distinctive use of line\, Lasker uses the familiar tools of representational painting—figure and ground\, space and perspective—to destabilize the dividing line with abstraction. Situated among the works of Frye Salon\, his vibrant\, evocatively titled compositions open unexpected conversations across time\, style\, and painterly intent. \n  Save  
URL:https://artinamericaguide.com/event/frye-salon-jonathan-lasker/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/10/Frye-20240415-079_small.jpg
ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20251025T110000
DTEND;TZID=America/Los_Angeles:20260927T170000
DTSTAMP:20260408T113105
CREATED:20250930T190545Z
LAST-MODIFIED:20250930T190545Z
UID:114831-1761390000-1790528400@artinamericaguide.com
SUMMARY:Jonathan Lasker: Drawings and Studies
DESCRIPTION:For over five decades\, American artist Jonathan Lasker has approached the elements of painting like a puzzle—taking it apart\, turning the pieces\, and putting it back together in new ways. Drawings and Studies offers a close look at how his ideas take shape\, featuring works on paper that Lasker created from the 1980s to the 2020s\, tracking the refinement of his distinctive visual language. At once analytical and expressive\, these compositions play with the visual cues of figuration\, teasing allusions to portraits\, landscapes\, or still lifes through biomorphic forms and carefully choreographed marks. In Lasker’s hands\, abstraction exists in spirited tension with representation\, and the act of seeing becomes part of the story. \n  Save  
URL:https://artinamericaguide.com/event/jonathan-lasker-drawings-and-studies/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/09/Study-for-Fake-Freak-scaled.jpg
ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20251025T110000
DTEND;TZID=America/Los_Angeles:20260927T170000
DTSTAMP:20260408T113105
CREATED:20250930T190545Z
LAST-MODIFIED:20250930T190545Z
UID:114829-1761390000-1790528400@artinamericaguide.com
SUMMARY:Jonathan Lasker: Drawings and Studies
DESCRIPTION:For over five decades\, American artist Jonathan Lasker has approached the elements of painting like a puzzle—taking it apart\, turning the pieces\, and putting it back together in new ways. Drawings and Studies offers a close look at how his ideas take shape\, featuring works on paper that Lasker created from the 1980s to the 2020s\, tracking the refinement of his distinctive visual language. At once analytical and expressive\, these compositions play with the visual cues of figuration\, teasing allusions to portraits\, landscapes\, or still lifes through biomorphic forms and carefully choreographed marks. In Lasker’s hands\, abstraction exists in spirited tension with representation\, and the act of seeing becomes part of the story. \n  Save  
URL:https://artinamericaguide.com/event/jonathan-lasker-drawings-and-studies-2/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260129T110000
DTEND;TZID=America/New_York:20260330T170000
DTSTAMP:20260408T113105
CREATED:20260202T204903Z
LAST-MODIFIED:20260202T204903Z
UID:115731-1769684400-1774890000@artinamericaguide.com
SUMMARY:Richard Hambleton: Momentum
DESCRIPTION:Woodward Gallery opens the new year with Richard Hambleton: Momentum\, an exhibition of works spanning 1982 – 2007. This selection brings together key bodies of work\, including Beautiful Paintings\, Shadowman\, and Burning Merit\, to trace movement as a persistent and driving force throughout Hambleton’s practice. Hambleton achieved the impossible: capturing the illusion of motion on canvas. Gesture\, layering\, and atmosphere generate an almost kinetic energy that invites viewers to experience the animated textures depicted in Hambleton’s paintings. Through his various styles of painting\, Hambleton’s work embodies movement as energized momentum. \n  \nRichard Hambleton approached painting as an act of immediacy and intention. Working in spontaneous bursts\, he translated emotional and physical states directly onto the surface. His practice was deeply participatory\, shaped by a belief that art functions as both a psychological and sociological encounter. Materials were mixed intuitively\, varnishes\, pigments\, and unconventional substances layered in ways that reveal the artist’s inner state. Nothing in Hambleton’s work is static; everything is in motion. \n  \nThe Beautiful Paintings\, including Priscilla (2006) and Magdalena (2007)\, evoke the qualities of dawn and dusk. Incorporating silver leaf\, these dramatic seascape works function as immersive experiences. Once presented in David Rockefeller’s art gallery at Rockefeller State Park Preserve\, these works underscore Hambleton’s capacity to channel stillness\, depth\, and quiet momentum\, an encounter that lingers well beyond the first viewing. \n  \nIn Malibu (1986)\, a stark black monolith\, an ancient symbol of life and transcendence\, is intended to be an entry point to heaven. Acting simultaneously as barrier and passage\, this foreboding rectangle shields the viewer from the sun’s intensity while also offering entry into it. In this and related works\, Hambleton’s use of vertical black lines functions as collapsed shadows\, a modern element he sometimes added\, both an echo of Hambleton’s iconic figures and a conceptual homage to Abstract Expressionist Barnett Newman. \n  \nAnother significant body of work in the exhibition centers on horse-and-rider imagery. Drawing from cigarette advertising\, most notably the Marlboro Man\, Hambleton critiqued American hypermasculinity and the commodification of identity. Instead of a cool-looking cowboy\, Hambleton painted the Marlboro Man as a shadowy silhouette\, symbolizing the dangers of smoking. Reappropriating the ads\, Richard sometimes embedded actual tobacco into the paint\, confronting seduction and toxicity simultaneously. \n  \nThe Burning Merit series critiques vintage Merit cigarette advertisements\, replacing the fantasized image of a ship full of happy smokers\, with a dark parody of this same ship on fire from a stray lit cigarette. Through the explosive imagery of a burning ship\, momentum is harnessed. Romanticization of cigarette addiction and the catastrophic effects of smoking culture collide. \n  \nFreiburg (1982)\, a striking Shadowman painting\, depicts an exploding white figure suspended in motion. Like the broader Shadowman series\, originally conceived as urban interventions\, this work captures sudden presence\, psychological tension\, and the shock of encounter. The figure feels alive\, erupting into the viewer’s space with urgency and force. \n  \nTogether\, the Beautiful Paintings\, Shadowman\, and Burning Merit works reveal Hambleton’s engagement with nature and the human psyche. Momentum emerges not only as physical movement\, but as something accumulated\, lived\, and carried forward\, an enduring force that defines Hambleton’s legacy. Richard Hambleton’s art carries the viewer beyond the canvas\, where their momentum continues to unfold long after the encounter ends. \n  \nRichard Hambleton: Momentum is on view at Woodward Gallery’s 132A Eldridge Street location from late January throughout March 2026\, also available on our website\, and as a Viewing Room on Artsy.net. We welcome you to join us in person or online this winter. \n  \n  Save  
URL:https://artinamericaguide.com/event/richard-hambleton-momentum/
LOCATION:Woodward Gallery\, 132A Eldridge Street\, New York City\, NY\, 10002\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Woodward Gallery":MAILTO:art@woodwardgallery.net
GEO:40.7188679;-73.9915203
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260202
DTEND;VALUE=DATE:20270203
DTSTAMP:20260408T113105
CREATED:20260202T204903Z
LAST-MODIFIED:20260202T204903Z
UID:115743-1769990400-1801612799@artinamericaguide.com
SUMMARY:Inner Vision: Judy Ledgerwood's Monotypes
DESCRIPTION:In 2020 Judy Ledgerwood produced a significant body of unique prints with Manneken Press. a project that continued over a period of months and resulted in more than thirty monotypes. \nUsing watercolor\, rather tan traditional printing inks\, the aqueous media flowed\, allowing the colors to pool\, run together\, settle and dry in unique patterns and textures\, emphasizing its physical materiality as a substance and producing results distinctly different from working with watercolor in an unmediated\, direct manner on paper. Ledgerwood’s signature quatrefoil shapes\, loose\, diagonal grids\, floral and yonic symbols\, references to quilts and the “feminine arts” and intense\, penetrating colors are found throughout the monotype series. \n  Save  
URL:https://artinamericaguide.com/event/inner-vision-judy-ledgerwoods-monotypes-2/
LOCATION:IFPDA Viewing Room
CATEGORIES:Virtual Events + Viewing Rooms
ORGANIZER;CN="Manneken Press":MAILTO:ink@mannekenpress.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260202
DTEND;VALUE=DATE:20270203
DTSTAMP:20260408T113105
CREATED:20260202T204903Z
LAST-MODIFIED:20260202T204903Z
UID:115748-1769990400-1801612799@artinamericaguide.com
SUMMARY:Inner Vision: Judy Ledgerwood's Monotypes
DESCRIPTION:In 2020 Judy Ledgerwood produced a significant body of unique prints with Manneken Press. a project that continued over a period of months and resulted in more than thirty monotypes. \nUsing watercolor\, rather tan traditional printing inks\, the aqueous media flowed\, allowing the colors to pool\, run together\, settle and dry in unique patterns and textures\, emphasizing its physical materiality as a substance and producing results distinctly different from working with watercolor in an unmediated\, direct manner on paper. Ledgerwood’s signature quatrefoil shapes\, loose\, diagonal grids\, floral and yonic symbols\, references to quilts and the “feminine arts” and intense\, penetrating colors are found throughout the monotype series. \n  Save  
URL:https://artinamericaguide.com/event/inner-vision-judy-ledgerwoods-monotypes/
LOCATION:IFPDA Viewing Room
CATEGORIES:Virtual Events + Viewing Rooms
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/field_of_flowers_blue_black.jpg
ORGANIZER;CN="Manneken Press":MAILTO:ink@mannekenpress.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260202
DTEND;VALUE=DATE:20270203
DTSTAMP:20260408T113105
CREATED:20260202T204903Z
LAST-MODIFIED:20260202T204903Z
UID:115756-1769990400-1801612799@artinamericaguide.com
SUMMARY:Sarah Smelser: Sandia
DESCRIPTION:Sarah Smelser’s “Sandia” images filter her experience of the desert environments of the American Southwest\, its particular qualities of light\, heat\, emptiness and expansive spaces of the landscape through an abstract sensibility. \n  Save  
URL:https://artinamericaguide.com/event/sarah-smelser-sandia/
CATEGORIES:Virtual Events + Viewing Rooms
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/sandia_XXII_web.jpg
ORGANIZER;CN="Manneken Press":MAILTO:ink@mannekenpress.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260202
DTEND;VALUE=DATE:20260602
DTSTAMP:20260408T113105
CREATED:20260202T204903Z
LAST-MODIFIED:20260310T180514Z
UID:115760-1769990400-1780358399@artinamericaguide.com
SUMMARY:Toward What Sun? Vol. I
DESCRIPTION:“Toward What Sun? Vol. I” is the first installment of a four-part online exhibition of prints by Philip Van Keuren featuring forty photogravures made between 2016 and 2026\, presented by Manneken Press.\n\n\nPhilip Van Keuren has been making photographs for many years\, guided by everyday observations that reveal the world as both sublimely beautiful and fundamentally unknowable. His images form a sustained meditation on time\, memory\, and place\, unfolding slowly across decades rather than moments.\n  Save  
URL:https://artinamericaguide.com/event/toward-what-sun-vol-i/
CATEGORIES:Virtual Events + Viewing Rooms
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/Snowstorm_2016_cropped.jpg
ORGANIZER;CN="Manneken Press":MAILTO:ink@mannekenpress.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260202T080000
DTEND;TZID=America/New_York:20270202T170000
DTSTAMP:20260408T113105
CREATED:20260202T204903Z
LAST-MODIFIED:20260202T204903Z
UID:115752-1770019200-1801587600@artinamericaguide.com
SUMMARY:Array: A Woodcut Opus by Rupert Deese
DESCRIPTION:“Array” are twenty circular woodcuts by Rupert Deese\, the series unfolded over seven years: Array 700 appeared in 2005\, followed by Array 350 and Array 500 in 2006\, with the project culminating in Array 1000 in 2012. Each print divides the circular field into a distinct tiling system. Beginning with nine equal radial divisions\, Deese further organizes the space through additional radial lines and inscribed circles\, producing intricate\, balanced configurations that are unique to each work. \nWhile firmly abstract\, the Array images maintain a subtle relationship to the landscapes and watersheds of California’s upper Merced and Tuolumne Rivers—regions central to the artist’s experience and to his larger practice. The suite can be understood as an extended meditation on these geographies\, translating their rhythms and structures into ordered\, contemplative visual systems. \n  Save  
URL:https://artinamericaguide.com/event/array-a-woodcut-opus-by-rupert-deese/
CATEGORIES:Virtual Events + Viewing Rooms
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/array_pair.jpg
ORGANIZER;CN="Manneken Press":MAILTO:ink@mannekenpress.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260207
DTEND;VALUE=DATE:20260405
DTSTAMP:20260408T113105
CREATED:20260205T191930Z
LAST-MODIFIED:20260210T223853Z
UID:115812-1770422400-1775347199@artinamericaguide.com
SUMMARY:Beauford Delaney: The Light Contained in Every Thing
DESCRIPTION:The gallery’s fourth solo presentation featuring the work of celebrated American artist Beauford Delaney (1901–1979)\, Beauford Delaney: The Light Contained in Every Thing includes abstract paintings and works on paper created between 1954 and 1968. Taking its title from the introduction to Delaney’s 1964 solo exhibition at Galerie Lambert in Paris written by his close friend and famed author James Baldwin (1924–1987)\, this exhibition illuminates Delaney’s unmatched ability to imbue his compositions with a radiance that resonates on a visual\, psychological\, and spiritual level. \nLearn more \n  Save  
URL:https://artinamericaguide.com/event/beauford-delaney-the-light-contained-in-every-thing/
LOCATION:Michael Rosenfeld Gallery\, 100 11th Ave\, New York\, NY\, New York\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/Beauford-Delaney_framed.jpg
ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
GEO:40.7460874;-74.0076191
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Michael Rosenfeld Gallery 100 11th Ave New York NY New York United States;X-APPLE-RADIUS=500;X-TITLE=100 11th Ave:geo:-74.0076191,40.7460874
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260207
DTEND;VALUE=DATE:20260405
DTSTAMP:20260408T113105
CREATED:20260205T191953Z
LAST-MODIFIED:20260210T223810Z
UID:115808-1770422400-1775347199@artinamericaguide.com
SUMMARY:William T. Williams: Word of Eye
DESCRIPTION:William T. Williams: Word of Eye is the debut presentation for a new series of paintings by William T. Williams (b.1942). The gallery’s fourth solo exhibition of the artist’s work\, the show includes eleven paintings created between 2024 and 2025. Imbued with a sense of monumentality that is expressed through their beauty\, compositional complexity\, and perceptual impact\, Williams states: “I wanted to make a body of work that demanded and would require a person looking and looking for a sustained amount of time. It’s not a 30 second pass\, its stopping\, looking\, inquiring\, and allowing the painting and the viewer to become one in the same.” \nLearn more \n  Save  
URL:https://artinamericaguide.com/event/william-t-williams-word-of-eye/
LOCATION:Michael Rosenfeld Gallery\, 100 11th Ave\, New York\, NY\, New York\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/William-T.-Williams.jpg
ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
GEO:40.7460874;-74.0076191
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Michael Rosenfeld Gallery 100 11th Ave New York NY New York United States;X-APPLE-RADIUS=500;X-TITLE=100 11th Ave:geo:-74.0076191,40.7460874
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260207T110000
DTEND;TZID=America/Los_Angeles:20260517T170000
DTSTAMP:20260408T113105
CREATED:20260109T153801Z
LAST-MODIFIED:20260109T153801Z
UID:115662-1770462000-1779037200@artinamericaguide.com
SUMMARY:Wallflowers
DESCRIPTION:Wallflowers is a dialogue across time centered on one of art history’s most underestimated genres: the floral still life. Bringing together eleven paintings from the Frye’s collection with newly commissioned wallpaper designs from eleven contemporary artists\, the exhibition explores how artists from the nineteenth century to the present have turned to floral imagery as fertile ground for experimentation and reinvention. \nThe floral still life genre has proven remarkably durable\, capable of holding centuries’ worth of ideas about beauty\, impermanence\, social class\, and the shifting relationship between art and craft. Today\, contemporary artists continue to redeploy the floral as both image and symbol: an unassuming bouquet is actually neither quaint nor static\, but full of cultural memory\, and a site for subversive social critique. \nStructured to mimic the delights of navigating a cultivated garden\, Wallflowers oscillates between discrete paintings and immersive patterns\, between contemplation and exuberance. The selected works tell a broader story of industrialization\, design\, and modernism’s ongoing flirtation with the decorative\, and celebrate the ability of artists to invest familiar forms with fresh meaning. \n  Save  
URL:https://artinamericaguide.com/event/wallflowers/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/01/John-Marshall-Gamble_Chrysanthemums.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260212
DTEND;VALUE=DATE:20260316
DTSTAMP:20260408T113105
CREATED:20260210T204436Z
LAST-MODIFIED:20260210T204436Z
UID:115832-1770854400-1773619199@artinamericaguide.com
SUMMARY:Matt Greco: More Cave Painting
DESCRIPTION:Amos Eno Gallery\, a non-profit\, artist-run space\, is pleased to present More Cave Painting\, a solo exhibition by Brooklyn-based artist Matt Greco. The exhibition brings together new and recent works that position myth not as ancient fantasy\, but as a living\, contemporary framework—one that continues to shape how we understand ourselves\, each other\, and the world we inhabit. \nGreco’s thinking aligns with ideas articulated by Joseph Campbell\, who argued that myth is not escapism but a lens through which people interpret lived experience. In More Cave Painting\, Greco treats myth in this way—not as something distant or fixed\, but as an active condition of daily life. “I’m never quite sure whether I discover myths or whether they discover me\,” he notes\, “but I’m drawn to the idea of living in the mythological—not the mythical\, but the mythological.” \nFor Greco\, myth is not about fantasy or nostalgia\, but about shared human patterns—stories that persist across cultures\, eras\, and belief systems because they speak to fundamental aspects of lived experience. At a moment defined by division\, acceleration\, and the erosion of shared narratives\, his work offers myth as a connective tissue rather than a relic. “This may seem counterintuitive in a world marked by such diversity and division\,” he writes\, “but it is precisely these myths—with their different places\, characters\, and creatures\, yet shared lessons—that speak to our common condition.” \nThe exhibition’s title points directly to Greco’s method. “I’m marking some myths by making a few more cave paintings\,” he explains\, “recording moments large and small—living in the mythological by scratching a bit of pigment into the rock.” This impulse to inscribe—to leave evidence of presence—runs throughout the work\, linking ancient modes of communication to present-day acts of remembrance and meaning-making. \nGreco’s practice is rooted in close observation. “I’m a student of human behavior—I can’t stop watching people: what they do\, how they act\, what they wear\, and how they hold themselves\,” he says. These observations intersect with his fascination for systems\, material processes\, and invisible forces\, resulting in works that balance curiosity with rigor\, and intuition with structure. \nEqually central is the act of making itself. “The preparation\, the hard work\, and the tactility of materials all speak to an amazement at how the world works\,” Greco reflects. In an era increasingly mediated by screens and algorithms\, his materially driven practice insists on slowness\, labor\, and physical presence. Through this synthesis of observation\, making\, and memory\, Greco’s work suggests that the ways we collaborate\, commemorate\, and construct meaning reveal how deeply interconnected we remain. As he notes\, “These reflections of ourselves—how we interact and collaborate—often show that we are more the same than we are different.” \nAbout the Artist \nMatt Greco is an artist and educator living and working in Brooklyn\, NY. He is an Assistant Professor of Photography & Imaging at Queens College\, CUNY; a co–principal investigator on MakeSTEAM Q\, an NSF-HSI funded project; and Co-founder and Faculty Supervisor of the Klapper Digital Imaging Lab and Digital Fabrication Lab at Queens College. \nGreco received his BFA from Armstrong Atlantic University and his MFA from Queens College\, CUNY. His work has been exhibited nationally and internationally\, including at Amos Eno Gallery (NY)\, The Museum of Arts and Design (NY)\, apexart (NY)\, The NY Studio Gallery (NY)\, The Telfair Museum of Art (GA)\, Gallery 126 (Ireland)\, The Beacon Gallery (CA)\, and The Baron Gallery (OH). He is also one half of the collaborative duo Damfino\, which focuses on public art projects rooted in traditional construction methods and reclaimed building materials. \nAbout Amos Eno Gallery \nAmos Eno Gallery has been a fixture in the New York art scene since 1974 when it opened in Soho. The gallery is open Thursdays through Sundays from noon to 6 p.m. and is run by a small community of professional artists\, both from New York City and across the country\, and a part-time director. ​ \n   \nAmos Eno Gallery’s programs are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature. \n  Save  
URL:https://artinamericaguide.com/event/matt-greco-more-cave-painting/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/extra-body-problem_3_v2_web.jpg
ORGANIZER;CN="Amos Eno Gallery":MAILTO:amosenogallery@gmail.com
GEO:40.7057864;-73.9331373
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Amos Eno Gallery 191 Henry Street New York NY 10002 United States;X-APPLE-RADIUS=500;X-TITLE=191 Henry Street:geo:-73.9331373,40.7057864
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260212
DTEND;VALUE=DATE:20260315
DTSTAMP:20260408T113105
CREATED:20260210T204450Z
LAST-MODIFIED:20260210T204450Z
UID:115828-1770854400-1773532799@artinamericaguide.com
SUMMARY:Lilian Thomas Burwell: The Journey
DESCRIPTION:Berry Campbell is pleased to present Lilian Thomas Burwell: The Journey\, the gallery’s third exhibition of Lilian Thomas Burwell (b. 1927). On view from February 12 through March 14\, 2026\, The Journey examines the evolution of Burwell’s practice\, highlighting her evolution from two-dimensional painting into three-dimensional sculpture. The Journey brings together paintings\, wall sculptures\, and installations spanning the 1960s through the 2000s. Central to the exhibition is Burwell’s monumental installation\, Orison Piece (1982). This 24-piece installation is her largest work and marks a pivotal movement into an immersive environment\, in which sculptural viewers to move through and within. \nThe Journey reflects Burwell’s own articulation of her creative path. Both an artist and an art educator\, Burwell balanced teaching with her own studio practice\, viewing education as inseparable from artistic inquiry. Beginning with abstract painting in the early 1960s\, her work evolved into sculptural forms\, as she cut\, shaped\, and constructed wooden elements with painted canvas stretched over them\, creating works that move from the wall into physical space. Throughout her career\, Burwell has understood art as an evolutionary process rooted in intuition and material exploration\, a means of personal and collective survival as well as hope. \nIn recent years\, Burwell’s work has received renewed critical and institutional attention. In December 2022\, she was featured in the New York Times as the “Tom Brady of Artists\,” recognizing her continued artistic activity at the age of 95. In April 2022\, Burwell received a Lifetime Achievement Award from Howard University\, Washington\, D.C.\, where she was honored alongside Betye Saar and Dr. Alvia Wardlaw. Her work was also included in Magnetic Fields: Expanding American Abstraction\, 1960s to Today\, an intergenerational exhibition of 21 Black women abstract artists that traveled from the Kemper Museum of Contemporary Art\, Kansas City\, to the National Museum of Women in the Arts\, Washington\, D.C.\, and the Museum of Fine Arts\, St. Petersburg\, Florida. \nLilian Thomas Burwell: The Journey opens with a reception on February 12\, 2026\, from 6 to 8 pm and continues through March 14\, 2026. The exhibition is accompanied by a 56-page catalogue featuring an essay by Lilian Thomas Burwell\, originally appearing in her 1997 monograph\, The Journey\, published in conjunction with Hampton University Museum\, Virginia. \n  Save  
URL:https://artinamericaguide.com/event/lilian-thomas-burwell-the-journey/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/burwell_BUR_00051_1_f.jpg
ORGANIZER;CN="Berry Campbell":MAILTO:em@berrycampbell.com
GEO:40.7488193;-74.0052789
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Berry Campbell Gallery 524 W 26th Street New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=524 W 26th Street:geo:-74.0052789,40.7488193
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260219
DTEND;VALUE=DATE:20260629
DTSTAMP:20260408T113105
CREATED:20260105T215119Z
LAST-MODIFIED:20260105T215119Z
UID:115457-1771459200-1782691199@artinamericaguide.com
SUMMARY:Brush\, Block\, and Blood: Three Generations of Yoshida Women Printmakers
DESCRIPTION:This exhibition traces over a century of innovation and artistic vision through the work of three generations of women printmakers from the celebrated Yoshida family: Fujio Yoshida (1887–1987)\, Chizuko Yoshida (1924–2017)\, and Ayomi Yoshida (born 1958). Accompanying Ayomi Yoshida’s commission for our Street Nihonga exhibition\, Brush\, Block\, and Blood offers an introduction to her practice through the vibrant legacy of Yoshida family printmaking. \n  Save  
URL:https://artinamericaguide.com/event/brush-block-and-blood-three-generations-of-yoshida-women-printmakers/
LOCATION:Spencer Museum of Art\, University of Kansas\, 1301 Mississippi St.\, Lawrence\, KS\, 66045\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/12/2008.0040.jpg
ORGANIZER;CN="Spencer Museum of Art%2C University of Kansas":MAILTO:spencerart@ku.edu
GEO:38.9596803;-95.244588
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Spencer Museum of Art University of Kansas 1301 Mississippi St. Lawrence KS 66045 United States;X-APPLE-RADIUS=500;X-TITLE=1301 Mississippi St.:geo:-95.244588,38.9596803
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260219
DTEND;VALUE=DATE:20260629
DTSTAMP:20260408T113105
CREATED:20260105T215119Z
LAST-MODIFIED:20260105T215119Z
UID:115450-1771459200-1782691199@artinamericaguide.com
SUMMARY:Street Nihonga: The Art of Jimmy Tsutomu Mirikitani
DESCRIPTION:Street Nihonga: The Art of Jimmy Tsutomu Mirikitani explores the life and work of Jimmy Tsutomu Mirikitani (1920–2012)\, whose art blends traditional Japanese aesthetics with the rawness of street life in New York City. Born in Sacramento\, California\, in 1920 and raised in Hiroshima\, Japan\, Mirikitani lived a life shaped by displacement\, resilience\, collaboration\, and creativity across borders. Trained in Nihonga (“Japanese-style” painting) in prewar Japan\, he returned to the United States in 1940 and endured wartime incarceration at Tule Lake\, the loss of family and friends in Hiroshima to the atomic bombing\, and decades of statelessness and homelessness in postwar New York City. His art—spanning painting\, drawing\, collage\, and mixed media—became both a survival strategy and a way to transform memories of his transpacific journey and Japanese American experiences into shared testimony. With more than 160 artworks\, Street Nihonga brings together the largest assembly of Mirikitani’s works to date. Mirikitani’s art invites viewers to engage with his extraordinary life stories beyond national divides\, emphasizing artmaking’s power as a means of survival\, political expression\, and cross-cultural dialogue. \n  Save  
URL:https://artinamericaguide.com/event/street-nihonga-the-art-of-jimmy-tsutomu-mirikitani/
LOCATION:Spencer Museum of Art\, University of Kansas\, 1301 Mississippi St.\, Lawrence\, KS\, 66045\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/12/EL2026.002.jpg
ORGANIZER;CN="Spencer Museum of Art%2C University of Kansas":MAILTO:spencerart@ku.edu
GEO:38.9596803;-95.244588
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Spencer Museum of Art University of Kansas 1301 Mississippi St. Lawrence KS 66045 United States;X-APPLE-RADIUS=500;X-TITLE=1301 Mississippi St.:geo:-95.244588,38.9596803
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260221
DTEND;VALUE=DATE:20260329
DTSTAMP:20260408T113105
CREATED:20260218T163500Z
LAST-MODIFIED:20260218T163500Z
UID:115856-1771632000-1774742399@artinamericaguide.com
SUMMARY:Jill Moser
DESCRIPTION:Kathryn Markel Fine Arts is thrilled to present Jill Moser’s Talking Pictures: Collaborations\, an exhibition of 40 of Moser’s painted collages that form the basis of her new book project. For Talking Pictures: Collaborations\, Moser asked friends and colleagues to create a dialogue with one of her painted collages. Poets\, artists\, journalists\, critics\, curators\, art historians\, novelists\, psychoanalysts accepted the invitation\, forming a chorus that plays along the border of the visual and the verbal. This exhibition presents the painted collages alongside each contributor’s response. An audio recording of their texts accompanies the show. \n\nWith a forward by Elena Karina Byrne\, the chorus includes: Tiffany Bell\, Ágnes Berecz\, Star Black\, Charles Bernstein\, Jon Bowermaster\, Barbara Bloemink\, Giuliana Bruno\, Jesse Browner\, Lee Eiferman\, Corinne Erni\, Aniko Erdosi\, Stephen Frailey\, Laurence Hegarty\, Christopher French\, Mary Heilmann\, David Humphrey\, Didi Jackson\, Major Jackson\, Susan Lewis\, David Lichtenstein\, Mary Lucier\, Tim Maul\, Alison Mitchell\, Milos Zahradka Maiorana\, Jennifer McGregor\, Sarah Greenberg Morse\, Paul Muldoon\, Eric Pankey\, Anne Plettener\, Nancy Princenthal\, Manya Steinkoler\, Laurie Sheck\, Adam Simon\, Chase Twichell\, Terrie Sultan\, Eliza Walton\, Stephen Westfall\, Lilly Wei\, Karen Wilkin\, Lila Zemborain. \n\nMoser began painting these small\, intense collages at the start of the pandemic and now\, five years later\, they have become the atlas of images for all her work. In these painted collages\, gestural line\, the hallmark of Moser’s work for decades\, generates forms and volumetric spaces saturated in vivid and often startling color. \n\nTalking Pictures reflects Moser’s long-standing interest in the interplay of language and image.  a language of drawing\, painting\, and printmaking that resists figuration to celebrate visual narratives.Selections of her earlier collaborative work with poets  will be on view in the Pocket Gallery. \nJill Moser’s paintings\, drawings\, prints\, and artist’s books have been exhibited in galleries and museums throughout the United States and featured in prominent collections\, including The Metropolitan Museum of Art\, The Museum of Modern Art\, The Museum of Fine Arts Houston\, The National Gallery of Art\, The Yale University Art Gallery\, The Fogg Art Gallery and The National Library of France. \n\nMoser has made numerous print editions and series\, most recently with Bleu Acier\, Jungle Press\, Manneken Press and Oehme Graphics.  She continues to work collaboratively on projects with poets\, artists\, designers\, and architects. She has taught at Princeton University\, Virginia Commonwealth University\, SUNY and The School of Visual Arts. Jill Moser lives and works in New York. \n  Save  
URL:https://artinamericaguide.com/event/jill-moser/
LOCATION:179 10th Ave\, 179 10th Ave\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/mose039-scaled.jpg
ORGANIZER;CN="Kathryn Markel Fine Arts":MAILTO:markel@markelfinearts.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260226
DTEND;VALUE=DATE:20260405
DTSTAMP:20260408T113105
CREATED:20260210T204436Z
LAST-MODIFIED:20260210T204436Z
UID:115837-1772064000-1775347199@artinamericaguide.com
SUMMARY:Martine Gutierrez: Lottery
DESCRIPTION:RYAN LEE is pleased to announce Lottery\, an exhibition of photographs and video installation by Martine Gutierrez. Arising out of a recent performance in Paris that took inspiration from 1970s feminist performance art\, Gutierrez incorporates her tool of choice\, the camera\, to subvert hierarchies of power and explore notions of control and access. \n  Save  
URL:https://artinamericaguide.com/event/martine-gutierrez-lottery/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
GEO:40.7500935;-74.0036112
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=RYAN LEE 515 W 26th St 3rd Fl New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=515 W 26th St\, 3rd Fl:geo:-74.0036112,40.7500935
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260226
DTEND;VALUE=DATE:20260405
DTSTAMP:20260408T113105
CREATED:20260218T163500Z
LAST-MODIFIED:20260218T163500Z
UID:115852-1772064000-1775347199@artinamericaguide.com
SUMMARY:Erick Johnson: Continuum
DESCRIPTION:Kathryn Markel Fine Arts is pleased to announce an upcoming exhibition of new paintings by Erick Johnson titled Continuum.  This is his third solo exhibition with the gallery. A reception for the artist will be held on February 26th from 6-8pm. \n\nJohnson’s abstract paintings explore the synergy between color and form. Irregular shapes stack and slide together\, building walls of reverberating color. The elements touch occasionally\, but most are separated by narrow white passages that create the illusion of forms suspended in space. \n\nJohnson uses handmade tools to pull paint across the surface in layered passes. Small interruptions in the lines remain as evidence of the process. Opaque and translucent bands of color play against each other\, creating rhythm and movement. Fluctuating stripes build vibrant\, shifting polygons\, while fuzzy edges bleed into the surrounding white. Some settle into place like masonry; others teeter on their neighbors. \nThe compositions feel active rather than fixed. The shapes become worlds of their own\, grazing one another and pressing against the picture’s edge. They are both grounded and moving – structured geometry animated by color.  To Johnson the shapes “often straddle the line between object and opening\, construction and evolution.” \n  \nErick Johnson holds an MFA from Bard College and a BFA from Empire State College. He has presented notable solo exhibitions\, including at the Brattleboro Museum & Art Center\, VT\, Gallery Neptune & Brown\, Wash DC\, and Furnace: Art on Paper Archive in Falls Village\, CT. He has also participated in group exhibitions at Pierogi Gallery\, NYC\, LABspace\, Hillsdale\, NY\, and Bernays Fine Art in Great Barrington\, MA amongst others. He is a new 2023 member of the historic American Abstract Artists group and lives and works in New York City. \n  Save  
URL:https://artinamericaguide.com/event/erick-johnson-continuum/
LOCATION:529 W 20th St. 6W\, 529 W 20th St. 6W\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/joh063-scaled.jpg
ORGANIZER;CN="Kathryn Markel Fine Arts":MAILTO:markel@markelfinearts.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260226
DTEND;VALUE=DATE:20260302
DTSTAMP:20260408T113105
CREATED:20260226T195730Z
LAST-MODIFIED:20260226T200131Z
UID:115997-1772064000-1772409599@artinamericaguide.com
SUMMARY:Music & Art | Frieze Los Angeles
DESCRIPTION:Michael Rosenfeld Gallery is pleased to announce its return to Frieze Los Angeles 2026 for the fifth consecutive year with a group presentation that celebrates the intertwining relationship between music and the visual arts. \nLearn more \n\nImage Caption:\nRomare Bearden (1911-1988)\nOf the Blues: New Orleans Farewell\, 1974\nCollage of various papers with acrylic on Masonite\n43 3/8 x 49 1/2 inches / 110.2 x 125.7 cm\nsigned \n  Save  
URL:https://artinamericaguide.com/event/music-art-frieze-los-angeles/
LOCATION:Frieze Los Angeles\, 9900 Wilshire Boulevard\, Beverly Hills\, 90210\, United States
CATEGORIES:Art Fair
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/thumb__1734_1300_0_0_crop.jpg
ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260226
DTEND;VALUE=DATE:20260413
DTSTAMP:20260408T113105
CREATED:20260226T210131Z
LAST-MODIFIED:20260226T210131Z
UID:116008-1772064000-1776038399@artinamericaguide.com
SUMMARY:Robert The: Book Work
DESCRIPTION:Artist Robert The creates sculptural works in which books are transformed with subversive wit and scrupulous invention. Often working with remaindered volumes that were part of large-scale mass-market editions\, the artist transfigures these objects through singular gestures such as through-slicing words and cutting out new iconic forms. Always uniquely appropriate to his source material\, the artist’s interventions have included turning a bible into a grenade and a Malevich monograph into a Kalashnikov. \nFor History of Art\, 2017\, The modifies a copy of H.W. Janson’s ubiquitous art history doorstopper by slicing ‘bristles’ into its leaved edge and affixing a broom handle to its spine. This remarkable sculptural hybrid could be designed for sweeping away the remnants of a dated art history—or reminding us of the alternate histories swept under the carpet by Janson’s grand narrative. \nWith The Illustrated Story of “O”\, 2005\, the artist highlights the violence at the core of the notorious “erotic” novel\, cutting a nested handgun through the book. As with all his work\, The’s disruptive gesture manages to hold the original book and its new form in an urgent\, engaging open conversation with one another. \nIn Philosophical Investigations\, 2017\, the artist cuts the word THIS all the way through a copy of Wittgenstein’s opus\, suggesting both an analog for indexical meaning\, as well as a counter to linguistic relativity through a gesture toward presentness. \nView the exhibition online here. \nWhile the precision of Robert The’s work suggests the use of die or laser-cut processes\, the works are in fact all directly cut by the artist. Playfully referring to his work as “precision vandalism”\, The prefers to avoid marks of the hand-crafted and high-end: his book works instead foreground the laser-like sharpness of their creator’s inventiveness. \n  \nRobert The studied philosophy and mathematics at the University of Wisconsin\, Madison\, and design at the Institute of Lettering and Design in Chicago. His work has been included in exhibitions at Yale University Art Gallery\, New Haven\, CT; the Bonner Kunstverein\, Bonn\, Germany; Momenta Art\, Brooklyn NY; Walker Art Center\, Minneapolis\, MN; Samuel Dorsky Museum of Art\, SUNY\, New Paltz\, NY; Center for Book Arts\, New York\, NY; and Parsons School of Design\, New York\, NY. The artist’s work can be found in the permanent collections of Los Angeles Museum of Contemporary Art\, Los Angeles\, CA; The Museum of Modern Art Artist Book Collection\, New York\, NY; New York Public Library\, Print Collection\, New York\, NY; Walker Art Center Library\, Minneapolis\, MN; Yale University Library\, Arts of the Book Collection\, New Haven\, CT; and Banff Centre Library\, Banff\, Alberta\, Canada\, among many others. \n  Save  
URL:https://artinamericaguide.com/event/robert-the-book-work/
LOCATION:JHB Gallery New York\, 26 Grove Street\, 4C\, New York\, NY\, 10014\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/Bible-grenade-1.jpg
ORGANIZER;CN="JHB Gallery":MAILTO:info@jhbgallery.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260226
DTEND;VALUE=DATE:20260413
DTSTAMP:20260408T113105
CREATED:20260226T210132Z
LAST-MODIFIED:20260226T210132Z
UID:116004-1772064000-1776038399@artinamericaguide.com
SUMMARY:Robert The: Book Work
DESCRIPTION:Artist Robert The creates sculptural works in which books are transformed with subversive wit and scrupulous sculptural invention. Often working with remaindered volumes that were part of large-scale mass-market editions\, the artist transfigures these objects through singular gestures such as through-slicing words and cutting out new iconic forms. Always uniquely appropriate to his source material\, the artist’s interventions have included turning a bible into a grenade and a Malevich monograph into a Kalashnikov. \nFor History of Art\, 2017\, The modifies a copy of H.W. Janson’s ubiquitous art history doorstopper by slicing ‘bristles’ into its leaved edge and affixing a broom handle to its spine. This remarkable sculptural hybrid could be designed for sweeping away the remnants of a dated art history—or reminding us of the alternate histories swept under the carpet by Janson’s grand narrative. \nWith The Illustrated Story of “O”\, 2005\, the artist highlights the violence at the core of the notorious “erotic” novel\, cutting a nested handgun through the book. As with all his work\, The’s disruptive gesture manages to hold the original book and its new form in an urgent\, engaging open conversation with one another. \nIn Philosophical Investigations\, 2017\, the artist cuts the word THIS all the way through a copy of Wittgenstein’s opus\, suggesting both an analog for indexical meaning\, as well as a counter to linguistic relativity through a gesture toward presentness. \nWhile the precision of Robert The’s work suggests the use of die or laser-cut processes\, the works are in fact all directly cut by the artist. Playfully referring to his work as “precision vandalism”\, The prefers to avoid marks of the hand-crafted and high-end: his book works instead foreground the laser-like sharpness of their creator’s inventiveness. \nView the exhibition online here. \nRobert The studied philosophy and mathematics at the University of Wisconsin\, Madison\, and design at the Institute of Lettering and Design in Chicago. His work has been included in exhibitions at Yale University Art Gallery\, New Haven\, CT; the Bonner Kunstverein\, Bonn\, Germany; Momenta Art\, Brooklyn NY; Walker Art Center\, Minneapolis\, MN; Samuel Dorsky Museum of Art\, SUNY\, New Paltz\, NY; Center for Book Arts\, New York\, NY; and Parsons School of Design\, New York\, NY. The artist’s work can be found in the permanent collections of Los Angeles Museum of Contemporary Art\, Los Angeles\, CA; The Museum of Modern Art Artist Book Collection\, New York\, NY; New York Public Library\, Print Collection\, New York\, NY; Walker Art Center Library\, Minneapolis\, MN; Yale University Library\, Arts of the Book Collection\, New Haven\, CT; and Banff Centre Library\, Banff\, Alberta\, Canada\, among many others. \n  \n  Save  
URL:https://artinamericaguide.com/event/robert-the-book-work-2/
LOCATION:JHB Gallery New York\, 26 Grove Street\, 4C\, New York\, NY\, 10014\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/Bible-grenade.jpg
ORGANIZER;CN="JHB Gallery":MAILTO:info@jhbgallery.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260226
DTEND;VALUE=DATE:20260413
DTSTAMP:20260408T113105
CREATED:20260304T164457Z
LAST-MODIFIED:20260304T164457Z
UID:116020-1772064000-1776038399@artinamericaguide.com
SUMMARY:Robert The: Book Work
DESCRIPTION:Artist Robert The creates sculptural works in which books are transformed with subversive wit and scrupulous invention. Often working with remaindered volumes that were part of large-scale mass-market editions\, the artist transfigures these objects through singular gestures such as through-slicing words and cutting out new iconic forms. Always uniquely appropriate to his source material\, the artist’s interventions have included turning a bible into a grenade and a Malevich monograph into a Kalashnikov. \n  \nFor History of Art\, 2017\, The modifies a copy of H.W. Janson’s ubiquitous art history doorstopper by slicing ‘bristles’ into its leaved edge and affixing a broom handle to its spine. This remarkable sculptural hybrid could be designed for sweeping away the remnants of a dated art history—or reminding us of the alternate histories swept under the carpet by Janson’s grand narrative. \n  \nWith The Illustrated Story of “O”\, 2005\, the artist highlights the violence at the core of the notorious “erotic” novel\, cutting a nested handgun through the book. As with all his work\, The’s disruptive gesture manages to hold the original book and its new form in an urgent\, engaging open conversation with one another. \n  \nIn Philosophical Investigations\, 2017\, the artist cuts the word THIS all the way through a copy of Wittgenstein’s opus\, suggesting both an analog for indexical meaning\, as well as a counter to linguistic relativity through a gesture toward presentness. \n  \nWhile the precision of Robert The’s work suggests the use of die or laser-cut processes\, the works are in fact all directly cut by the artist. Playfully referring to his work as “precision vandalism”\, The prefers to avoid marks of the hand-crafted and high-end: his book works instead foreground the laser-like sharpness of their creator’s inventiveness. \n  \nView the exhibition online here>. \n  \nRobert The studied philosophy and mathematics at the University of Wisconsin\, Madison\, and design at the Institute of Lettering and Design in Chicago. His work has been included in exhibitions at Yale University Art Gallery\, New Haven\, CT; the Bonner Kunstverein\, Bonn\, Germany; Momenta Art\, Brooklyn NY; Walker Art Center\, Minneapolis\, MN; Samuel Dorsky Museum of Art\, SUNY\, New Paltz\, NY; Center for Book Arts\, New York\, NY; and Parsons School of Design\, New York\, NY. The artist’s work can be found in the permanent collections of Los Angeles Museum of Contemporary Art\, Los Angeles\, CA; The Museum of Modern Art Artist Book Collection\, New York\, NY; New York Public Library\, Print Collection\, New York\, NY; Walker Art Center Library\, Minneapolis\, MN; Yale University Library\, Arts of the Book Collection\, New Haven\, CT; and Banff Centre Library\, Banff\, Alberta\, Canada\, among many others. \n  Save  
URL:https://artinamericaguide.com/event/robert-the-book-work-3/
LOCATION:JHB Gallery New York\, 26 Grove Street\, 4C\, New York\, NY\, 10014\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/Philosophical-Investigations-Hi-Res-2-of-3-scaled.jpg
ORGANIZER;CN="JHB Gallery":MAILTO:info@jhbgallery.com
END:VEVENT
END:VCALENDAR