BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Art in America Guide - ECPv6.7.0//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-WR-CALNAME:Art in America Guide
X-ORIGINAL-URL:https://artinamericaguide.com
X-WR-CALDESC:Events for Art in America Guide
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/Halifax
BEGIN:DAYLIGHT
TZOFFSETFROM:-0400
TZOFFSETTO:-0300
TZNAME:ADT
DTSTART:20190310T060000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0300
TZOFFSETTO:-0400
TZNAME:AST
DTSTART:20191103T050000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0400
TZOFFSETTO:-0300
TZNAME:ADT
DTSTART:20200308T060000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0300
TZOFFSETTO:-0400
TZNAME:AST
DTSTART:20201101T050000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0400
TZOFFSETTO:-0300
TZNAME:ADT
DTSTART:20210314T060000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0300
TZOFFSETTO:-0400
TZNAME:AST
DTSTART:20211107T050000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210602
DTEND;VALUE=DATE:20210717
DTSTAMP:20260609T172955
CREATED:20210707T171449Z
LAST-MODIFIED:20210707T172241Z
UID:82759-1622592000-1626479999@artinamericaguide.com
SUMMARY:Jonas Wood | Four Tennis Courts
DESCRIPTION:  \n“My forms are not rendered spatially. My paintings of tennis courts are about an interest in abstraction\, and how the court becomes a geometric puzzle.”\n—Jonas Wood \nGagosian is pleased to present four new tennis court paintings by Jonas Wood. \nDescribing his work as a visual diary or “even a personal history\,” Wood charges images of people\, places\, and objects from his everyday life with art historical references. Inspired by the bold formal distillations of such artists as David Hockney\, he emphasizes pattern\, shape\, and ornamentation while confounding scale and perspective. His lush\, exuberant interiors and still lifes depict plants potted in vessels made by his wife\, Shio Kusaka\, and by artists in the couple’s personal collection including Magdalena Suarez Frimkess and Michael Frimkess\, and Akio Takamori. \nWood first made use of sports imagery in dynamic post-Pop portraits derived from boxing\, baseball\, and basketball cards—tokens that have as much to do with celebrity as nostalgia. He later became interested in depicting the physical spaces associated with sports. While watching games on television\, Wood developed a shorthand approach to representing courts and fields\, paring complex scenes down to geometric shapes and flat\, saturated colors. In the oil and acrylic canvases on view\, he reworks four of his favorite drawings from a suite of twenty-four produced between 2016 and 2018\, all of which depict famous international tennis tournaments. \n\nUsing televised events as reference\, Wood foregrounds the strikingly abstract nature of tennis court design; he renders each site large scale and in portrait format\, preserving its key characteristics while drastically simplifying\, or eliminating altogether\, the players and spectators. The courts—in Abu Dhabi\, London\, Melbourne\, and Paris—are distinguished by their iconic colors and identifying signage. \nThe chromatic density and richness of these works stands in contrast to the simplicity of their composition. Wimbledon with Bball Orchid (2021) and French Open with Orchid (2021) incorporate snippets of paintings of plants and basketballs\, hinting at the studio space beyond the screen\, while Australian Open with Red Lines (2021) and Abu Dhabi (2021) feature strategically positioned abstract elements\, with bars of red and black recalling postwar Color Field painting. Together\, the quartet forms a Grand Slam in which the rigors of professional athletic competition are displaced by deft visual play. \n\nImage:\nInstallation view\, Jonas Wood: Four Tennis Courts at Gagosian 980 Madison Avenue\, June 2 – July 16\, 2021.\nArtwork © Jonas Wood. Photo: Rob McKeever. Courtesy Gagosian.
URL:https://artinamericaguide.com/event/jonas-wood-four-tennis-courts/
LOCATION:Gagosian Madison Avenue\, New York\, 980 Madison Avenue\, New York\, NY\, 10075\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2017/04/Wood-2021-NY-980-Install-1.jpg
GEO:40.7746313;-73.9635837
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Gagosian Madison Avenue New York 980 Madison Avenue New York NY 10075 United States;X-APPLE-RADIUS=500;X-TITLE=980 Madison Avenue:geo:-73.9635837,40.7746313
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210515T110000
DTEND;TZID=America/Halifax:20210515T180000
DTSTAMP:20260609T172955
CREATED:20210511T151439Z
LAST-MODIFIED:20210513T160133Z
UID:81067-1621076400-1621101600@artinamericaguide.com
SUMMARY:Gagosian | Madison Avenue Gallery Walk
DESCRIPTION:Madison Avenue Spring Gallery Walk\n\n\nSaturday\, May 15\, 2021\, 11am–6pm edt\nNew York\nmadisonavenuebid.org \nJoin ARTnews and the Madison Avenue Business Improvement District on a springtime walk to visit thirty-five galleries that line Madison Avenue from East 57th to East 86th Streets. Gagosian\, 980 Madison Avenue\, has a new painting by Rudolf Stingel on view. Gagosian Shop has Family Tweets\, a new book by Richard Prince\, on display alongside works from the publication. To attend the free event\, register at site.booxi.com. \n\nImage: Rudolf Stingel\, Kirchner Amselfluh 1922\, 2020 © Rudolf Stingel. Photo: courtesy the artist
URL:https://artinamericaguide.com/event/gagosian-madison-avenue-gallery-walk/
LOCATION:Gagosian Madison Avenue\, New York\, 980 Madison Avenue\, New York\, NY\, 10075\, United States
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2017/04/Stingel-Gagosian-Medium.jpg
GEO:40.7746313;-73.9635837
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Gagosian Madison Avenue New York 980 Madison Avenue New York NY 10075 United States;X-APPLE-RADIUS=500;X-TITLE=980 Madison Avenue:geo:-73.9635837,40.7746313
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20200305T180000
DTEND;TZID=America/Halifax:20200305T200000
DTSTAMP:20260609T172955
CREATED:20200225T160109Z
LAST-MODIFIED:20200225T160109Z
UID:65611-1583431200-1583438400@artinamericaguide.com
SUMMARY:Opening reception: Duino Elegies
DESCRIPTION:“For beauty is nothing but\nthe beginning of terror\, that we are still able to bear\,\nand we revere it so\, because it calmly disdains\nto destroy us.”\n—Rainer Maria Rilke \nGagosian is pleased to present Duino Elegies\, a group exhibition that traces the resonance of Rainer Maria Rilke’s poetry through artworks spanning the past 150 years. \nIn 1912\, Rilke was invited to stay at Duino Castle—a fortress just north of Trieste\, Italy—by the Princess Marie von Thurn und Taxis. There\, while standing atop a cliff overlooking the Adriatic Sea\, he claimed to hear the following line: “Who\, if I cried out\, would hear me among the Angelic Orders?” Rilke eventually used these words to open the Duino Elegies\, a 1923 collection of ten intensely religious metaphysical poems. Concerned with the interplay of suffering and beauty in human existence\, the Elegies also project a hopeful vision of a more peaceful world. \nTwo decades earlier\, Rilke had moved to Paris to write a monograph on Auguste Rodin\, initiating a complex but lasting friendship between the two men. Rilke venerated the sculptor’s ability to translate poetic sentiments into figuration\, as exemplified by Rodin’s large bronze La Muse tragique (1896). Originally conceived seven years prior for the Monument to Victor Hugo—in which the muse\, perched above the French literary giant\, whispers inspiration to him—La Muse tragique is presented here as a single figure\, evoking a heightened pathos befitting its subject’s symbolic identity. \nIn the 1960s\, a young Anselm Kiefer picked up a copy of Rilke’s Rodin monograph\, his first encounter with both of their work. Rilke’s evocative prose allowed Kiefer to fully appreciate the work of the French sculptor\, whose naturalistic touch and tendency toward the monumental would make him one of Kiefer’s most enduring sources of inspiration. In two intimate 1974 artist’s books and a suite of sensuous watercolors\, Kiefer presents meditative and spiritual scenes that show his longstanding fascination with both sculptor and poet. \nFirst conceived in 1893\, Medardo Rosso’s Bambino Ebreo (Jewish Boy) emerged as one of the artist’s most beloved late-career motifs. In a continuing endeavor to represent complex emotion in the young child’s features\, Rosso re-created and recast the somber portrait bust several times for numerous exhibitions and personal gifts. On view is a 1920–25 version of Bambino Ebreo made in plaster with a wax surface. Rosso employed wax—normally a preparatory medium—as a finish\, harnessing its deathly connotations of impermanence and decay as well as its approximation of the warmth and tenderness of human flesh—an impulse akin to Rilke’s own meditations on humankind’s fleeting moments of contact with transient\, sublime beauty. \nReminiscing on his formative education\, Cy Twombly wrote: “It was impossible to come out of Black Mountain College and not love Rilke.” Forging a direct\, powerful connection to the Elegies\, Twombly’s painting Duino (1967) marries the artist’s geometric investigations with his consistent interest in literature. To create this “blackboard painting”—one of a group of works named for their evocation of the schoolroom wall—Twombly scrawled\, effaced\, and reinscribed the name of Rilke’s titular castle in white wax crayon on a dark gray oil paint ground\, positing the act of writing as an artistic gesture in itself. \nFor this exhibition\, Edmund de Waal has produced a new work in dialogue with Twombly’s painting\, using the medium of ceramics to improvise on the earlier artist’s trademark handwritten canvases. The diptych elegie (2020) is made from kaolin clay brushed over a pair of wood panels; on top of these chalky surfaces\, de Waal scribbles literary snippets in graphite and oil stick\, partially smearing and overwriting them to simulate the mutability of observation. With its looping\, penciled-in script and pale ground\, de Waal’s graphic sculpture appears as an aesthetic inverse and creative tribute to Twombly’s Duino. \nThe exhibition will include works by Balthus\, Paul Cézanne\, Edmund de Waal\, Anselm Kiefer\, Auguste Rodin\, Medardo Rosso\, and Cy Twombly\, among others. \n\nImage:\nEDMUND DE WAAL\nelegie\, 2000\nKaolin\, graphite\, gold\, oil stick\, oak and ash\n33 1/16 x 46 7/8 x 1 3/4 in\n84 x 119 x 4.5 cm\n© Edmund de Waal. Photo: Mike Bruce. Courtesy Gagosian.
URL:https://artinamericaguide.com/event/opening-reception-duino-elegies/
LOCATION:Gagosian Madison Avenue\, New York\, 980 Madison Avenue\, New York\, NY\, 10075\, United States
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2017/04/DEWAA-2020.0002-A.jpg
GEO:40.7746313;-73.9635837
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Gagosian Madison Avenue New York 980 Madison Avenue New York NY 10075 United States;X-APPLE-RADIUS=500;X-TITLE=980 Madison Avenue:geo:-73.9635837,40.7746313
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20200305T100000
DTEND;TZID=America/Halifax:20200530T180000
DTSTAMP:20260609T172955
CREATED:20200225T155811Z
LAST-MODIFIED:20200402T133907Z
UID:65610-1583402400-1590861600@artinamericaguide.com
SUMMARY:Duino Elegies
DESCRIPTION:“For beauty is nothing but\nthe beginning of terror\, that we are still able to bear\,\nand we revere it so\, because it calmly disdains\nto destroy us.”\n—Rainer Maria Rilke \nGagosian is pleased to present Duino Elegies\, a group exhibition that traces the resonance of Rainer Maria Rilke’s poetry through artworks spanning the past 150 years. \nIn 1912\, Rilke was invited to stay at Duino Castle—a fortress just north of Trieste\, Italy—by the Princess Marie von Thurn und Taxis. There\, while standing atop a cliff overlooking the Adriatic Sea\, he claimed to hear the following line: “Who\, if I cried out\, would hear me among the Angelic Orders?” Rilke eventually used these words to open the Duino Elegies\, a 1923 collection of ten intensely religious metaphysical poems. Concerned with the interplay of suffering and beauty in human existence\, the Elegies also project a hopeful vision of a more peaceful world. \nTwo decades earlier\, Rilke had moved to Paris to write a monograph on Auguste Rodin\, initiating a complex but lasting friendship between the two men. Rilke venerated the sculptor’s ability to translate poetic sentiments into figuration\, as exemplified by Rodin’s large bronze La Muse tragique (1896). Originally conceived seven years prior for the Monument to Victor Hugo—in which the muse\, perched above the French literary giant\, whispers inspiration to him—La Muse tragique is presented here as a single figure\, evoking a heightened pathos befitting its subject’s symbolic identity. \nIn the 1960s\, a young Anselm Kiefer picked up a copy of Rilke’s Rodin monograph\, his first encounter with both of their work. Rilke’s evocative prose allowed Kiefer to fully appreciate the work of the French sculptor\, whose naturalistic touch and tendency toward the monumental would make him one of Kiefer’s most enduring sources of inspiration. In two intimate 1974 artist’s books and a suite of sensuous watercolors\, Kiefer presents meditative and spiritual scenes that show his longstanding fascination with both sculptor and poet. \nFirst conceived in 1893\, Medardo Rosso’s Bambino Ebreo (Jewish Boy) emerged as one of the artist’s most beloved late-career motifs. In a continuing endeavor to represent complex emotion in the young child’s features\, Rosso re-created and recast the somber portrait bust several times for numerous exhibitions and personal gifts. On view is a 1920–25 version of Bambino Ebreo made in plaster with a wax surface. Rosso employed wax—normally a preparatory medium—as a finish\, harnessing its deathly connotations of impermanence and decay as well as its approximation of the warmth and tenderness of human flesh—an impulse akin to Rilke’s own meditations on humankind’s fleeting moments of contact with transient\, sublime beauty. \nReminiscing on his formative education\, Cy Twombly wrote: “It was impossible to come out of Black Mountain College and not love Rilke.” Forging a direct\, powerful connection to the Elegies\, Twombly’s painting Duino (1967) marries the artist’s geometric investigations with his consistent interest in literature. To create this “blackboard painting”—one of a group of works named for their evocation of the schoolroom wall—Twombly scrawled\, effaced\, and reinscribed the name of Rilke’s titular castle in white wax crayon on a dark gray oil paint ground\, positing the act of writing as an artistic gesture in itself. \nFor this exhibition\, Edmund de Waal has produced a new work in dialogue with Twombly’s painting\, using the medium of ceramics to improvise on the earlier artist’s trademark handwritten canvases. The diptych elegie (2020) is made from kaolin clay brushed over a pair of wood panels; on top of these chalky surfaces\, de Waal scribbles literary snippets in graphite and oil stick\, partially smearing and overwriting them to simulate the mutability of observation. With its looping\, penciled-in script and pale ground\, de Waal’s graphic sculpture appears as an aesthetic inverse and creative tribute to Twombly’s Duino. \nThe exhibition will include works by Balthus\, Paul Cézanne\, Edmund de Waal\, Anselm Kiefer\, Auguste Rodin\, Medardo Rosso\, and Cy Twombly\, among others. \n\nImage:\nMEDARDO ROSSO\nBambino Ebreo\, c. 1920–25\nWax on plaster\n9 5/16 x 7 1/16 x 5 11/16 in\n23.7 x 17.9 x 14.4 cm\nPrivate collection\nPhoto: Sergie Domingie. Courtesy Gagosian.
URL:https://artinamericaguide.com/event/duino-elegies/
LOCATION:Gagosian Madison Avenue\, New York\, 980 Madison Avenue\, New York\, NY\, 10075\, United States
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2017/04/ROSSO-1925_0001.jpg
GEO:40.7746313;-73.9635837
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Gagosian Madison Avenue New York 980 Madison Avenue New York NY 10075 United States;X-APPLE-RADIUS=500;X-TITLE=980 Madison Avenue:geo:-73.9635837,40.7746313
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20200110T180000
DTEND;TZID=America/Halifax:20200110T200000
DTSTAMP:20260609T172955
CREATED:20191209T170607Z
LAST-MODIFIED:20191209T170709Z
UID:62266-1578679200-1578686400@artinamericaguide.com
SUMMARY:David Reed | New Paintings
DESCRIPTION:DAVID REED\n#712\, 2005–2009 / 2018–2019\nAcrylic\, oil\, and alkyd on polyester\n96 x 54 in\n243.8 x 137.2 cm\n© 2019 David Reed/Artists Rights Society (ARS)\, New York. Photo: Rob McKeever. Courtesy Gagosian. \n\nDAVID REED: NEW PAINTINGS \nJanuary 10–February 22\, 2020\nOpening Reception: January 10\, 6-8pm
URL:https://artinamericaguide.com/event/david-reed-new-paintings/
LOCATION:Gagosian Madison Avenue\, New York\, 980 Madison Avenue\, New York\, NY\, 10075\, United States
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/12/REED-2019_0002_712.jpg
GEO:40.7746313;-73.9635837
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Gagosian Madison Avenue New York 980 Madison Avenue New York NY 10075 United States;X-APPLE-RADIUS=500;X-TITLE=980 Madison Avenue:geo:-73.9635837,40.7746313
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20191109
DTEND;VALUE=DATE:20191222
DTSTAMP:20260609T172955
CREATED:20191111T202532Z
LAST-MODIFIED:20191111T204710Z
UID:61442-1573257600-1576972799@artinamericaguide.com
SUMMARY:Brice Marden
DESCRIPTION:BRICE MARDEN\nIt reminds me of something\, and I don’t know what it is.\nNovember 9–December 21\, 2019 \n“Painting is still a question of color and matter coming together and how pigment has to behave in a certain way.” 
—Brice Marden \nGagosian is pleased to present new paintings and drawings by Brice Marden. \nThese works continue Marden’s Letter series\, in which networks of calligraphic lines and strokes weave through fields of color and tone. Marden begins these paintings by filling the canvas with script-like glyphs\, working in columns from top to bottom\, right to left. He then links these initial markings through a network of lines\, creating webs and threads across the surface of the canvas. As he paints in layers\, Marden scrapes away at excess paint on the surface of the canvas\, diffusing his lines and allowing a complex play of color\, weight\, and distance to develop in the pictorial space as he works the canvas deeper into abstraction. \nSix paintings\, each measuring six feet tall by ten feet wide\, were made in Tivoli—the location of Marden’s upstate New York home and studio—where the seasonal changes of the surrounding Northeastern landscape and light frequently influence his use of color. Marden’s body of work has had ties to calligraphic\, script-like markings throughout his career\, notably in the late 1980s with his Cold Mountain Studies. More recently\, the Letter paintings were initially inspired by a poem by Huang Tingjian\, a Chinese calligrapher\, painter\, and poet of the Song dynasty. In these new works\, however\, Marden experiments with whites\, greens\, oranges\, and vibrant yellows—shades that have until now rarely occurred in his palette. In each of these large-scale paintings\, Marden leaves a panel of blank color on either side of the canvas\, guiding the viewer’s eye to the interlocking lines at its square center. \nFour vertical ink-on-paper works are also on view. Made predominantly in dark purples\, greens\, and reds\, the colored lines of Marden’s overmarkings sit at varying depths—the bright\, light-colored markings in yellow and green often contrasting dramatically with the dark backgrounds. \nFive smaller paintings\, each measuring three by five feet\, were made at Marden’s studio on the Caribbean island of Nevis. Their rectangular\, light-grey backgrounds form a field for the central square of action in the paintings. In two new paintings\, gridded dots\, rather than curved lines\, are rendered in dark blotches of color—a pattern familiar from Marden’s workbook drawings. For more than a decade\, Marden carried a workbook with him\, as he developed a series of abstract drawings based on a geometric or gridded background. Earlier this year\, all of the drawings from this workbook were exhibited for the first time at the Musée Yves Saint Laurent in Marrakech\, Morocco\, and then at Gagosian Paris. In these new paintings\, gridded dots again become the basis for interwoven smudges and lines. \nThis exhibition will be accompanied by a fully illustrated catalogue with a text by John Elderfield.\nA facsimile of Marden’s original workbook\, published by Gagosian in 2019\, is available in the Gagosian Shop. \n\nImage caption: \nBRICE MARDEN\nElevation\, 2018–19\nOil on linen\n72 x 120 in\n182.9 x 304.8 cm\n© 2019 Brice Marden/Artists Rights Society (ARS)\, New York\nPhoto: Rob McKeever\nCourtesy Gagosian
URL:https://artinamericaguide.com/event/brice-marden/
LOCATION:Gagosian Madison Avenue\, New York\, 980 Madison Avenue\, New York\, NY\, 10075\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2017/04/MARDE-2018-19_Elevation.jpg
GEO:40.7746313;-73.9635837
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Gagosian Madison Avenue New York 980 Madison Avenue New York NY 10075 United States;X-APPLE-RADIUS=500;X-TITLE=980 Madison Avenue:geo:-73.9635837,40.7746313
END:VEVENT
END:VCALENDAR