BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Art in America Guide - ECPv6.7.0//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
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/New_York
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20240310T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20241103T060000
END:STANDARD
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
BEGIN:DAYLIGHT
TZOFFSETFROM:-0400
TZOFFSETTO:-0300
TZNAME:ADT
DTSTART:20220313T060000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0300
TZOFFSETTO:-0400
TZNAME:AST
DTSTART:20221106T050000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0400
TZOFFSETTO:-0300
TZNAME:ADT
DTSTART:20230312T060000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0300
TZOFFSETTO:-0400
TZNAME:AST
DTSTART:20231105T050000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240620
DTEND;VALUE=DATE:20240727
DTSTAMP:20260613T164419
CREATED:20240617T134842Z
LAST-MODIFIED:20240617T135159Z
UID:108932-1718841600-1722038399@artinamericaguide.com
SUMMARY:Sublime Spirit
DESCRIPTION:Marianne Boesky Gallery is pleased to present Sublime Spirit\, a summer group exhibition organized by Marianne Boesky. Featuring work by 12 artists from around the world\, Sublime Spirit explores the animal urge to give oneself over to nature\, to retreat from society and return to an arcadia of one’s own imagining. \n  \nFeaturing new work—all made within the past three years—by Nicola Bailey\, Kim Booker\, Mirela Cabral\, Hadi Falapishi\, Luiza Gottschalk\, Thalita Hamaoui\, Jay Heikes\, Oliver Hemsley\, Dora Jeridi\, Nathalie Khayat\, Antonio Ballester Moreno\, and Mari Ra\, Sublime Spirit examines the innately human desire to escape the world we have made. Drawing on the awe of 18th-century Romanticism and the reverence of 19th-century Transcendentalism\, these 12 artists imagine the viscerality of the wild in contemporary terms. In these landscapes—conjured from memory or imagination\, rendered in dynamic\, expressionistic gestures or careful\, considered geometries—the natural world perpetuates itself\, overtaking any lingering traces of the man-made\, calling to the fore the awesome power of the wild. \n  \nRendering abstracted landscapes in simplified\, geometric terms\, Antonio Ballester Moreno (b. 1977; Madrid\, Spain) and Mari Ra (b. 1996; São Paulo\, Brazil) allude to the inherent\, innate logic of nature. Borrowing the visual language of Geometric Abstraction\, Ballester Moreno captures the rising—or perhaps setting—sun against gradations of color moving along multiple horizon lines. With a small-scale sculpture\, Ballester Moreno brings his celestial geometry into the round\, but the flat-plate forms—suns and moons—remain starkly two-dimensional. Building landscapes out of simplified\, undefinable shapes\, Ra gives dimension to negative space\, alluding to the unseen\, inner workings of the natural world. \n  \nExpressionistic in their approach to the natural world\, Luiza Gottschalk (b. 1984; São Paulo\, Brazil)\, Mirela Cabral (b. 1992; Salvador\, Brazil)\, Thalita Hamaoui (b. 1981; São Paulo\, Brazil)\, and Nathalie Khayat (b. 1966; Beirut\, Lebanon) deploy rich colors and dynamic gestures in immersive landscapes and organic forms. In a suite of paintings tied to the seasons—Spring\, Summer\, Fall\, and Winter—Gottschalk captures the constant\, perpetual reinvention in the elements as the seasons progress. In the work of Cabral and Hamaoui\, otherworldly plant matter forms strange jungles that overtake any remaining traces of the human world. With the undulating\, organic forms of her porcelain vessels\, Khayat evokes the dualities of nature—violence and calm\, growth and decay\, life and death. \n  \nKim Booker (b. 1983; United Kingdom)\, Dora Jeridi (b. 1988; Paris\, France)\, and Jay Heikes (b. 1975; Princeton\, NJ) imbue their landscapes with a palpable existential anxiety. In Booker’s monumental paintings\, sketchy female figures melt into the underbrush—as if they desire to return to the earth. Through her vivid use of color and nearly violent use of line\, Jeridi’s paintings reflect an overwhelming\, uncontained anxiety—about both society and the planet. Expressing a visceral unease about the future of the planet\, Heikes allows familiar natural elements to morph into one another—desert vegetation becomes a coral reef becomes a dramatic mountain range\, all underneath a strange\, gaseous sun—while new anodized aluminum lily pads by Heikes seem to decay before the viewer’s eyes. \n  \nIn the work of Nicola Bailey (b. 1965; Durban\, South Africa)\, Hadi Falapishi (b. 1987; Tehran\, Iran)\, and Oliver Hemsley (b. 1987; Ely\, Cambridgeshire\, England)\, the sublime manifests in the tender bonds between humans and animals. In both paintings and bronze sculptures\, Bailey captures sleeping dogs with unspeakable tenderness. The expressive—nearly childlike—animals in Falapishi’s canvases and ceramic vessels speak to the unaffected awe with which young people experience nature. From Hemsley’s richly textured near-abstractions\, tender moments emerge—a dog carefully holding a fish in its mouth\, a human hand delicately caressing a dog’s paw—speaking to the unbreakable bonds between the realm of animal and that of human. \n  \n“Wherever we look\,” poet Maxine Kumin once wrote of the late poet Mary Oliver\, “we find Oliver reaching for the unattainable while grateful for its unattainability. She stands quite comfortably on the margins of things\, on the line between earth and sky\, the thin membrane that separates human from what we loosely call animal.” The artists of Sublime Spirit do much the same in their longing for a connection to the wild—perhaps even hearkening back to some distant shared memory of when we were all one. Ultimately\, Sublime Spirit reminds us that humans\, too\, belong to the natural world\, that this wilderness we long for also longs for us—calling to us\, as Oliver writes\, like the wild geese.
URL:https://artinamericaguide.com/event/sublime-spirit/
LOCATION:Marianne Boesky Gallery – 507 West 24th\, 507 West 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/06/Sublime-Spirit-Web-Header-scaled.jpg
ORGANIZER;CN="Marianne Boesky Gallery":MAILTO:info@boeskygallery.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240509T080000
DTEND;TZID=America/New_York:20240608T180000
DTSTAMP:20260613T164419
CREATED:20240529T152347Z
LAST-MODIFIED:20240529T152347Z
UID:108623-1715241600-1717869600@artinamericaguide.com
SUMMARY:Suzanne McClelland | Highland Seer
DESCRIPTION:Marianne Boesky Gallery is pleased to present Highland Seer\, an exhibition of new work by Suzanne McClelland (b. 1959; Jacksonville\, FL). For her second solo exhibition with Marianne Boesky Gallery\, McClelland turns her keen observational eye to notions of measurement and prediction\, incorporating divergent materials\, forms\, and modes of painting that she has developed throughout the course of her 35-year career. \nA singular voice in contemporary art\, McClelland examines the visual\, semantic\, and acoustic dimensions of language. Frequently beginning her paintings with a lexicon of words\, phrases\, characters\, or numbers\, McClelland builds upon these forms through drawing and writing\, which are interchangeable throughout her practice. Repeating\, burying\, and dissolving these fragments of language\, the artist alternately obscures and exposes their linguistic origins. \nWith Highland Seer\, McClelland brings together work from her three studios—in Orient\, Brooklyn\, and Los Angeles—demonstrating both the breadth and depth of her current practice. While each painting bears the evidence of the specific environmental conditions under which it was made\, the gathered body of work nevertheless pulls at common threads: language\, measurement\, notions of the self\, erasure\, and methods of prediction and divination. Various symbols and forms appear throughout this group of paintings—math problems\, zeroes and infinity symbols\, the body\, and classic cartoon characters. Each of these subjects promises fixed meaning: math problems have one solution\, zero is infinity’s twin\, the body is stable\, Wile E. Coyote follows the same narrative formula time after time. Yet in McCelland’s canvases\, these forms become fluid: a number\, divided by itself\, equals itself; zero morphs into infinity; the body is represented in fragments\, made up of only what the artist can see of herself as she works\, and alternately duplicated or erased; and a predator becomes prey to their own machinations. \nMcClelland’s practice is\, in many ways\, a study in how we interpret information\, in how we take measure of what we see and hear\, what we read and learn. Endlessly fascinated by communication—in all its forms—the artist here turns her attention to how we use linguistic and visual signifiers to identify and interpret the patterns found in our histories\, both personal and societal. Throughout Highland Seer\, McClelland deploys her array of forms—numbers\, characters\, bodies\, phantoms\, cartoon characters—in an effort not only to take stock of the past and the present\, but to use these measures to address our endless desire to predict what the future may hold. \nHighland Seer takes its title from Reading Tea Leaves\, a slight volume written by an unnamed Scottish author first published in 1920. The author—identified only as a Highland Seer—offers guidance for those who wish to learn to read leaves\, to interpret shapes as symbols\, omens\, or prophecies. Reading tea leaves is a rather quotidian method of divination\, the Highland Seer tells us\, “all that is required\,” they write\, “is for someone to read and interpret these symbols correctly in order to ascertain what is likely to happen.” Reading tea leaves may be an occult practice\, but its rules are clear\, each sign linked to a specific meaning. In its most basic form\, reading leaves is a practice of identifying a shape and determining its associated interpretation. \nWith this handbook\, the Highland Seer implies that a sense of certainty about the future is easy enough to come by\, that a series of shapes and signs\, read in context\, will provide clarity—that a package will arrive or that we will return safely from a journey. Abstract paintings\, like McClelland’s gathering of work for this exhibition\, offer something akin to the bottom of a teacup—a series of shapes and forms to be read and interpreted by the viewer. Yet\, in McClelland’s paintings—amidst her various origin inscriptions and unconventional materials and modes of making—these shapes tumble and fracture and fold\, teetering on the edge of legibility or foretelling erasure\, of the self\, of language\, of measurement. These signs and omens morph or disappear before they can be established with any clarity\, before they can be identified and interpreted. The future\, by its very nature\, is uncertain\, and we long to predict what may come. Yet\, with these works\, McClelland never provides the cosmic reassurance we long for. \n  \nABOUT SUZANNE MCCLELLAND \nMcClelland’s work has been exhibited extensively since the early 1990s. Solo exhibitions of her work have been presented at the Aldrich Museum of Contemporary Art\, Ridgefield\, CT; the Whitney Museum of American Art at Philip Morris\, New York\, NY; the Fralin Museum of Art at the University of Virginia\, Charlottesville\, VA; and the Orlando Museum of Art\, FL\, among others. Her work was included in the 1993 and 2014 Whitney Biennials\, and she has been included in group exhibitions at the Metropolitan Museum of Art\, New  York\, NY; Parrish Art Museum\, Watermill\, NY; Wexner Center for the Arts\, Columbus\, OH; Pulitzer Arts Foundation\, St. Louis\, MO; the National Museum of Women in the Arts\, Washington\, D.C.; and the New Museum of Contemporary Art\, New York\, NY. McClelland is the recipient of numerous awards\, including a Guggenheim Fellowship in 2019\, an Anonymous Was A Woman Award\, and a Nancy Graves Foundation Grant\, and she has participated in international residencies\, including the Troedsson Villa Residency in Nikko\, Japan in 2019. Her work is held in numerous public collections including that of the Brooklyn Museum\, Brooklyn\, NY; the Museum of Modern Art\, New York\, NY; the Metropolitan Museum of Art\, New York\, NY; the Norton Museum of Art\, West Palm Beach\, FL; the Walker Art Center\, University of Minnesota\, Minneapolis\, MN; and the Whitney Museum of American Art\, New York\, NY\, among others. McClelland earned an MFA at the School of the Visual Arts\, New York\, NY and a BFA from the University of Michigan\, Ann Arbor\, MI. McClelland lives and works in Brooklyn and Orient\, NY.
URL:https://artinamericaguide.com/event/suzanne-mcclelland-highland-seer/
LOCATION:Marianne Boesky Gallery – 507 West 24th\, 507 West 24th Street\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/05/SMC_2024_MBG_Lance_Brewer_07-scaled.jpeg
ORGANIZER;CN="Marianne Boesky Gallery":MAILTO:info@boeskygallery.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20221116T100000
DTEND;TZID=America/Halifax:20230107T180000
DTSTAMP:20260613T164419
CREATED:20221111T202525Z
LAST-MODIFIED:20221111T202525Z
UID:100383-1668592800-1673114400@artinamericaguide.com
SUMMARY:Dashiell Manley | Model _______
DESCRIPTION:Marianne Boesky Gallery is pleased to present Model _______\, Los Angeles-based artist Dashiell Manley’s third solo exhibition with the gallery. Comprising three extensive new triptychs alongside two individual paintings\, the exhibition continues Manley’s exploration of language\, repetition\, meditation\, and play.
URL:https://artinamericaguide.com/event/dashiell-manley-model-_______/
LOCATION:Marianne Boesky Gallery – 507 West 24th\, 507 West 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/11/DAM.19647_detail-2-scaled.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20221013T100000
DTEND;TZID=America/Halifax:20221112T180000
DTSTAMP:20260613T164419
CREATED:20221012T183426Z
LAST-MODIFIED:20221012T183426Z
UID:99836-1665655200-1668276000@artinamericaguide.com
SUMMARY:Danielle Mckinney | Golden Hour
DESCRIPTION:Marianne Boesky Gallery is pleased to present Golden Hour\, Danielle Mckinney’s first solo exhibition at the gallery’s New York space. In the new works on view\, Mckinney expands and deepens her exploration into female subjecthood. The show’s title\, Golden Hour reflects the mood and aesthetic sensibility of her paintings––the soft\, resonant light of a particular time of day that often inspires self-reflection and signals the beginning of a period of relaxation. Emotionally as much as physically\, Golden Hour marks the transition from the external world of work and play to the internal world of rest and solitude.
URL:https://artinamericaguide.com/event/danielle-mckinney-golden-hour/
LOCATION:Marianne Boesky Gallery – 507 West 24th\, 507 West 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/10/DMC_2_3_FINAL.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220908T100000
DTEND;TZID=America/Halifax:20221008T180000
DTSTAMP:20260613T164419
CREATED:20220825T181151Z
LAST-MODIFIED:20220908T204907Z
UID:97065-1662631200-1665252000@artinamericaguide.com
SUMMARY:Jammie Holmes | What We Talking About
DESCRIPTION:Marianne Boesky Gallery is pleased to present What We Talking About\, Jammie Holmes’s debut solo exhibition in New York. Holmes\, a self-taught artist\, creates complex allegorical works that draw on personal memory\, self-portraiture\, recurrent motifs\, and intersocial relationships to investigate and illuminate themes of Black life across America. What We Talking About will be on view from September 8 – October 8\, 2022 at the gallery’s 507 West 24th Street location. \nHolmes examines and repositions perceptions\, experiences\, and themes of Black life as they relate to both African American history and contemporary realities. Various signifiers of status and power\, luxury and appropriation\, acceptance and exclusion are significant themes in the artist’s work. Ornate gold frames simultaneously reference the exclusivity of art museums (Holmes did not visit one until he was an adult)\, and the colonial looting of gold from Africa\, foregrounding the historical complexities of power and the difficult history behind much cultural presentation in institutional contexts. \nWhen Holmes was first teaching himself to paint\, he studied Gordon Parks’s photographs\, Rashid Johnson’s complex abstractions\, and Kevin Williams’s iconic paintings of African American culture. As Holmes says\, he studied faces\, and the ways artists rendered them\, until the organization and structure of the features clarified in his mind. This emphasis on faces is a leitmotif of Holmes’s work: Many of the paintings include a self-portrait\, where the figure of the artist himself stands in\, metonymically\, for the presence of Black men in U.S. society. \nParallel to Holmes’s incorporation of portraiture into his painterly vocabulary\, the paintings and video on view in What We Talking About reflect his ongoing engagement with contemporary and historical artistic practices: Holmes has recently been studying works from the Dutch Golden Age and the Italian Baroque. Visually\, the influence of Caravaggio is evident in the deepening black of his palettes\, while Holbein’s famous memento mori is recontextualized in a representation of Black southern life. The social themes of luxury as well as bourgeois life that pervade the works that he is studying parallel the artist’s formal and narrative explorations. Underlying this exploration is an intrinsically troubling or unsettling question: How to engage with the traditions of Old Master painting when the word Master is so violently charged in the history of American racism? \nThis capacity to simultaneously draw in and unsettle is exemplary of Holmes’s work. Scenes of warm\, quotidian social interactions –– a game of dice\, a gathering at a kitchen table –– also include figures of violent surveillance\, from the allusive presence of unnamed white men\, to outright confrontations with police. The theme throughout is resilience and vibrancy\, a particular vision into a culture that evolves and endures.
URL:https://artinamericaguide.com/event/jammie-holmes-what-we-talking-about/
LOCATION:Marianne Boesky Gallery – 507 West 24th\, 507 West 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/08/JHO_2_3.jpg
ORGANIZER;CN="Marianne Boesky Gallery":MAILTO:info@boeskygallery.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220623T100000
DTEND;TZID=America/Halifax:20220805T180000
DTSTAMP:20260613T164419
CREATED:20220617T195114Z
LAST-MODIFIED:20220825T154802Z
UID:94097-1655978400-1659722400@artinamericaguide.com
SUMMARY:Marianne Boesky Gallery x Goodman Gallery: Fragile Crossings
DESCRIPTION:Marianne Boesky Gallery and Goodman Gallery are pleased to announce Fragile Crossings\, a pair of jointly organized exhibitions opening this summer in New York City and London. The first iteration will open in Marianne Boesky’s New York space June 23; its counterpart will open at Goodman Gallery’s London Space July 21. Artists include Ghada Amer\, Sanford Biggers\, Allison Janae Hamilton\, and Serge Alain Nitegeka from Marianne Boesky Gallery’s program\, and works by ruby onyinyechi amanze\, Carlos Garaicoa\, Kapwani Kiwanga\, and Misheck Masamvu from Goodman Gallery’s roster. This is the two galleries’ second major collaboration following a pop-up exhibition in the Miami Design District in December 2020. \n  \nThe exhibition’s central concern is the fragility of the human condition in light of global instability\, reflecting both galleries’ interest in foregrounding artists who address critical issues of  migration\, social justice\, and environmental responsibility. In Fragile Crossings\, artists from each gallery’s program address the question of humanity’s existential fragility in a variety of mediums\, reflecting a wide range of material and conceptual approaches. \n  \nWorks on view span sculpture\, installation\, film\, and painting\, and share an engagement with themes of Black migrations and their constituent ecosystems.  Serge Alain Nitegeka’s narrative painting Identity is Fragile IV (2021) juxtaposes representational and abstract elements to embody the psychological and physical weight that results from forced migration. The theme of forced migration reappears in a transatlantic context in Sanford Biggers’s Codex series. By repurposing antique quilts –– which\, according to oral tradition\, were used as a coded signal system on the Underground Railroad –– Biggers simultaneously evokes both the original forced migration of the Atlantic crossing\, and the countervailing movements enslaved people made for their own liberation. In the newly commissioned 2022 installation A House Called Florida (on view in A Movement in Every Direction: Legacies of the Great Migration at the Mississippi Museum of Art)\, Allison Janae Hamilton deploys film stills to capture narratives and visual landscapes of southern Black communities in the context of global warming\, emphasizing the ecological consequences of migration. \n  \nIn contrast to the socially and materially constructed phenomena that ground Nitegeka’s\, Biggers’s\, and Hamilton’s work\, Misheck Masamvu investigates human existence as it relates to the natural world. His large-scale painting Pink Gorillas in Hell are Gods (2019) exemplifies the tension between abstraction and figuration\, order and chaos. Similarly\, in Kapwani Kiwanga’s Semence (2020)\, the sometimes violent collisions between natural and social worlds emerge in the form of a monumental installation of hundreds of delicate ceramic rice grains that speaks to the history of the transatlantic slave trade and the implications of colonial systems on contemporary society. ruby onyinyechi amanze’s fold water and fly on land / BIKE + SWIMMING POOLS (2022) is comprised of fragile materials layered with paper\, acrylics\, and varnishes to create weight and thickness\, building a palimpsest of elemental and character-driven narratives. Similarly\, in Sin título (Árbol) / Untitled (Tree) (2021)\, Carlos Garaicoa fuses photographs\, drawings\, and mixed media to examine architecture and urbanism as mirrors of Cuba’s social development and political realities. Ghada Amer’s ceramic sculptures depicting women engage with fragility in content as well as form. Ceramic is a deceptively sturdy material despite being considered fragile––Ancient Greeks used ceramic vessels not only for imbibing\, but for storage and transport. The ambiguity of the material\, together with her representation of female figures\, underscores Amer’s career-long questioning of preconceived notions and expectations of women and the construction of femininity. In this way\, Amer elucidates the complex and shifting meanings and perceptions of what it means to be fragile. \n  \nUltimately\, the interplays between ecological and interpersonal displacement\, between material form and historical narrative\, and the lingering tension between unity and isolation weave through each work in Fragile Crossings. Together\, the works offer an urgent and holistic look at the state of fragility––and at the possibility for resilience that it offers.
URL:https://artinamericaguide.com/event/marianne-boesky-gallery-x-goodman-gallery-fragile-crossings/
LOCATION:Marianne Boesky Gallery – 507 West 24th\, 507 West 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/06/Group_2022_MBG_Lance_Brewer_4-scaled.jpeg
ORGANIZER;CN="Marianne Boesky Gallery":MAILTO:info@boeskygallery.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220503T100000
DTEND;TZID=America/Halifax:20220611T180000
DTSTAMP:20260613T164419
CREATED:20220427T170548Z
LAST-MODIFIED:20220804T192305Z
UID:93435-1651572000-1654970400@artinamericaguide.com
SUMMARY:Celeste Rapone | Night Shade
DESCRIPTION:Marianne Boesky Gallery is pleased to present Nightshade\, Celeste Rapone’s first solo show with the gallery. For this exhibition\, the artist will debut a group of nine paintings. In her newest body of work\, Rapone continues to examine the potential of painting through the human form. Drawing inspiration from her native New Jersey\, Rapone seeks to communicate both personal and collective feelings of anxiety\, longing\, and nostalgia experienced in contemporary life. Nightshade will be the artist’s first solo exhibition in New York and is on view May 4 – June 11\, 2022\, at the gallery’s 507 West 24 Street location. \n  \nRapone’s works focus on the figure\, often centering on women protagonists whose bodies impossibly contort and twist up to the confines that Rapone creates within the painting\, or at other times capturing a tender exchange between a pair of figures. Rapone produces her works without preliminary drawings\, gradually building the compositions of her paintings through a dynamic interplay between scale\, color\, pattern\, and the shapes of the human form. \n  \nIn the settings of her paintings\, the artist populates the space with an array of allusions\, pulling from art history\, pop culture\, autobiographical sources\, and drawing influence from the stylized figuration introduced by the Chicago Imagists. Her debut New York solo show Nightshade brings Rapone back into proximity to her hometown in New Jersey. A complicated feeling of nostalgia for her suburban upbringing inspired Rapone to infuse these works with subtle references to that setting: the patterns of New Jersey Transit bus seats\, the Cutco knives that her older brother’s prom date sold when Rapone was growing up\, and the rustic color palettes of her Italian Catholic home. These nods to her upbringing\, however\, only provide the backdrop for more complex examinations of the anxieties and disconnect caused by societal expectations. For instance\, in Rapone’s painting Purist\, a figure is shown hunched over a terrazzo table\, transfixed by the act of slicing garlic with a razor blade. On the figure’s left shoulder are markings of cupping therapy\, a self-applied remedy the artist has used for her shoulder pain. To Rapone\, these indicators of precision mirror her studio practice\, which is rooted in an intensity toward the formal elements of painting. \n  \nRanging in scale\, each work within the show is unique and multifaceted in its development. At times\, Rapone has a narrative in mind from which a thematic environment evolves for her characters to navigate. In others\, the onset of a work is driven by formalist concerns\, in which the artist begins with a unique color configuration or an abstract composition of shapes that then influence the formation of a painting’s scene. The resulting forms of her figures\, whose bodies defy the rules of proportions and scale\, are both undeniably present and vulnerable within the canvases. \n  \n“I imagine these paintings as a synthesis of my everyday experience as a painter in Chicago and projected realities of women interacting within their own sets of circumstances\, in many cases informed by my nostalgia for and removal from suburban New Jersey. I became really interested in negotiating these overlays as a point of entry to this work. Posing these initial narrative questions gave me something new and unpredictable to respond to in the studio\,” said Celeste Rapone. \n  \nAmong the diverse presentations of characters and narratives in Nightshade\, Rapone probes through a multi-layered approach the roles of subject\, artist\, and the viewer. Her figures dominate the scenes of her paintings\, and yet\, in the way that their bodies are squeezed and cropped into the canvas’s frame\, they remain exposed. To this extent\, the works become self-referential allusions to Rapone’s artistic process as she navigates the technical problems found while creating her paintings. On a broader scale\, the perceived tensions of her protagonists who confront\, or at times fail to confront\, the pressures of contemporary adult life become a common thread throughout the works\, allowing for a delicate interchange of humor\, anxiety\, and introspection. \n  \nCeleste Rapone (b. 1985\, New Jersey) received her BFA from the Rhode Island School of Design in 2007 and her MFA from The School of the Art Institute of Chicago in 2013 where she is now an adjunct professor in painting and drawing. Rapone’s work has been exhibited widely across the U.S. and abroad at Josh Lilley\, London; Corbett vs. Dempsey\, Chicago; Roberts Projects\, Los Angeles; The Hyde Park Art Center\, Chicago and Georgia Museum of Art. Rapone was the 2018 recipient of a Pollock-Krasner Foundation Grant. She has been the subject of recent solo exhibitions at Josh Lilley in London and Corbett vs Dempsey in Chicago. Her work is currently included in ICA Boston’s exhibition\, A Place for Me: Figurative Painting Now on view from March 30 – September 5\, 2022. Rapone lives and works in Chicago\, IL.
URL:https://artinamericaguide.com/event/celeste-rapone-night-shade/
LOCATION:Marianne Boesky Gallery – 507 West 24th\, 507 West 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/04/CRP.19221-scaled.jpeg
ORGANIZER;CN="Marianne Boesky Gallery":MAILTO:info@boeskygallery.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210909T100000
DTEND;TZID=America/Halifax:20211023T180000
DTSTAMP:20260613T164419
CREATED:20210907T142734Z
LAST-MODIFIED:20220804T192207Z
UID:86661-1631181600-1635012000@artinamericaguide.com
SUMMARY:Ghada Amer | The Women I Know Part II
DESCRIPTION:Marianne Boesky Gallery is pleased to present The Women I Know Part II\, Ghada Amer’s inaugural solo exhibition with the gallery. The exhibition highlights new works from Amer’s most recent series of paintings\, The Women I Know. In this series\, the artist creates intimate painted and embroidered portraits of the women she knows personally to explore the dynamics of the gaze and female identity that are exchanged between artist\, subject\, and viewer. The exhibition also includes new cast sculptures\, highlighting the artist’s diverse practice that delves into varying mediums. The Women I Know Part II will be on view September 9 – October 23\, 2021\, at the gallery’s 507 West 24th Street location in New York. \nAmer’s work is inherently feminist—during her artistic studies\, she was routinely turned away from painting classes that were reserved for male students. In an interrogation of these gendered power structures\, Amer developed her own visual language distinct from the male-dominated tradition of painting by embroidering canvases with needle and thread—a practice that has been historically considered women’s work. Explicitly engaging with the vocabulary of painting\, the artist even refers to the hanging threads as her “drips.” Her works have featured a range of female subjects\, including her well-known embroidered canvases that use eroticized imagery of women sourced from pornography and popular media. When Amer began herThe Women I Know series in 2013\, it marked a departure in her practice\, now expanding her iconic artistic language to focus on the women in the artist’s personal life. Amer presented the first part of The Women I Knowat Kewenig gallery in Berlin\, Germany\, from November 21\, 2020 – January 23\, 2021. \nFor the new works in The Women I Know\, Amer began by photographing her subjects\, which are comprised of her friends\, family\, and close collaborators. Before painting and embroidering the canvas\, she draws the portrait of the subject from her photographs\, further deepening the care that goes into creating the image of the individual’s identity. The silhouettes of her subjects are partially exposed and concealed by repeating text that comprises an additional layer to the painting. Amer selects phrases or quotes focused on feminist and social issues\, including lines such as “Men are taught to apologize for their weaknesses\, women for their strengths” that weave in and out of view as the viewer scans the brightly colored and textured surfaces of the works. In the creation of portraits of women Amer is closely associated with\, the works are inherently intertwined with the notion of the female gaze\, heightened by the fact that women were once often only able to enter the field of art making through portrait painting. \n“Painting The Women I Know has been a very liberating turn in my practice. I believe this liberation stems from my work with ceramics which was a new medium for me. My lack of familiarity with its artistic language turned out to be an asset as it liberated me from the theoretical and historical debates specific to this field. I felt uninhibited and thus entirely free to experiment and create. It is this same freedom I feel with the new series of The Women I Know\, Part II (and Part I in fact). I now feel liberated from the canon of art history and from the father figures of painting. The only reference now in my work is the subject matter\, that is painting itself\,” said Ghada Amer. \nIn addition to the artist’s paintings\, new cast sculptures will be on view by Amer. Distinct from The Women I Know series\, the sculptures depict silhouettes of women from pornography magazines—subjects that have reappeared in her work over the decades. Thus\, despite their anonymity\, Amer also likens these women to her friends who make good company among the painted portraits. \nWhile Amer has worked in cast sculpture since 2010\, the exhibition marks the first time she will show bronze forms that mount on the wall. Other sculptural silhouettes will be freestanding and viewed in the round. Amer’s continued engagement with media beyond painting has presented a form of liberation in her artistic practice that was once so enchained due to her gender. \nShown together\, the works in The Women I Know Part II invite reflections on the perceptions of women in the viewer’s own lives\, and how this fundamentally intersects with the presentation of women in popular media and culture. In this expansion of Amer’s visual language\, the artist continues to examine the role of the gazer and the gazed\, centering the female experience in her ongoing questioning of the history of art. \nLastly\, in an annex of the gallery’s space at 509 West 24th Street\, Amer will present an overview of her outdoor garden installations. A documentary meditation on an important component of her artistic practice\, the presentation makes for an even deeper understanding of Amer’s persistence to claim space for women not only inside gallery walls but also beyond into the public sphere. \nIn addition to her show with Marianne Boesky Gallery\, Amer will unveil a new monograph\, Ghada Amer: Painting in Revoltwith text by Susan Thompson and published by Skira Paris. \nGhada Amer was born in Cairo\, Egypt in 1963 and moved to Nice\, France when she was eleven years old. She remained in France to further her education and completed both of her undergraduate requirements and MFA at Villa Arson École Nationale Supérieure in Nice (1989)\, during which she also studied abroad at the School of the Museum of Fine Arts in Boston\, Massachusetts in 1987. In 1991 she moved to Paris to complete a post-diploma at the Institut des Hautes Études en Arts Plastiques. Following early recognition in France\, she was invited to the United States in 1996 for a residency at the University of North Carolina\, Chapel Hill. She has since then been based in New York.
URL:https://artinamericaguide.com/event/ghada-amer-the-women-i-know-part-ii/
LOCATION:Marianne Boesky Gallery – 507 West 24th\, 507 West 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2021/09/Ghada-Amer-GHA.18561-original-scaled.jpg
ORGANIZER;CN="Marianne Boesky Gallery":MAILTO:info@boeskygallery.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210107
DTEND;VALUE=DATE:20210207
DTSTAMP:20260613T164419
CREATED:20210108T215353Z
LAST-MODIFIED:20220804T191923Z
UID:79428-1609977600-1612655999@artinamericaguide.com
SUMMARY:In Situ
DESCRIPTION:Marianne Boesky Gallery is pleased to present In Situ\, a group exhibition featuring new and recent paintings by thirteen artists: Cecily Brown\, Olivia Erlanger\, Barnaby Furnas\, Jammie Holmes\, Forrest Kirk\, YoYo Lander\, Maud Madsen\, Chidinma Nnoli\, Collins Obijiaku\, Celeste Rapone\, Lorna Robertson\, Eleanor Swordy and Michaela Yearwood-Dan. Using Charlotte Perkins Gilman’s seminal 1892 text “The Yellow Wallpaper” as a point of departure\, In Situ brings together paintings created throughout 2020 that offer reflections of life in isolation as necessitated by the current health crisis – private and still\, yet restless and resolute. \n  \nIn Situ will be shown in two parts: works by the twelve included artists will be on view January 7\, 2021 – February 6\, 2021 at the gallery’s 507 West 24th Street in New York\, and an additional selection of paintings will be highlighted at the gallery’s Aspen location from January 22\, 2021 – February 28\, 2021. \n  \nIn “The Yellow Wallpaper\,” the unnamed narrator is confined to a room in her house as part of a rest cure\, a nineteenth century medical treatment that strictly enforced a regimen of bed rest and social isolation. During her weeks in confinement\, the narrator’s thoughts are slowly monopolized by the yellow wallpaper that surrounds her. \n  \nGrounded by experiences of quarantine due to the pandemic\, many of the artists utilized their surroundings to capture extended moments of stillness. Yet the range of paintings in In Situ are more than strict representations \n  \nof the past year. While some of the work is figurative and depicts creature comforts of domestic spaces\, or figures interacting or alone\, others portray an occupant’s recurring perspective. The subjects and scenes of the works are not confined by the architecture of their interiors\, but rather expand on imagination and the passage of time\, offering meaningful depictions of isolation. \n  \nIn Gilman’s text\, the narrator exclaims: “I never saw so much expression in an inanimate thing before\, and we all know how much expression they have!” In Situ responds to this sentiment as the presented artists aptly pull inspiration from their own surroundings\, embodying the tension between the safety of physical isolation and an urgency in the present moment to act and connect.
URL:https://artinamericaguide.com/event/in-situ/
LOCATION:Marianne Boesky Gallery – 507 West 24th\, 507 West 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2021/01/Celeste-Rapone-CRP.18070-original-1-scaled.jpg
ORGANIZER;CN="Marianne Boesky Gallery":MAILTO:info@boeskygallery.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20201030
DTEND;VALUE=DATE:20201213
DTSTAMP:20260613T164419
CREATED:20201012T151818Z
LAST-MODIFIED:20220804T191843Z
UID:78159-1604016000-1607817599@artinamericaguide.com
SUMMARY:Sanford Biggers | Soft Truths
DESCRIPTION:Marianne Boesky Gallery is pleased to present Soft Truths\, artist Sanford Biggers’ second solo exhibition with the gallery. With his upcoming show\, Biggers delves into the parallels between our experiences with and understanding of Classical sculpture\, extending his career-long engagement with aesthetics\, cultural narratives\, and the body politic. The exhibition will feature a selection of new marble sculptures from the artist’s Chimeras series and quilt-based paintings and sculpture works. Soft Truths will be on view October 30 – December 12\, 2020. The exhibition will follow the opening of Biggers’ exhibition\, Codeswitch\, at the Bronx Museum of the Arts on September 9\, which includes approximately fifty of theartist’s quilt-based works. \nBiggers’ exceptionally varied oeuvre includes paintings\, drawings\, sculpture\, textiles\, films\, mixed-media installation\, music and performance. Within these diverse works\, the malleability of historical narrative serves as a central and connective creative force. In recent years\, the body has become more overt in Biggers’ work. In 2015\, he created the socially charged Laocoön (Fatal Bert) inflatable sculpture and began his much-acclaimed BAM series through which he re-sculpted African statues with bullets before casting them from wood into bronze\, memorializing the victims of police brutality against Black Americans.
URL:https://artinamericaguide.com/event/sanford-biggers-soft-truths/
LOCATION:Marianne Boesky Gallery – 507 West 24th\, 507 West 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2020/10/SB-17302-image-1-scaled.jpg
ORGANIZER;CN="Marianne Boesky Gallery":MAILTO:info@boeskygallery.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200915
DTEND;VALUE=DATE:20201018
DTSTAMP:20260613T164419
CREATED:20200930T201246Z
LAST-MODIFIED:20220804T191727Z
UID:77929-1600128000-1602979199@artinamericaguide.com
SUMMARY:Gina Beavers | World War Me
DESCRIPTION:Marianne Boesky Gallery is pleased to present World War Me\, Gina Beavers’ inaugural solo exhibition with the gallery. For this exhibition\, the artist will present a selection of both large-scale and intimate sculptural paintings\, including new works that illuminate the ways in which social media has distorted and fractured our sense of self. The exhibition’s title\, World War Me-inspired by an online meme satirizing the probing voiceover of Carrie from the series Sex and the City-encapsulates Beavers’ fascination with the juxtaposition of massive global events next to myopic self-obsession\, particularly seen with social media. \n  \nBeavers spends hours scouring Instagram\, YouTube\, blogs\, and other online sources in search of images that inspire\, compel\, repulse\, and amuse her. In recent years\, she has become particularly drawn to make-up tutorials created by both professional and amateur artists. Beavers takes stills from these tutorials and recreates them with incredible realism\, enlivening the flattened image with dynamic physicality. To create her intensely tactile works\, Beavers builds up acrylic paint so densely on the canvas that she is able to sculpt it with a knife. For larger works\, she also uses foam to add to the fullness of the forms.
URL:https://artinamericaguide.com/event/gina-beavers-world-war-me/
LOCATION:Marianne Boesky Gallery – 507 West 24th\, 507 West 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2020/09/GBE.17428-scaled.jpg
ORGANIZER;CN="Marianne Boesky Gallery":MAILTO:info@boeskygallery.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200225
DTEND;VALUE=DATE:20200419
DTSTAMP:20260613T164419
CREATED:20200220T155501Z
LAST-MODIFIED:20220804T191557Z
UID:65388-1582588800-1587254399@artinamericaguide.com
SUMMARY:Serge Alain Nitegeka
DESCRIPTION:Marianne Boesky Gallery is pleased to present Black Migrant\, Johannesburg-based artist Serge Alain Nitegeka’s fourth solo exhibition with the gallery. Throughout his career\, Nitegeka has sought to evoke the physical and emotional experiences of forced migration through abstract experimentations with color\, form\, and space. With his upcoming presentation\, which will feature new paintings\, a large-scale site-specific installation\, and a voice recording\, Nitegeka reasserts both the figural and the personal in his work. Together\, the works examine the particulars of being a black migrant as distinct within the dialogues of the African refugee. Black Migrant will be on view at the gallery’s 509 W. 24th Street location from February 25 through April 18\, 2020. An opening reception will be held on March 5\, from 6:00-8:00 PM\, to coincide with Armory Art Week.
URL:https://artinamericaguide.com/event/serge-alain-nitegeka/
LOCATION:Marianne Boesky Gallery – 507 West 24th\, 507 West 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2020/02/SAN.17352-copy.jpeg
ORGANIZER;CN="Marianne Boesky Gallery":MAILTO:info@boeskygallery.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200111
DTEND;VALUE=DATE:20200216
DTSTAMP:20260613T164419
CREATED:20191217T230511Z
LAST-MODIFIED:20220804T191504Z
UID:62729-1578700800-1581811199@artinamericaguide.com
SUMMARY:Xenia: Crossroads in Portrait Painting
DESCRIPTION:Marianne Boesky Gallery is pleased to present Xenia: Crossroads in Portrait Painting\, an exhibition that explores the resurgence of portraiture as an incisive platform through which to consider the nature and meaning of identity. Through the work of seventeen artists\, Xenia: Crossroads in Portrait Painting captures the ways in which artists are leveraging the power of the portrait to express these intricacies\, exposing the relationship between identity\, place\, and shifting social norms. The exhibition will be on view from January 11 through February 15\, 2020\, across both of Marianne Boesky Gallery’s Chelsea locations at 507 and 509 West 24th Street.
URL:https://artinamericaguide.com/event/xenia-crossroads-in-portrait-painting/
LOCATION:Marianne Boesky Gallery – 507 West 24th\, 507 West 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/12/SAT.17213.jpg
ORGANIZER;CN="Marianne Boesky Gallery":MAILTO:info@boeskygallery.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20191107
DTEND;VALUE=DATE:20191222
DTSTAMP:20260613T164419
CREATED:20191101T171824Z
LAST-MODIFIED:20220804T191404Z
UID:61163-1573084800-1576972799@artinamericaguide.com
SUMMARY:ILL (nature paintings)
DESCRIPTION:Marianne Boesky Gallery is pleased to present ILL (nature paintings)\, Donald Moffett’s seventh solo show with the gallery. The exhibition captures Moffett’s continued conceptual exploration of nature through abstract and organic forms. Over the last several years\, Moffett’s consideration and examination of the subject has expanded—fueled in part by the current political climate—to encompass its multitude of definitions\, from the phenomena of the physical world to the broader characteristics and essences of the universe at large. ILL (nature paintings) will feature approximately a dozen new paintings\, produced through a range of both digital and physical approaches. The exhibition will be on view at the gallery’s 507 W. 24th Street location\, from November 7 through December 21\, 2019. Join us on November 7 from 6-8 PM for the opening reception.
URL:https://artinamericaguide.com/event/ill-nature-paintings/
LOCATION:Marianne Boesky Gallery – 507 West 24th\, 507 West 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/11/DM.17033.jpg
ORGANIZER;CN="Marianne Boesky Gallery":MAILTO:info@boeskygallery.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190912
DTEND;VALUE=DATE:20191027
DTSTAMP:20260613T164419
CREATED:20190904T213023Z
LAST-MODIFIED:20220804T191002Z
UID:59362-1568246400-1572134399@artinamericaguide.com
SUMMARY:Hannah van Bart | Places and Beings
DESCRIPTION:On September 12\, Marianne Boesky Gallery will open its sixth solo presentation of paintings by Amsterdam-based artist Hannah van Bart. Titled Places and Beings\, the exhibition will include a selection of new and recent paintings\, including landscapes\, portraits\, and still life scenes. Together\, the featured works capture van Bart’s incredible ability to elicit poignant sensations of mood\, tone\, and atmosphere from seemingly indistinct subjects and scenarios. Over her multi-decade career\, van Bart has come to be recognized for her melding of figural and abstract modes to convey both the physical and emotional contours of a person or place. Places and Beings will be on view at the gallery’s 507 W. 24th Street location through October 26\, 2019. This exhibition will be followed with a retrospective of the artist’s work at the Centraal Museum in Utrecht in 2021.
URL:https://artinamericaguide.com/event/hannah-van-bart-places-and-beings/
LOCATION:Marianne Boesky Gallery – 507 West 24th\, 507 West 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/09/HVB.15952.jpg
ORGANIZER;CN="Marianne Boesky Gallery":MAILTO:info@boeskygallery.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190710T180000
DTEND;TZID=America/Halifax:20190710T200000
DTSTAMP:20260613T164419
CREATED:20190708T103646Z
LAST-MODIFIED:20220804T191118Z
UID:57959-1562781600-1562788800@artinamericaguide.com
SUMMARY:Painting/Sculpture Opening Reception
DESCRIPTION:Marianne Boesky Gallery is pleased to present Painting/Sculpture\, an exhibition featuring Jennifer Bartlett\, Gina Beavers\, Lynda Benglis\, Sheila Hicks\, Donald Moffett\, Howardena Pindell\, and Frank Stella. The exhibition will explore contemporary painting and its relationship to the formal and conceptual language of sculpture. Painting/Sculpture will include works realized as three-dimensional sculpture\, but understood intrinsically as paintings\, as well as two-dimensional works that create the illusion of volume and layers. Together\, the works capture ongoing questions about how we draw the lines between artistic practices. Painting/Sculpture will be on view from July 10 through August 9 across both of the gallery’s Chelsea locations at 509 and 507 W. 24th Street.
URL:https://artinamericaguide.com/event/painting-sculpture-opening-reception/
LOCATION:Marianne Boesky Gallery – 507 West 24th\, 507 West 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/07/DM.5405.jpg
ORGANIZER;CN="Marianne Boesky Gallery":MAILTO:info@boeskygallery.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190710T000000
DTEND;TZID=America/Halifax:20190809T000000
DTSTAMP:20260613T164419
CREATED:20190708T103721Z
LAST-MODIFIED:20220804T190916Z
UID:57961-1562716800-1565308800@artinamericaguide.com
SUMMARY:Painting/Sculpture
DESCRIPTION:Marianne Boesky Gallery is pleased to present Painting/Sculpture\, an exhibition featuring Jennifer Bartlett\, Gina Beavers\, Lynda Benglis\, Sheila Hicks\, Donald Moffett\, Howardena Pindell\, and Frank Stella. The exhibition will explore contemporary painting and its relationship to the formal and conceptual language of sculpture. Painting/Sculpture will include works realized as three-dimensional sculpture\, but understood intrinsically as paintings\, as well as two-dimensional works that create the illusion of volume and layers. Together\, the works capture ongoing questions about how we draw the lines between artistic practices. Painting/Sculpture will be on view from July 10 through August 9 across both of the gallery’s Chelsea locations at 509 and 507 W. 24th Street.
URL:https://artinamericaguide.com/event/painting-sculpture/
LOCATION:Marianne Boesky Gallery – 507 West 24th\, 507 West 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/07/DM.5405-1.jpg
ORGANIZER;CN="Marianne Boesky Gallery":MAILTO:info@boeskygallery.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190628T170000
DTEND;TZID=America/Halifax:20190628T200000
DTSTAMP:20260613T164419
CREATED:20190625T170342Z
LAST-MODIFIED:20220804T191041Z
UID:57687-1561741200-1561752000@artinamericaguide.com
SUMMARY:Anthony Pearson Opening Reception
DESCRIPTION:Join us to celebrate the opening of Anthony Pearson’s latest exhibition at Marianne Boesky Gallery in Aspen. The event will kick off at the gallery with a discussion between the artist\, Heidi Zuckerman\, the Nancy and Bob Magoon CEO and Director\, Aspen Art Museum\, and Alex Klein\, Dorothy and Stephen R. Weber Curator\, Institute of Contemporary Art\, Philadelphia\, who wrote the text for the newly published monograph of Anthony Pearson’s work. Following the discussion\, there will be an opening reception for Pearson’s exhibition at the gallery from 6-8 PM.
URL:https://artinamericaguide.com/event/anthony-pearson-opening-reception/
LOCATION:Marianne Boesky Gallery – 507 West 24th\, 507 West 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/06/AP.14668.jpg
ORGANIZER;CN="Marianne Boesky Gallery":MAILTO:info@boeskygallery.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190627T100000
DTEND;TZID=America/Halifax:20190720T180000
DTSTAMP:20260613T164419
CREATED:20190522T165821Z
LAST-MODIFIED:20220804T190806Z
UID:53929-1561629600-1563645600@artinamericaguide.com
SUMMARY:Anthony Pearson
DESCRIPTION:Marianne Boesky Gallery is pleased to present Los Angeles-based artist Anthony Pearson’s fifth solo exhibition with the gallery this summer\, at its location in Aspen\, Colorado. The exhibition will feature works from Pearson’s Embedments\, Etched Plasters\, and Tablets series\, each of which capture his sensitivity to the experience of light\, texture\, and color. Pearson’s work is powerful in its quietude\, revealing layers of complexity as one explores the surface\, patterning\, and material closely and from a range of perspectives and environments. Pearson’s work feels particularly at home in Aspen\, where set against the rugged landscape and open expanses\, his evocations of light and materiality are further amplified and affecting. Anthony Pearson will be on view in Aspen from June 27 through July 21\, 2019.
URL:https://artinamericaguide.com/event/anthony-pearson/
LOCATION:Marianne Boesky Gallery – 507 West 24th\, 507 West 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/05/AP.14667.jpg
ORGANIZER;CN="Marianne Boesky Gallery":MAILTO:info@boeskygallery.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190425T180000
DTEND;TZID=America/Halifax:20190425T200000
DTSTAMP:20260613T164419
CREATED:20190416T202230Z
LAST-MODIFIED:20220804T190620Z
UID:51358-1556215200-1556222400@artinamericaguide.com
SUMMARY:Frank Stella: Recent Work
DESCRIPTION:Join us to celebrate the opening of Frank Stella: Recent Work at Marianne Boesky Gallery. The exhibition will feature new works by Stella including several large-scale sculptures. Our opening reception will be held on April 25 from 6 to 8 PM. Image: Frank Stella\, Atalanta and Hippomenes\, 2017\, © 2019 Frank Stella / Artists Rights Society (ARS)\, New York
URL:https://artinamericaguide.com/event/frank-stella-recent-work-2/
LOCATION:Marianne Boesky Gallery – 507 West 24th\, 507 West 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/04/FS.13442.jpg
ORGANIZER;CN="Marianne Boesky Gallery":MAILTO:info@boeskygallery.com
END:VEVENT
END:VCALENDAR