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/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
TZID:America/Denver
BEGIN:DAYLIGHT
TZOFFSETFROM:-0700
TZOFFSETTO:-0600
TZNAME:MDT
DTSTART:20210314T090000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0600
TZOFFSETTO:-0700
TZNAME:MST
DTSTART:20211107T080000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240620
DTEND;VALUE=DATE:20240727
DTSTAMP:20260420T130027
CREATED:20240617T134158Z
LAST-MODIFIED:20240617T134158Z
UID:108930-1718841600-1722038399@artinamericaguide.com
SUMMARY:Material World
DESCRIPTION:Marianne Boesky Gallery is pleased to present Material World\, a group exhibition curated by gallery artist Gina Beavers. With Material World\, Beavers brings together 22 artists who examine the power in everyday objects—artists who have served as points of inspiration and reflection for Beavers as she works toward her next solo exhibition at Marianne Boesky Gallery\, opening in September 2024. \n  \nIf the traditional source material for art is found in the figure\, in history\, in religion\, or in the landscape\, the artists of Material World look elsewhere—to the very things that populate their daily lives. Taking as their starting point the things we might find in our homes or offices\, the things we wear on our bodies\, the things we absentmindedly toss in the trash\, these artists translate the paraphernalia of quotidian living into grand abstractions\, intricate assemblages\, and riffs on the tropes of art history. \n  \nThroughout their work\, Sarah Meyohas\, Jared Madere\, Andrew Roberts\, Josh Kline\, and Robert Rauschenberg filter the experience of physical objecthood through a lens of replication or reproduction—be it photography\, artificial intelligence\, digital algorithms\, or sculptural recreation. Sarah Meyohas (b. 1991; New York\, NY) and Jared Madere (b. 1986; New York\, NY) experiment with various technological and artificial-intelligence processes in their work—Meyohas by an algorithmically defined pastel plotter machine as an extension of the artist’s own hand\, Madere by creating large-scale digital photo mash-up. The body asserts itself as an object in the sculptures of Andrew Roberts (b. 1995; Tijuana\, Mexico) while a brick-and-resin wall installation by Josh Kline (b. 1979\, Philadelphia\, PA) and a historic screenprint by Robert Rauschenberg (b. 1925\, d. 2008) invoke critiques of capitalism\, calling attention to the sheer onslaught of imagery we experience in a digital age. \n  \nThe works of Jack Whitten\, Jonathan Sánchez Noa\, LaKela Brown\, and Allison Janae Hamilton occupy the liminal space between the art and objecthood—and mine the distance between past and present\, between the abstract and the real. With cubes of acrylic paint and an old pair of sunglasses\, Jack Whitten (b. 1939\, d. 2018) composes a nearly portrait-like image\, toying with both perception and assumption. Jonathan Sánchez Noa (b. 1994; Havana\, Cuba) and Allison Janae Hamilton (b. 1984; Lexington KY) draw on cultural histories to create new objects imbued with mythic character: Sánchez Noa weaves tobacco fibers into handmade paper compositions that hang like tapestries from the wall while Hamilton adorns the surface of an antique fencing mask with flowers carved in reclaimed wood. With a plaster cast—presented alongside its mold—LaKela Brown (b. 1982; Detroit\, MI) makes reference to both early human art forms and 90s hip-hop culture\, reflecting on modes of historicization and the distance between past and present. \n  \nGhada Amer\, Rosemarie Trockel\, Leslie Wayne\, El Anatsui\, and Sanford Biggers all engage with textile-based crafts throughout their work\, infusing seemingly simple objects and forms with loaded histories and alternative possibilities. Reimagining an ancient textile tradition associated with male tentmakers in her native Egypt\, Ghada Amer (b. 1963; Cairo\, Egypt) appliqués a text by Tunisian women’s rights activist Amina Sboui onto canvas\, mimicking the ubiquitous form of a QR code. Rosemarie Trockel (b. 1952; Schwerte\, Germany) similarly pulls at the threads of gender in her machine-knit tapestries\, recreating a work of renowned male artists in a feminine-coded medium. In contrast\, Leslie Wayne (b. 1953; Landstuhl\, Germany) hangs a traditional oil-on-canvas painting from a hook on the wall\, at once making reference to domestic textiles and the tools of an artist’s studio. Weaving aluminum liquor bottle caps and newspaper printing plates with copper wire\, El Anatsui (b. 1944; Anyako\, Ghana) repurposes refuse—and its loaded associations—into a sculptural tapestry that defies categorization. Collaging and molding found 19th century quilts—versions of which\, according to African American folklore\, acted as coded signposts on the Underground Railroad—Sanford Biggers (b. 1970; Los Angeles\, CA) positions viewers to confront the obscured histories embedded within his historic materials. \n  \nDarren Bader\, Mike Kelley\, Jessica Stockholder\, and Samara Golden deploy found objects throughout their work\, closely examining the very things that occupy our everyday lives. Building a site-specific installation out of celebrity refuse—Jane Fonda’s doily\, Shirley MacLaine’s shoes\, Mick Fleetwood’s Swiss Army knife—Darren Bader (b. 1978\, Bridgeport\, CT) juxtaposes the value of a celebrity name with the sheer ordinariness of their one-time possessions. Mike Kelley (b. 1954\, d. 2012) arranges a selection of kitschy objects—representative of an American adolescence—just so on a simple wood shelf. Jessica Stockholder (b. 1959; Seattle\, WA) builds a colorful\, sunset landscape—as reflected in the rearview mirror of a trailer truck—out of small\, household objects. Using inexpensive\, readily available materials and objects\, Samara Golden (b. 1973; Ann Arbor\, MI) builds a kitchen table—complete with a full breakfast spread—on the wall\, toying with viewers’ perception of time and space. \n  \nElizabeth Murray\, Samara Golden\, Heidi Bucher\, Claes Oldenburg\, and  Woody De Othello deploy more traditional artmaking processes to evoke nostalgia and interrogate the familiarity of domestic spaces. Elizabeth Murray (b. 1940\, d. 2007) reinterprets the forms of teacups in her signature improvisational style. With latex and textiles\, Heidi Bucher (b. 1926\, d. 1993) creates a skin of an exterior door\, interrogating notions of privacy and loneliness. With a combination of plaster\, glass\, ceramic\, aluminum\, paper\, and plastic\, Claes Oldenburg (b. 1929\, d. 2022) presents an unassuming ice cream sundae. Woody De Othello (b. 1991\, Miami\, Florida) renders household objects in intricately formed ceramic\, allowing them to slump and melt as if under the weight of their own gravity. \n  \nThe artists of Material World deploy their quotidian objects of choice to various ends—to invoke a certain nostalgia or comforting familiarity\, to examine a culture of overconsumption or anxiety about the climate\, to investigate elements of personal or political identities\, or simply because they need to use objects at their disposal. Nevertheless\, these artists—who span generations\, geographies\, movements and mediums—are firmly planted in the tangibility of their material world\, using the objects that surround them as a starting point to think about history\, memory\, and identity. \n  \nABOUT GINA BEAVERS \nMining the ubiquitous imagery of Instagram\, TikTok\, and YouTube\, Gina Beavers (b. 1974; Athens\, Greece) pushes paint to the height of its sculptural potential—breaking the fourth wall of the internet and pushing her forms through the screen and out into the physical world. Color Story—forthcoming at Marianne Boesky Gallery—will feature a new suite of paintings by Beavers. The artist’s work was the subject of a solo exhibition—titled The Life I Deserve—at MoMA PS1 in 2019. Beavers’s work has also been included in group presentations at Lehman Art Gallery\, the Barns Art Center\, Kentucky Museum of Contemporary Art\, Louisville; Nassau County Museum of Art\, New York; Flag Art Foundation\, New York; William Benton Museum of Art\, Connecticut; and Abrons Art Center\, New York. Exhibitions of her work have been reviewed in the New York Times\, the New Yorker\, Frieze\, Artforum\, Art in America among others. Her work is included in the permanent collections of the Whitney Museum\, the ICA Miami and the Tel Aviv Museum of Art. Beavers earned an MFA in Painting and Drawing from the School of the Art Institute of Chicago\, an MS in Education from Brooklyn College\, and a BA in Studio Art and Anthropology from the University of Virginia. She served as an Adjunct Professor at Columbia University from 2019–2020. Beavers lives and works in Orange\, New Jersey.
URL:https://artinamericaguide.com/event/material-world/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/06/1-Material-World_WebOverview-CoverImage-scaled.jpg
ORGANIZER;CN="Marianne Boesky Gallery":MAILTO:info@boeskygallery.com
GEO:40.7486417;-74.0041334
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Marianne Boesky Gallery 601 East Hyman Ave 2nd Floor Aspen CO 81611 United States;X-APPLE-RADIUS=500;X-TITLE=601 East Hyman Ave\, 2nd Floor:geo:-74.0041334,40.7486417
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240502T100000
DTEND;TZID=America/New_York:20240608T180000
DTSTAMP:20260420T130027
CREATED:20240529T152347Z
LAST-MODIFIED:20240529T152347Z
UID:108617-1714644000-1717869600@artinamericaguide.com
SUMMARY:The Haas Brothers | Inner Visions
DESCRIPTION:Marianne Boesky Gallery is pleased to present Inner Visions\, an exhibition of new work by the Los Angeles-based artist duo the Haas Brothers (b. 1984; Austin\, TX). Featuring all-new sculptures and paintings\, Inner Visions—the Haas Brothers’ third solo exhibition with Marianne Boesky Gallery—captures the precise physics\, disciplined methodology\, and subtle spirituality underpinning their ongoing material experimentations. Inner Visions coincides with Haas Brothers: Moonlight\, on view at the Nasher Sculpture Center\, Dallas\, TX\, May 11 – August 25\, 2024. \nThroughout their practice\, the Haas Brothers—twins Nikolai and Simon—investigate the slippery divide between art and design with humor\, whimsy\, and inventive originality. While they are best known for their riotously colorful biomorphic forms\, genitalia-adorned furniture\, and pun-infused titles\, an intellectual\, conceptual\, formal\, and technical rigor grounds their practice. Marrying their respective personalities and strengths—Simon’s penchant for analysis and systemization and Niki’s playfulness\, humor\, and creativity—the duo’s practice integrates a studied\, systematic approach to materials and processes with a commitment to dismantling rigid social constraints\, guiding them toward an emotional and spiritual resonance within their work. \nWith Inner Visions\, the Haas Brothers debut a series of paintings—a first for their practice—alongside new bronze sculptures\, both of which represent an evolution of the accretion technique they began developing more than a decade ago. Inspired by the layered accumulation process found throughout the natural world—in coral\, in tree fungus\, in cave formations—the artists aspired to build something of a similar texture. In the first iteration of the Accretion process\, the artists brushed layers of wet clay atop dried clay—their ceramic vessels\, over time\, amassing mottled\, organically textured surfaces. “Accreting layer by layer we guide the growth of tiny\, fragile structures until each original speck of texture has become a porcelain petal\,” the Haas Brothers write. “The resulting texture is a record of time and growth\, it’s fur-and-fungus-like fingers breathing life into the vessel’s form.” \nWhile the Accretions began as small ceramic objects\, the process lends itself to the kinds of labor-intensive\, cross-disciplinary material innovations for which the Haas Brothers are renowned. Over the past ten years\, the pair translated the Accretions first to bronze and most recently into painting. To create accreted works in bronze\, the artists developed an innovative process loosely based on ceramic coil building\, using wax to build up the richly textured surfaces. Translated into bronze\, these bulbous forms—both domestic and monumental in scale—are finished with a chemical patina that\, over time\, produce natural\, unique variations in color and texture on the accreted surface. \nThe new Accretion Paintings begin as a predetermined set of rules—draw this shape\, make that line—that the artists repeat using squeeze bottles of acrylic paint\, building up the surfaces over time to create richly textured\, three-dimensional surfaces. The Haas Brothers paint the canvases by hand\, following the same pattern again and again; their forms taking on the imperfections inherent to a human process\, as in the way a story\, told over and over\, takes on new details and meanings. The resulting paintings bear intriguing—yet indecipherable—patterns\, the desire to make sense of them drawing viewers in. Both time and labor-intensive\, the Accretions—in all their material forms—embody the Haas Brothers’ almost obsessive investment in process\, a meditative celebration of human artistic creation as defined systems and the laws of physics yield to unexpected beauty. \nThe exhibition takes its title from Stevie Wonder’s 1973 album\, Innervisions\, which Nikolai and Simon listened to frequently as children. Wonder’s groovy melodies\, crooning vocals\, and psychedelic reminiscences set the tone for the exhibition—yet\, these elements of Wonder’s music also belie his technical virtuosity and prodigious musicality. The same can be said of the Haas Brothers’ work—their humorous spirit and trippy aesthetics at times overshadowing the scientific rigor and spiritual depth of their work. With Inner Visions\, the Haas Brothers bring the systematic underpinnings of their practice to the fore\, reaching for a deep meditative\, metaphysical spirit that lives within their practice. \nABOUT THE HAAS BROTHERS \nThe Haas Brothers—twins Nikolai and Simon—investigate the slippery divide between art and design with humor\, whimsy\, and inventive originality. The duo have shown their work widely in the United States and abroad. Exhibitions of their work are forthcoming at the Nasher Sculpture Center\, Dallas\, TX and the Cranbrook Art Museum\, Bloomfield Hills\, MI. Their work has been the subject of solo exhibitions at the Katonah Museum of Art\, Katonah\, NY; the Bass Museum of Art\, Miami FL; the Savannah College of Art and Design Museum of Art\, Savannah\, GA\, and featured in group exhibitions at the San Jose Museum of Art\, San Jose\, CA; Anderson Ranch Arts Center\, Snowmass Village\, CO; the Shelburne Museum\, Shelburne\, VT; Sculpture Milwaukee\, WI; the Boca Raton Museum of Art\, FL; the KMAC Museum\, Louisville\, KY. In 2016\, they were included in the Cooper Hewitt Design Triennial at the Cooper Hewitt\, Smithsonian Design Museum\, New York\, NY\, and in 2019\, they were recipients of the YoungArts Foundation Arison Award. The Haas Brothers’ work is in the permanent collections of the Museum of Art\, Rhode Island School of Design\, Providence\, RI; the Cooper Hewitt\, Smithsonian Design Museum\, New York\, NY; the Metropolitan Museum of Art\, New York\, NY. The Haas Brothers live and work in Los Angeles\, CA.
URL:https://artinamericaguide.com/event/the-haas-brothers-inner-visions/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/05/HBR_2024_MBG_Lance_Brewer_1-4-scaled.jpg
ORGANIZER;CN="Marianne Boesky Gallery":MAILTO:info@boeskygallery.com
GEO:40.7486417;-74.0041334
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Marianne Boesky Gallery 601 East Hyman Ave 2nd Floor Aspen CO 81611 United States;X-APPLE-RADIUS=500;X-TITLE=601 East Hyman Ave\, 2nd Floor:geo:-74.0041334,40.7486417
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230516T180000
DTEND;TZID=America/Halifax:20230630T180000
DTSTAMP:20260420T130027
CREATED:20230512T200743Z
LAST-MODIFIED:20230512T200743Z
UID:103461-1684260000-1688148000@artinamericaguide.com
SUMMARY:Sarah Meyohas
DESCRIPTION:Marianne Boesky Gallery is pleased to present the first solo exhibition of New York-based conceptual artist Sarah Meyohas (b. 1991\, New York\, NY). Experimenting with artificial intelligence and complex uses of holographic and photographic technology\, Meyohas expands upon her long-standing engagement with optics and perception and reveals a new fascination with anatomy—from the female form to the human eye. \nThroughout her practice\, Meyohas considers the production of value\, the nature of exchange\, and the romantic resonance of the sublime while seeking to reveal the systems—both innate and manufactured—that govern contemporary society. Pairing a studied consideration of the unrealized potential of various technologies with a deft handling of analog artistic techniques\, Meyohas produces work that is as conceptually rich as it is visually arresting. Investigating the intricacies of a broad range of media\, including photography\, film\, holography\, artificial intelligence\, and the blockchain\, Meyohas unearths potential connections among nature\, culture\, technology\, and humanity. \nMeyohas debuts two new series—the Méduses and the Diffractions—alongside new works from her ongoing Interferences series in this exhibition. Enigmatic and mesmerizing\, the sculptural Méduses use Midjourney—a generative AI program—to marry the form of a jellyfish with that of a human eye. Meyohas places the generated images of jellyfish eyes within a glass dome\, illuminates the images from within\, and finishes the work with a custom lens\, to produce a glowing\, ethereal effect. Visually intriguing\, the Méduses engage with the intricacies of technology\, symbolism\, and myth. Meyohas sees a metaphorical link between the nervous system of jellyfish and artificial intelligence\, both ancient and decentralized. The French word méduse\, which literally translates as “jellyfish\,” also references the myth of Medusa—the ancient Greek monster whose gaze held the power to petrify. The semantic leaps Meyohas makes in these works echo the ways in which artificial intelligence systems produce their own surrealism. Drawing on the concept of the “evil eye\,” Meyohas here meditates on the power of both the gaze and the image\, harnessing Medusa’s gaze and Athena’s shield to evoke a sense of both wonder and trepidation. Technologically sophisticated and visually compelling\, the Méduses are nonetheless grounded in sensory experience\, utilizing the natural world to underscore an embodied experience of the artwork. \nBuilding on her ongoing experimentation with glass\, technology\, and the intersections therein\, Meyohas also debuts a work from her new Diffractions series\, a suspended sculptural form comprising multiple glass panel diffraction gratings. Created by etching an image into glass at a rate of three thousand lines per millimeter—these opalescent objects create a kaleidoscopic array of colors when viewed from different angles. Much like holograms\, diffraction gratings generate precise structural color—color produced by the interference of light waves with the microscopic structures etched into the glass. The snaking\, sculptural form\, combining overlapped and repeated images of the female form\, evokes the organic nature of the body represented within. Eliciting a sense of movement and transformation reminiscent of early experimentation with movement in photography\, Diffraction #1 reflects the continued influence of technological innovation on contemporary artistic expression—an ever-present theme in Meyohas’s work. \nAlongside her novel experiments with AI and diffraction gratings\, the exhibition features new works from Meyohas’s ongoing Interferences series\, including a monumental\, multipanel hologram. Here\, Meyohas layers the magnified imagery of plant matter of the early Interferences with images of the nude female form\, laying bare the connections between plant matter and bodies as coexisting living organisms. At fourteen feet wide and comprising more than thirty trapezoidal panels\, the new hologram\, Interference #18\, is perhaps her most explicit engagement yet with the complex dynamics of human life in an increasingly technological society. Fractured and flickering\, this abstracted\, sensorial experience of the body serves as a reminder that the natural world is its own form of technology. \nThroughout her singular practice\, Meyohas acts as artist\, inventor\, economist\, and technologist. Constantly pushing technologies and processes beyond their understood limits to experiment with the yet-unrealized visual and sensory possibilities that lie within\, her artistic experiments are often without precedent—the practical applications for the technical processes she tends to work in often only exist within the realms of the scientific or the economic. Meyohas’s work\, then\, is a perpetual state of returning these processes to nature\, of unearthing the inherent connections between the organic and the technological.
URL:https://artinamericaguide.com/event/sarah-meyohas/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/05/SME-20057-image.jpg
ORGANIZER;CN="Marianne Boesky Gallery":MAILTO:info@boeskygallery.com
GEO:40.7486417;-74.0041334
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Marianne Boesky Gallery 601 East Hyman Ave 2nd Floor Aspen CO 81611 United States;X-APPLE-RADIUS=500;X-TITLE=601 East Hyman Ave\, 2nd Floor:geo:-74.0041334,40.7486417
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230408T140000
DTEND;TZID=America/Halifax:20230408T150000
DTSTAMP:20260420T130027
CREATED:20230502T182750Z
LAST-MODIFIED:20230502T182750Z
UID:103292-1680962400-1680966000@artinamericaguide.com
SUMMARY:In Conversation: Michaela Yearwood-Dan and Folasade Ologundudu
DESCRIPTION:SATURDAY\, APRIL 8 | 2-3 PM\nMARIANNE BOSKY GALLERY\n507 W 24TH STREET
URL:https://artinamericaguide.com/event/in-conversation-michaela-yearwood-dan-and-folasade-ologundudu/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Event
ORGANIZER;CN="Marianne Boesky Gallery":MAILTO:info@boeskygallery.com
GEO:40.7486417;-74.0041334
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Marianne Boesky Gallery 601 East Hyman Ave 2nd Floor Aspen CO 81611 United States;X-APPLE-RADIUS=500;X-TITLE=601 East Hyman Ave\, 2nd Floor:geo:-74.0041334,40.7486417
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230406T180000
DTEND;TZID=America/Halifax:20230520T180000
DTSTAMP:20260420T130027
CREATED:20230323T210937Z
LAST-MODIFIED:20230511T150345Z
UID:102661-1680804000-1684605600@artinamericaguide.com
SUMMARY:Michaela Yearwood-Dan: Some Future Time Will Think Of Us
DESCRIPTION:Marianne Boesky Gallery presents Michaela Yearwood-Dan: Some Future Time Will Think of Us\, the London-based artist’s second solo exhibition with the gallery. The new paintings\, ceramics\, works on paper\, and site-specific mural and sound installation embody Yearwood-Dan’s ongoing investigation of contemporary culture and millennial political concerns\, as well as her desire to build spaces of queer community\, abundance\, and joy. \n  \nYearwood-Dan (b. 1994; London\, UK) has developed a singular visual language that draws on a diverse range of influences\, including Blackness\, queerness\, femininity\, healing rituals\, and carnival culture. Moving freely between painting\, drawing\, and ceramics\, Yearwood-Dan embeds botanical motifs and diaristic meditations within brushy\, swirling forms and heavy drips of paint. From the monumental scale of her paintings to the more intimate scale of her ceramics and works on paper\, Yearwood-Dan’s practice frequently reflects an inviting domesticity. Resisting any singular definition of identity\, the artist explores the possibilities of creating spaces—physical\, pastoral\, metaphorical—that allow for unlimited and unbounded ways of being. \n  \nSome Future Time Will Think of Us features new paintings—including a monumental\, multipanel painting\, the artist’s largest to date—alongside works on paper and ceramics in the gallery’s 507 W 24th Street space. In the gallery’s adjacent space at 509 W 24th Street\, Yearwood-Dan will produce an immersive mural and \naccompanying sound installation. Lush and brightly hued\, this work is at once personal and political\, exemplifying Yearwood-Dan’s distinctive approach to engaging materials and colors for their symbolic associations. The handbuilt ceramic vessels are an unmistakable nod to women’s work and domesticity—as women have been the primary producers of ceramic goods throughout history. The pale pinks\, brilliant oranges\, deep violets\, and rich blues employed throughout her work subtly echo colors of the lesbian and bisexual pride flags. Ceramic petals collaged into her paintings make reference to queer history—pansy petals reclaim a common slur for gay men\, while green carnations recall the lapel pins popularized by Oscar Wilde and worn to signal queerness in England and the United States in the 19th century. \n  \nLanguage intertwines with botanical motifs throughout Yearwood-Dan’s work: abstract habitats teem with painted plant life while live houseplants grow out of wall-mounted ceramics. Within the paintings\, she inscribes lines of text—pulled from song lyrics\, poetry\, or her own diaristic writings. These meditations\, appearing at various scales and degrees of legibility\, are at once insightful and funny\, confident\, and questioning. Her words beckon the viewer into a vivid\, welcoming world of paradox\, play\, and contemplation formed within an atmosphere of swirling forms and brilliant hues. \n  \nThe exhibition takes its title from a poem by Sappho; titled “You may forget but\,” the fragment is a brief\, optimistic stanza: \n  \nYou may forget but \nlet me tell you \nthis: someone in \nsome future time \nwill think of us \n  \nYearwood-Dan’s work has been shown at the Contemporary Arts Center\, Cincinnati\, OH; Scottsdale Museum of Contemporary Art\, AZ; the Green Family Art Foundation\, Dallas\, TX; Palazzo Monti\, Brescia\, Italy; and the Museum of Contemporary African Art\, Marrakesh\, Morocco\, among others. Her work is included in the permanent collections of the Hirshhorn Museum and Sculpture Garden\, Washington D.C.; Institute of Contemporary Art Miami\, FL; the Crocker Art Museum\, Sacramento\, CA; the Jorge M. Perez Collection\, Miami\, FL; and the Columbus Museum of Art and the Pizzuti Collection\, Columbus\, OH. In 2022\, she produced her first public mural installation for Queercircle\, London\, UK. She has participated in a range of fellowships and residencies\, including the Palazzo Monti Residency\, Brescia\, Italy\, and Bloomberg New Contemporaries in Partnership with Sarabande: The Lee Alexander McQueen Foundation\, London\, UK. The artist received her B.A. from the University of Brighton in 2016. Yearwood-Dan lives and works in London.
URL:https://artinamericaguide.com/event/michaela-yearwood-dan-some-future-time-will-think-of-us/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/03/Michaela-Yearwood-Dan-MYD.20073-original-2-scaled.jpg
ORGANIZER;CN="Marianne Boesky Gallery":MAILTO:info@boeskygallery.com
GEO:40.7486417;-74.0041334
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Marianne Boesky Gallery 601 East Hyman Ave 2nd Floor Aspen CO 81611 United States;X-APPLE-RADIUS=500;X-TITLE=601 East Hyman Ave\, 2nd Floor:geo:-74.0041334,40.7486417
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230302T170000
DTEND;TZID=America/Halifax:20230401T180000
DTSTAMP:20260420T130027
CREATED:20230215T174600Z
LAST-MODIFIED:20230215T174600Z
UID:101849-1677776400-1680372000@artinamericaguide.com
SUMMARY:Anthony Pearson
DESCRIPTION:Marianne Boesky Gallery is pleased to present an exhibition of new work by Anthony Pearson\, the Los Angeles-based artist’s sixth solo presentation with the gallery. The exhibition\, featuring work from Pearson’s Embedments and Casements series\, embodies a new chapter in his career-spanning investigation of form and material. \nRenowned for his inventive processes and sensitive approach to materials\, Pearson (b. 1969; Los Angeles\, CA)  has built a body of work that exudes an intimate\, poetic certitude. Through ongoing experimentation with the formal and technical limits of his chosen materials\, he has developed a singular visual vocabulary rooted in abstraction that interrogates the balances of positive and negative\, light and dark\, control and chance. Working seamlessly across an ambitious range of media that includes photography\, drawing\, installation\, and sculpture\, Pearson elevates the intrinsic qualities of his materials\, yielding an understated and unexpectedly sensitive oeuvre. \nBegun in 2021\, the Casements are a continuation of Pearson’s investigation into the formal\, material\, and aesthetic potential of Hydrocal\, an industrial gypsum cement. To produce these works\, he pours pigmented Hydrocal directly into loosely constructed fabric molds\, allowing the liquid cement mixture to spread within the cloth as it hardens. Once cured\, Pearson peels the fabric away from the surface to reveal interlocking abstract forms and\, in some instances\, finishes them with Keim mineral paint\, which binds mechanically to Hydrocal\, staining the works in deep\, rich hues. The Casements record the process of their creation-the moments Hydrocal meets cloth. And while the cement\, by its nature\, is perpetually hardening\, the works nevertheless retain the softness of the textiles in which they are cured-the pattern of the fabric’s weave and the loose fibers of the cotton or linen remain visible in the cement surface. The Casements\, cement fragments articulated with an unexpected softness and sensuality\, revel in their inherent dualities: soft and hard\, chance and control\, movement and stillness. \nThe Embedments\, another recent iteration of the artist’s work in Hydrocal\, contain the cement forms within the confines of the frame. Pearson creates a cloth mold inside a frame and pours pigmented concrete in from the reverse. Once cured\, he removes the fabric to reveal compositions formed\, in part\, by chance. Contained within the frame\, the Embedments take on the appearance of abstract paintings\, the softness of their gentle\, organic forms countering the hard physicality of the material itself. Embedments and Casements build upon Pearson’s earlier bodies of work in Hydrocal\, a material he began working with as an intermediary in 2007. With the Casements\, in contrast to the earlier framed Hydrocal works\, Pearson removes the forms of his Embedments from the constraints of the frame\, the abstracted forms thrust off the wall and into space. \nBorn and raised in Los Angeles\, Pearson earned a BFA from California College of the Arts and an MFA from the University of California\, Los Angeles-and his distinctly West Coast practice sits comfortably within the legacy of California modernism. Throughout the course of his career\, Pearson has moved fluidly between mediums-from the abstract photography of his early practice to the sculptural work in which he is currently engaged. Yet\, for the artist\, these practices are inextricably linked: the concerns at the heart of his practice-his attention to materiality\, to form\, to the interplay of shadow and light\, of positive and negative space-remain the same across media. For Pearson\, curator Alex Klein writes\, the topography of Southern California “was a site of endless childhood discovery\, and its earth tones and Mediterranean atmosphere would come to shape an aesthetic sensibility attuned to the dynamic subtleties of the Southern California landscape.” \nThe exhibition will be on view March 2 – April 1 at Marianne Boesky Gallery. Keefe Butler\, in collaboration with the artist\, will design the lighting for the exhibition to highlight the subtle complexities at play in Pearson’s newest body of work.
URL:https://artinamericaguide.com/event/anthony-pearson-2/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/02/AP.20012_side_1-scaled.jpeg
ORGANIZER;CN="Marianne Boesky Gallery":MAILTO:info@boeskygallery.com
GEO:40.7486417;-74.0041334
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Marianne Boesky Gallery 601 East Hyman Ave 2nd Floor Aspen CO 81611 United States;X-APPLE-RADIUS=500;X-TITLE=601 East Hyman Ave\, 2nd Floor:geo:-74.0041334,40.7486417
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230121T180000
DTEND;TZID=America/Halifax:20230218T180000
DTSTAMP:20260420T130027
CREATED:20230119T172306Z
LAST-MODIFIED:20230119T172306Z
UID:101454-1674324000-1676743200@artinamericaguide.com
SUMMARY:Jennifer Bartlett: Works on Paper\, 1970–1973
DESCRIPTION:Marianne Boesky Gallery is pleased to present Jennifer Bartlett: Works on Paper\, 1970-1973. Featuring never-before-exhibited Bartlett drawings\, the exhibition offers a window into the artist’s early practice\, as she developed and rehearsed the forms and ideas that she returned to throughout her career. Jennifer Bartlett: Works on Paper is the first exhibition to exclusively feature the late artist’s drawings from this foundational period.
URL:https://artinamericaguide.com/event/jennifer-bartlett-works-on-paper-1970-1973/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/01/MicrosoftTeams-image.jpg
ORGANIZER;CN="Marianne Boesky Gallery":MAILTO:info@boeskygallery.com
GEO:40.7486417;-74.0041334
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Marianne Boesky Gallery 601 East Hyman Ave 2nd Floor Aspen CO 81611 United States;X-APPLE-RADIUS=500;X-TITLE=601 East Hyman Ave\, 2nd Floor:geo:-74.0041334,40.7486417
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20210624T100000
DTEND;TZID=America/Denver:20210725T180000
DTSTAMP:20260420T130027
CREATED:20210625T213252Z
LAST-MODIFIED:20220804T192117Z
UID:82145-1624528800-1627236000@artinamericaguide.com
SUMMARY:Danielle Mckinney | Midnight Oil
DESCRIPTION: Marianne Boesky Gallery is pleased to present Midnight Oil\, an exhibition of new paintings by Danielle Mckinney shown on the second floor of the gallery’s Aspen location from June 24 – July 25\, 2021. The works on view capture profoundly contemplative scenes with engaging and expressive energy\, highlighting the artist’s intuitive observation of human life and feeling. Midnight Oil is the artist’s first exhibition with Marianne Boesky Gallery.  \nMckinney’s paintings present intimate portraits of a lone protagonist\, primarily female\, lost in moments of deep reflection and respite within lushly colored interior spaces. In these scenes\, the artist pays particular attention to the gaze of her subject. At times\, the figure captures the viewer’s eye\, but most often the subject focuses on a space only visible to them\, engrossed in their own solitude and rituals. The nuanced details of the paintings – a trail of smoke\, the glisten of a necklace – invite further observation to reveal hidden narratives\, exploring themes of spirituality and the self with cathartic effect.  \nIn her works\, Mckinney skillfully delves into the formal elements of painting and image-making\, apparent in the gestures and careful cropping of her subjects\, attention to light and space\, and the subtle symbolic references found in her distinct compositions. This imagery is made all the more arresting by the methods Mckinney employs from her experiences as a photographer in the darkroom\, building up her compositions from a background of black paint to intensify the depth and vibrance of the scenes. Her paintings evoke a sense of timelessness\, recalling art historical references and an imbedded canon of portraiture. Mckinney’s intuitive and minimal brushstrokes create vignettes that are self-reflective\, pulling from the artist’s own experiences\, and yet strikingly familiar in their human moments of rest and action.  \nDanielle Mckinney (b. 1981) creates narrative paintings that often focus on the solitary female protagonist. In these intimate portraits\, Mckinney captures the figure immersed in various leisurely pursuits and moments of deep reflection. Engaging with themes of spirituality and self\, her paintings uncover hidden narratives and conjure dreamlike spaces\, often within the interior domestic sphere. With a background in photography\, Mckinney paints with an acute awareness of the female gaze\, employing deeply colorful hues and nuanced details with cinematic effect. Mckinney received her BFA from Atlanta College of Arts and holds an MFA in Photography from Parsons School of design.  Her work has most recently been presented in exhibitions at Fortnight Institute\, New York; Half Gallery\, New York and FLAG Art Foundation\, New York. The artist lives and works in Jersey City\, NJ.
URL:https://artinamericaguide.com/event/danielle-mckinney-midnight-oil/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2021/06/DMC_2021_Boesky_West_Ian_Edquist_05-scaled.jpg
ORGANIZER;CN="Marianne Boesky Gallery":MAILTO:info@boeskygallery.com
GEO:40.7486417;-74.0041334
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Marianne Boesky Gallery 601 East Hyman Ave 2nd Floor Aspen CO 81611 United States;X-APPLE-RADIUS=500;X-TITLE=601 East Hyman Ave\, 2nd Floor:geo:-74.0041334,40.7486417
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210617T100000
DTEND;TZID=America/Halifax:20210806T180000
DTSTAMP:20260420T130027
CREATED:20210625T213320Z
LAST-MODIFIED:20220804T192052Z
UID:82141-1623924000-1628272800@artinamericaguide.com
SUMMARY:A Thought Sublime
DESCRIPTION:Marianne Boesky Gallery is pleased to present A Thought Sublime\, a group exhibition featuring works by Pier Paolo Calzolari\, Martyn Cross\, Molly Greene\, Jay Heikes\, Sheree Hovsepian\, Wanda Koop\, William J. O’Brien\, and Thiago Rocha Pitta. Shown together\, the works on view present a range of perspectives on one’s position in the cosmos\, offering meditations on recent paradigm shifts within our shared world. A Thought Sublime will be on view June 17 – August 6\, 2021 at the gallery’s 507 West 24th Street location in New York. \nThe title of the exhibition references a poem published in 1848 and sonnet of the same title\, “I Am”\, both written by English poet John Clare. The poems\, both melancholic in their descriptions of loneliness and alienation\, also reflect the complex experiences of existence through vivid imaginings of the author’s desired escape by way of nature and the heavens. A Thought Sublime is drawn from a line in the sonnet “I Am” that reads: \n  \n“I was a being created in the race \nOf men disdaining bounds of place and time: \nA spirit that could travel o’er the space \nOf earth and heaven — like a thought sublime” \n  \nThe works on view reflect on these sentiments\, offering deeply contemplative and wistful introspections. At times\, the artists rely on modes of alchemy and the transcendence of natural materials. Jay Heikes presents a painting from his Mother Sky series\, wherein the artist depicts cloudy skies in vibrant and extraordinary colors. Before screen printing clouds and applying paint onto the surface\, Heikes stains the canvas using a combination of vinegar\, salt\, and powdered pigment. As they react\, these substances generate unpredictable hues to form the artist’s tempestuous vistas. Similarly\, Pier Paolo Calzolari captures ephemeral states with his use of commonplace and organic materials\, such as salt\, lead\, fabric\, and feathers\, as a means to explore states of matter\, transience\, light and beauty. \nAmong the works on view are themes of connectedness between the body\, the mind\, the earth and the universe. Sheree Hovsepian\, acclaimed for her intimately constructed photographs and collages\, presents recent assemblage works. Here\, the artist layers photographs of organic lines and shapes\, including imagery of the body\, with ceramic fragments to navigate a heightened consciousness of one’s own subjectivity. Molly Greene likewise confronts the bodily\, the natural\, and the mechanical in her paintings. Greene creates surrealistic\, mirrored imagery of flora and fauna that blur the boundary between natural and unnatural\, questioning our systems of identification. \nOtherworldly and rich imagined environments are notable throughout the exhibition. Thiago Rocha Pitta\, known for his temporal and sensitive body of work that engages with the natural world\, presents a series of new watercolor works that portray subtle transformations in abstract scenes of the earth\, sea\, sky\, and beyond. Paintings on view by Martyn Cross similarly evoke timeless and folkloric scenes of nature\, displaying the undulating waters and meditative currents of unfamiliar lands. Wanda Koop\, who deftly explores the intersections between urbanization and the environment\, presents paintings of surrealist landscapes that alternate between the real and the imagined\, compelling closer examination of Koop’s familiar yet alien worlds. Central to the exhibition is a new ceramic work by William J. O’Brien\, whose work employs rich material experimentation. Titled earth\, water\, fire\, wind & space\, pt. 1\, the work is an adaptable installation that serves as an offering to Mother Nature. The installation examines the strengths of multiplicity\, of connection\, community\, and strength in numbers\, and the power of the space in-between\, offering the ability to dream again.
URL:https://artinamericaguide.com/event/a-thought-sublime/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2021/06/Group_2021_MBG_Lance_Brewer_1-scaled.jpeg
ORGANIZER;CN="Marianne Boesky Gallery":MAILTO:info@boeskygallery.com
GEO:40.7486417;-74.0041334
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Marianne Boesky Gallery 601 East Hyman Ave 2nd Floor Aspen CO 81611 United States;X-APPLE-RADIUS=500;X-TITLE=601 East Hyman Ave\, 2nd Floor:geo:-74.0041334,40.7486417
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20210610T100000
DTEND;TZID=America/Denver:20210610T180000
DTSTAMP:20260420T130027
CREATED:20210625T213338Z
LAST-MODIFIED:20220804T192025Z
UID:82143-1623319200-1623348000@artinamericaguide.com
SUMMARY:Simphiwe Mbunyuza | ISIBAYA
DESCRIPTION:Marianne Boesky Gallery is pleased to present an exhibition of new ceramic works by South African\, Oklahoma-based artist Simphiwe Mbunyuza\, ISIBAYA. The exhibition will be on view on the first floor of the gallery’s Aspen location from June 10 – July 25\, 2021. The title of the show\, ISIBAYA\, denotes in Xhosa an enclosure for cattle and other domestic animals in the villages of native peoples in South Africa. In this exhibition\, Mbunyuza reflects on the importance of heritage and social bonds\, as this enclosed space within a village is used in rituals as a church to connect with the people’s ancestors. In addition to his exhibition at the gallery\, Mbunyuza will be a visiting artist at Anderson Ranch Arts Center from May 31 – June 12\, 2021. The program is an opportunity that affords artists the time and space to complete projects within their area of expertise and to explore new work. \nSimphiwe Mbunyuza’s sculpture explores relationships and interactions within African cultural symbolism and cultural day to day objects used by African groups\, particularly Xhosa people. These objects are the subject of functional and non-functional ceramic and sculptural pots. The drama carried by the pots entails and details the African culture of Bantu speaking people\, in relation to other African cultural groups. Mbunyuza grew up in South Africa\, Eastern Cape Province\, Butterworth in the village called Mambendeni\, an area surrounded by various villages of Xhosa speaking people. Today\, these villages are no longer exclusively occupied by Xhosa speaking people but by a number of different African cultural groups. \nMbunyuza’s masterful practice of richly textured ceramics brings together a diverse array of materials\, including stoneware\, leather\, fabric\, and steel. In the creation of his ceramics\, the artist pays particular attention to the surfaces of his sculptural works\, incorporating bold areas of color and graphic two- and three-dimensional patterns and designs on his distinctive forms. Working with clay as his primary medium\, Mbunyuza adapts practices and techniques that are of personal significance to the artist’s background\, such as the use of a coiling technique in his ceramics that was employed by the Xhosa people for centuries to make pots. In ISIBAYA\, Mbunyuza’s work portrays the values and importance of cultural elements from these groups\, drawing from both present and historical influences as a method of sharing the artist’s heritage through a unique\, contemporary lens. \nSimphiwe Mbunyuza (b. 1989) was born in Butterworth\, Eastern Cape\, South Africa\, and lives and works in Norman\, OK. Mbunyuza has been the subject of exhibitions in the United States and internationally\, including recent presentations with Dyman Gallery\, Stellenbosch\, South Africa; South Willard\, Los Angeles\, CA; and Gallery 1957\, London and Accra\, Ghana; and is the recipient of awards and residencies including the Red Clay Faction Award and Oscar Jacobson Award from The University of Oklahoma\, Fred Jones Museum\, Norman\, OK in 2019\, and a residency with A.I.R Vallauris\, France\, in 2017.
URL:https://artinamericaguide.com/event/simphiwe-mbunyuza-isibaya/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2021/06/SMB_2021_Boesky_West_Tony_Prikryl_05-scaled.jpeg
ORGANIZER;CN="Marianne Boesky Gallery":MAILTO:info@boeskygallery.com
GEO:40.7486417;-74.0041334
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Marianne Boesky Gallery 601 East Hyman Ave 2nd Floor Aspen CO 81611 United States;X-APPLE-RADIUS=500;X-TITLE=601 East Hyman Ave\, 2nd Floor:geo:-74.0041334,40.7486417
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210504
DTEND;VALUE=DATE:20210606
DTSTAMP:20260420T130027
CREATED:20210430T164015Z
LAST-MODIFIED:20210506T161423Z
UID:80942-1620086400-1622937599@artinamericaguide.com
SUMMARY:Suzanne McClelland | PLAYLIST
DESCRIPTION:Marianne Boesky Gallery is pleased to present PLAYLIST\, Suzanne McClelland’s first solo exhibition at the gallery\, on view May 4 – June 5\, 2021 at 507 West 24th Street in New York. For the past 30 years\, Suzanne McClelland’s paintings\, drawing\, collaborative unbound books\, multiples and prints have explored the visual\, linguistic and acoustic dimensions of language. \nIn her newest series of paintings\, PLAYLIST\, McClelland approaches language through music\, organizing lists and conjoining names of musicians to suggest language as a form of portraiture. Performers are paired based on aural affinities in their music\, dissolving the factors of genre or category. McClelland approaches text as abstraction bringing to light the porous nature of identity. Since names are inherently abstract\, and in this case proper names\, they are only imbued with meaning once attached to a person. McClelland’s interest lies in parsing the gap between a name and its physicality; searching for what a name represents. The canvases become a place for inscription\, akin to graffiti\, a map\, or initials carved into a tree. The materiality of McClelland’s paintings echoes this gesture as she employs polymers\, dry pigments\, archival glitter\, and graphite to excavate meaning within their surface. \nReflecting back on her early experience as a photographer and the chemistry in the dark room\, McClelland’s material dissection similarly allows the final image to come into view almost magically as her framed subject emerges. The visual qualities of the names themselves create formal relationships within the canvas\, asking the traditional structure of the grid to dissolve\, shifting to accommodate pure color and the form of the letters. On the backs of the canvases\, McClelland has collaged a collection of photographs of each performer\, providing another set of data to inform the abstraction while relegating any direct representation. \nThe very act of creating a playlist is a personal one\, and here\, McClelland posits playlists as a form of both personal and collective memoir. In offering a list of names\, the artist invites the viewer to bring their own memories and experiences to the work\, suggesting a shared history built through music. Through recalling her own memories of musical history\, abstracted on the canvas\, McClelland implies a greater reverence for aural history\, naming names\, noting who listened to whom\, and the performers’ recording history.
URL:https://artinamericaguide.com/event/suzanne-mcclelland-playlist/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2021/04/SMC_2021_MBG_Lance_Brewer_5-scaled.jpeg
ORGANIZER;CN="Marianne Boesky Gallery":MAILTO:info@boeskygallery.com
GEO:40.7486417;-74.0041334
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Marianne Boesky Gallery 601 East Hyman Ave 2nd Floor Aspen CO 81611 United States;X-APPLE-RADIUS=500;X-TITLE=601 East Hyman Ave\, 2nd Floor:geo:-74.0041334,40.7486417
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210327
DTEND;VALUE=DATE:20210425
DTSTAMP:20260420T130027
CREATED:20210311T220342Z
LAST-MODIFIED:20210324T145039Z
UID:80389-1616803200-1619308799@artinamericaguide.com
SUMMARY:Allison Janae Hamilton | A Romance of Paradise
DESCRIPTION:Marianne Boesky Gallery is pleased to present A Romance of Paradise\, Allison Janae Hamilton’s inaugural solo exhibition with the gallery. For A Romance of Paradise\, Hamilton will present new photographs\, videos\, and sculptural works that highlight the artist’s ongoing exploration of interwoven themes such as environmental justice\, folklore and mythologies\, and the traditions of communities living in vulnerable landscapes within the rural American South. The title of the exhibition takes the original denotation of the word paradise\, meaning “heaven\,” underscoring the myths of an Edenic southern landscape formed during the exploitative and violent southward expansion of the United States. A Romance of Paradise will be on view March 27 – April 24\, 2021 at the gallery’s 507 West 24th Street location in New York. Marking a major milestone at the gallery\, A Romance of Paradise will be the first carbon-conscious exhibition at Marianne Boesky Gallery. \n  \nA Romance of Paradise is centered around the undeniable verity that the development of the United States was an expansion squarely rooted in the creation of narratives. In contrast to the West\, which was viewed as an open range to be conquered and settled\, the South was surrounded by optimistic legends of a rich\, fertile landscape primed for cultivation. Some early explorers to southeast America maintained the view that the biblical Garden of Eden was literally located on the 35th parallel north\, the length of which runs from New Bern\, North Carolina\, to Memphis\, Tennessee. Within the works on view\, Hamilton looks at the formation of these mythologies and the way in which brutal colonization of land and people have molded contemporary beliefs and current realities\, such as the continued exploitation of land and resulting climate change crisis that often disproportionately impacts communities in the rural Black South. The artist deftly explores the often less visible yet resilient histories of the region\, driven by her own connections to Kentucky\, where she was born\, to Florida\, where she grew up\, to rural Tennessee\, the location of her maternal family’s homestead. Hamilton weaves in these personal narratives with pressing contemporary issues\, through her photography that combines the lush landscapes shot in rural Northern Florida with the complex lived experiences of its inhabitants\, and sculptural works that evoke a land that is simultaneously idyllic\, fragile\, and haunted by its own history. \n  \nA Romance of Paradise will include recognized elements to the artist’s work and new interpretations of recurring items and motifs. Hamilton’s familiar fencing masks\, adorned with gathered materials such as feathers and botanical designs\, will be presented in a lighter color palette\, contrasting the warriorlike appearance of the masks\, as well as mixed media works from the artist’s Yard Signs series. Additionally\, new sculptures from Hamilton’s Creatures series will be on view. The sculptures\, taking forms of an alligator\, white-tailed deer\, and a rattlesnake – all found in her home region of North Florida\, present visions of predator and prey in a delicate\, white finish reminiscent of porcelain. Taken as a whole\, the ethereal colors and textures create\, at first glance\, a heavenly\, immersive landscape. However\, upon closer examination\, the snarling creatures and warlike masks interspersed in the space speak to an underlying violent depth. \n  \n“The works in A Romance of Paradise comprise a narrative ecosystem that is both tangible and mythic.  The photographs\, videos\, and sculptures explore how historical myths used to justify violent expansion have contemporary implications affecting present-day landscapes and those living therein\, not only in the American South but throughout the world at large.” said Allison Janae Hamilton \n  \nMany of the artworks in A Romance of Paradise draw from early African American nature writing\, rituals of hoodoo and traditional healing modalities\, botanical drawings\, and contemporary lived experiences of communities navigating the distinct impacts of climate change within the South. By drawing together elements from these sources in her deeply personal\, interdisciplinary practice\, Hamilton interrogates how these histories and myths can give clues to present day experiences and the precarious implications of environmental exploitation on the future. In Hamilton’s photography\, for instance\, the artist imbeds friends\, family\, and herself as actors against the backdrop of Northern Florida\, bringing together elements of landscape and portrait photography. Adorning her subjects with objects gathered from the environment and combining them with both timeless and contemporary symbolic gestures\, Hamilton creates narrative portraits of the actors who are inextricably linked to and disruptors of an environment that collapses history\, present\, and future. \n  \nShown together\, the works in A Romance of Paradise explore how human intervention on the landscape over time has impacted the communities that inhabit it today\, presenting an image that is contemporary yet ancient\, captivating yet disturbing. Each element of the exhibition brings forth the rituals that work within and around these landscapes\, demonstrating the continuation and precariousness of the notion of the American Eden. \n  \nAligning with Hamilton’s interest in environmental justice\, A Romance of Paradise will be the first carbon-conscious exhibition at Marianne Boesky Gallery. The gallery has expanded and prioritized its commitment to sustainability since the formation of its Green Initiative Committee in 2019. In addition to ongoing environmentally friendly practices with Galleries Commit\, A Romance of Paradise will track carbon output throughout the planning and execution of the individual artworks and the exhibition as a whole and will account for carbon conservation in the cost of each work. At the end of the show\, the gallery will make a donation\, including for any unsold works\, to permanent\, old-growth forest conservation with Galleries Commit x Art to Acres. \n  \nTimed to the opening of the exhibition\, Allison Janae Hamilton will present her video work Wacissa (2019)\, for Times Square Arts’ ‘Midnight Moment’ from April 1 – 30\, 2021. Midnight Moment is the world’s largest\, longest-running digital art exhibition\, synchronized on electronic billboards throughout Times Square nightly from 11:57pm to midnight. In Wacissa\, the viewer is submerged in the undulating waters of rivers from Hamilton’s home region of North Florida. Recounting a deeply localized history\, the film shows a river system wherein limestone was excavated by slave labor to bring cotton from Georgia through the Florida Panhandle to ships waiting in the Gulf of Mexico\, exploring intertwined concepts of the coastal South\, labor\, and myths of paradise. \n  \nAllison Janae Hamilton (b. 1984) was born in Kentucky\, raised in Florida\, and her maternal family’s farm and homestead lies in the rural flatlands of western Tennessee. Hamilton’s relationship with these locations forms the cornerstone of her artwork. Hamilton has exhibited her work at the Museum of Modern Art\, New York\, NY; Storm King Art Center\, New Winsor\, NY; the Studio Museum in Harlem\, MoMA PS1\, Long Island City\, NY; the Smithsonian National Portrait Gallery\, Washington\, DC; the Jewish Museum\, New York\, NY; Fundación Botín\, Santander\, Spain; the Brighton Photo Biennial\, Brighton\, UK; and the Istanbul Design Biennial\, Istanbul\, Turkey. Solo exhibitions of her work include Pitch at the Massachusetts Museum of Contemporary Art (MASS MoCA)\, North Adams\, MA (2018); Passage at Atlanta Contemporary\, Atlanta\, GA (2018); and Wonder Room at Recess\, New York\, NY (2017). She is the recipient of the Creative Capital Award and the Rema Hort Mann Foundation Grant\, as well as wide range of residencies. Hamilton’s work is in numerous private and public collections including the Studio Museum in Harlem and The Menil Collection. Hamilton received her PhD in American Studies from New York University and her MFA in Visual Arts from Columbia University. \n  \nAbout Galleries Commit \nGalleries Commit is a worker-led collective committed to a climate-conscious\, resilient\, and equitable future for New York City galleries.
URL:https://artinamericaguide.com/event/allison-janae-hamilton-a-romance-of-paradise/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2021/03/Allison-Janae-Hamilton-AJH.18352-4000-scaled.jpg
ORGANIZER;CN="Marianne Boesky Gallery":MAILTO:info@boeskygallery.com
GEO:40.7486417;-74.0041334
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Marianne Boesky Gallery 601 East Hyman Ave 2nd Floor Aspen CO 81611 United States;X-APPLE-RADIUS=500;X-TITLE=601 East Hyman Ave\, 2nd Floor:geo:-74.0041334,40.7486417
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210213
DTEND;VALUE=DATE:20210314
DTSTAMP:20260420T130027
CREATED:20210203T202102Z
LAST-MODIFIED:20220804T192004Z
UID:79909-1613174400-1615679999@artinamericaguide.com
SUMMARY:Jay Heikes | Echo in Color
DESCRIPTION:Marianne Boesky Gallery is pleased to present Echo in Color\, Jay Heikes’ fifth solo exhibition with the gallery. With his upcoming show\, Heikes continues his exploration of alchemical processes and the fleeting sense of connection that can be found when turning to nature and the universe. The exhibition will feature a selection of new and recent paintings from the artist’s Mother Sky series and Minor Planets sculptures. Echo in Color will be on view February 13 – March 13\, 2021 at the gallery’s 507 West 24th Street in New York. On the occasion of this exhibition\, the artist’s first comprehensive monograph will be published in cooperation with Gregory Miller & Co. and distributed by Distributed Art Publishers and will feature text by Sarah Lehrer-Graiwer\, Jenelle Porter\, Philippe Vergne\, and an interview between Heikes and Hamza Walker. \n  \nHeikes is regarded for his varied practice\, wherein he combines and transforms an array of media and materials\, including recent works that center around a preoccupation with the philosophical tradition of alchemy. The title of the exhibition\, Echo in Color\, references the perceptual phenomena of synesthesia\, a blending of the senses in which the stimulation of one modality produces sensation in another. The assembled works in the exhibition evoke a similar awareness\, crossing the senses in ways that are not understood through everyday language. Heikes’ preoccupation with these concepts speaks to his deep considerations of the role that art serves in culture. During a time of economic\, social\, and environmental turbulence\, the artist creates a meditative response to this uncertainty. \n  \n“The sheer vastness of a wide-open space is imbued with feelings of emptiness – only in a cave or canyon can the gesture of a scream be returned\,” said Heikes. “Through the last four years of alienation and the recent time collectively spent in isolation\, I began to see the idea that in retreating to an imagined vastness\, such as through a painting of the sky\, the works become representations that keep us grounded and avoid the total void of the sublime.” \n  \nIn particular\, Heikes is interested in the juxtaposition of the painting and sculpture presented within Echo in Color. In his Mother Sky works\, the artist stains the canvas using a combination of vinegar\, salt\, and powdered pigment. As they react\, these substances generate unpredictable hues\, ranging from rust\, indigo\, copper\, and fluorescent greens. Screen printed and dabbed on the canvases are voluminous shapes of clouds and smoke\, composed from distortions of found and photographed images. The euphoria in the otherworldly and meditative vistas simultaneously cause an underlying unease through the eerie and acidic tones of the tempestuous\, burning skies that layer the canvas. The imagined atmospheres\, at first an escapist opportunity for the viewer\, reflect an inability to create complete control. \n  \nPresented alongside the paintings\, Heikes will feature Minor Planets sculptures. This series of sculptures has been crafted from a range of materials\, including concrete\, pyrite\, salt\, slag\, asphaltum\, quartz\, rope\, and dust collected from the artist’s studio in the forms of modeled orbs and disks – timeless and ancient in appearance. The latest iteration of the Minor Planets on view in Echo in Color has transitioned to center on the material of concrete\, giving the sculptures weight and autonomy in both their scale and composition. In this way\, the juxtaposition of turning to the sky as a means of transcendence alongside the grounding materiality of the sculptures offers refuge in turbulent times. Yet even the Minor Planets serve as a testimony to the unpredictability of the artist’s chosen mediums and form\, as the metals and complementary materials in the sculptures oxidize and mutate over time. In his 2019 text on this body of works\, “I Wavereth\,” Heikes notes\, “At times it feels like I am playing God with these landscapes\, imagining an atmosphere from above that has finally freed itself of all human trivialities. I was supposed to pick up the mantle of activism and help answer the people’s cries but instead I became more distant\, even hidden\, while creating these representational moods of the soul.” \n  \n\nYale graduate and Minneapolis-based artist Jay Heikes (b. 1975) is known for his heterogeneous practice\, which mixes and reinterprets a kaleidoscopic array of media—activating stories\, puns\, and irony in a cyclical meditation. His most recent body of work employs his preoccupation with the philosophical tradition of alchemy. Themes of evolution and regeneration\, stasis and corrosion take form in his artistic actions\, recharging Heikes’ previous narrative pursuits and reaffirming the notion that mutation and change are essential to the creative process. \n  \nFollowing his first solo presentation at Artists Space\, New York in 2003\, Heikes participated in a number of group exhibitions at venues such as the New Museum of Contemporary Art\, New York (2003) and the Renaissance Society at the University of Chicago (2002 and 2005). In 2006\, Heikes was included in the Whitney Biennial: Day for Night\,curated by Chrissie Iles and Philippe Vergne. Since then\, Heikes has been the subject of numerous domestic and international exhibitions\, including shows at The Institute of Contemporary Art\, Philadelphia (2007); the Aspen Art Museum (2012); Grimm Gallery\, Amsterdam (2015); Shane Campbell Gallery\, Chicago (2015); Federica Schiavo Gallery\, Rome (2019); and Joslyn Art Museum\, Omaha\, NE (2019).
URL:https://artinamericaguide.com/event/jay-heikes-echo-in-color/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2021/02/JH-18173-image-1-scaled.jpg
ORGANIZER;CN="Marianne Boesky Gallery":MAILTO:info@boeskygallery.com
GEO:40.7486417;-74.0041334
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Marianne Boesky Gallery 601 East Hyman Ave 2nd Floor Aspen CO 81611 United States;X-APPLE-RADIUS=500;X-TITLE=601 East Hyman Ave\, 2nd Floor:geo:-74.0041334,40.7486417
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20200116T180000
DTEND;TZID=America/Halifax:20200116T200000
DTSTAMP:20260420T130027
CREATED:20200108T183156Z
LAST-MODIFIED:20200108T183156Z
UID:63237-1579197600-1579204800@artinamericaguide.com
SUMMARY:Opening Reception for Xenia: Crossroads in Portrait Painting
DESCRIPTION:Join us to celebrate the opening of Xenia: Crossroads in Portrait Painting on Thursday\, January 16 from 6-8 PM at Marianne Boesky Gallery. This group show explores the resurgence of portraiture as an incisive platform through which to consider the nature and meaning of identity. As our globalized society becomes increasingly marked by emigration\, resettlement\, and technological interconnectedness\, so too have notions of the self become exponentially fractured and complex. 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.
URL:https://artinamericaguide.com/event/opening-reception-for-xenia-crossroads-in-portrait-painting/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Event,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2020/01/POB.17262.jpg
ORGANIZER;CN="Marianne Boesky Gallery":MAILTO:info@boeskygallery.com
GEO:40.7486417;-74.0041334
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Marianne Boesky Gallery 601 East Hyman Ave 2nd Floor Aspen CO 81611 United States;X-APPLE-RADIUS=500;X-TITLE=601 East Hyman Ave\, 2nd Floor:geo:-74.0041334,40.7486417
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190726T000000
DTEND;TZID=America/Halifax:20190909T000000
DTSTAMP:20260420T130027
CREATED:20190604T131202Z
LAST-MODIFIED:20190729T170504Z
UID:54897-1564099200-1567987200@artinamericaguide.com
SUMMARY:Tricknology: ektor garcia and Allison Janae Hamilton curated by Sanford Biggers
DESCRIPTION:Marianne Boesky Gallery is pleased to announce that it will present an exhibition this summer curated by artist Sanford Biggers\, featuring the work of Allison Janae Hamilton and ektor garcia—both of whom have long-standing relationships with Biggers. Hamilton and garcia are recognized for their complex\, narrative-infused tactile sculptures and installation pieces\, and this exhibition will explore the ways in which both artists use materials to evoke history and define new mythologies—aspects of this approach are also present in Biggers’ own practice. Tricknology will be on view at Marianne Boesky Gallery’s location in Aspen\, Colorado\, from July 26 through September 9.
URL:https://artinamericaguide.com/event/tricknology-ektor-garcia-and-allison-janae-hamilton-curated-by-sanford-biggers/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/06/Group_2019_MBG_Aspen_Tony_Prikryl_0.jpg
ORGANIZER;CN="Marianne Boesky Gallery":MAILTO:info@boeskygallery.com
GEO:40.7486417;-74.0041334
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Marianne Boesky Gallery 601 East Hyman Ave 2nd Floor Aspen CO 81611 United States;X-APPLE-RADIUS=500;X-TITLE=601 East Hyman Ave\, 2nd Floor:geo:-74.0041334,40.7486417
END:VEVENT
END:VCALENDAR