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DTSTART;VALUE=DATE:20240112
DTEND;VALUE=DATE:20240303
DTSTAMP:20260613T164450
CREATED:20231212T195453Z
LAST-MODIFIED:20231212T195453Z
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SUMMARY:Julian Charrière: Buried Sunshine
DESCRIPTION:Sean Kelly is delighted to present Julian Charrière’s Buried Sunshine\, the artist’s third solo exhibition with the gallery in New York. Capturing the delirium of the petroleum industry and the burning of lithic landscapes\, Charrière brings his film Controlled Burn together with sculptures and a new series of heliographic photographs to unearth the ‘fossilized sunshine’ upon which the mythos of Los Angeles was built. Examining the material reality of hydrocarbons and how our modern world is organized around the energy they provide\, the exhibition draws parallels between the image-making machine of Hollywood and our dependence on fossil fuels\, both of which exert gravitational forces that bend our perception of reality. There will be an opening reception on Thursday\, January 11\, from 6-8pm. The artist will be present. \nIn his new photographic series Buried Sunshines Burn\, Charrière reveals the City of Angels as a special anomaly: a place built not only by hydrocarbons\, but on top of them\, with 5\,000 active oil wells beneath the second largest city in the United States. Employing heliography\, one of photography’s oldest techniques\, first developed by French inventor Nicéphore Niépce in 1822\, Charrière uses a light-sensative emulsion incorporating naturally occurring tar collected from the La Brea\, McKittrick\, and Carpinteria Tar Pits in California to create photographic imprints of local oil fields. Shot from a bird’s eye perspective\, the images–printed on highly polished stainless-steel plates–survey some of the state’s largest reserves\, including the immense Kern River Oil Field in the San Joanquin Valley\, the Placerita and Aliso Canyon Oil Fields in Santa Clarita\, and the giant Inglewood Oil Field situated in the heart of the city. \nCharrière’s film Controlled Burn invites viewers on a cosmic journey\, soaring through an aerial landscape of imploding fireworks. Filmes using a drone\, this disorienting voyage takes place in open pit coal mines\, discommissioned oil rigs\, and rusting cooling towers. Amid whirling smoke and fire\, implosions are intercut by flashing images of primordial ferns and fluttering moths–beings that evolved during the carboniferous geological period. Charrière cites these organisms as spirit guides and living tokens for the vitality of fossil fuels\, and markers for how the agency of coal\, oil\, and tar has come to haunt our contemporary imagination. Linking celebratory pyrotechnics with architectures of extraction\, explosive momentum\, and technological obsolescence\, Controlled Burn stages the fantasy of a dramatic return to sources of energy via implosion. \nAlso featured in the exhibition are two obsidian sculptures\, Thickens\, pools\, flows\, rushes\, slows. Made from large pieces of polished volcanic glass–colled magma which has erupted from the Earth’s core. Charrière draws on this material as an ancient means of divination. A readily available resource in Mesoamerica\, both Mayan and Aztec civilizations believed obsidian to unlock doors to other times and realms; the hardness of the glass made it one of the earliest materials to be traded across vast distances. In the present\, the dark vitality of obsidian is eerily reminiscent of our technological black mirrors\, themselves questionable portals beyond the present. \nAs an exhibition\, Buried Sunshine expands upon Julian Charrière’s ongoing inquiry into how our species inhabits the world\, and how it in turn inhabits us. Charrière combines a unique industrial history with a historic form of image-making\, creating an immersive landscape where our most urgent ecological concerns can be addressed. Utilizing photography\, film and sculpture\, Buried Sunshine investigates sense of place through the lens of geological time\, in the process urging viewers to reflect on how our relationship with the materials we appropriate as fuel comes to inform how we perceive the world around us. \nJulian Charrière’s work has been the subject of solo presentations at major international institutions\, including SFMOMA\, San Francisco; Langen Foundation\, Neuss; Dallas Museum of Art\, Dallas; MAMbo\, Bologna; Berlinische Galerie\, Berlin; Parasol Unit Foundation\, London; Musée des Beaux-Arts\, Lausanne; and Centre Culturel Suisse\, Paris. Charrière has also been prominently featured at the 59th Biennale di Venezia; 57th Biennale di Venezia; the Antarctic Biennale; the Taipei Biennial; the 12th and 16th Biennale de Lyon; Centre Pompidou\, Paris; Sprengel Museum\, Hannover; Aarhus Kunstmuseum\, Aarhus; SCHIRN Kunsthalle\, Frankfurt; Hayward Gallery\, Southbank Centre\, London; and Palais de Tokyo\, Paris. Julian Charrière is a former participant of the Institute for Spatial Experiments\, an experimental education and research project at the Berlin University of the Arts led by Olafur Eliasson. A nominee for the Prix Marcel Duchamp in 2021\, in 2022 Charrière received the 14th SAM Prize for Contemporary Art. \nFor additional information on Julian Charrière\, please visit skny.com \nFor media inquiries\, please email Adair Lentini at Adair@skny.com \nFor all other inquiries\, please email Lauren Kelly at Lauren@skny.com
URL:https://artinamericaguide.com/event/julian-charriere-buried-sunshine-2/
LOCATION:Sean Kelly\, New York\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231109
DTEND;VALUE=DATE:20231229
DTSTAMP:20260613T164450
CREATED:20231101T181948Z
LAST-MODIFIED:20231101T181948Z
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SUMMARY:VENAS DEL CAPULLO
DESCRIPTION:Sean Kelly is delighted to present VENAS DEL CAPULLO\, the highly anticipated\, inaugural exhibition by Donna Huanca at Sean Kelly\, New York. This multi-sensory exhibition expands upon Huanca’s continuing exploration of themes including the body\, the cycles of life\, and the chaos of the natural world. This site-specific installation\, in which the gallery space is enveloped in a recyclable membrane\, includes large-scale paintings on canvas and sculptures in stainless steel and mixed media\, as well as sound and scent. There will be an opening reception on Thursday\, November 9\, from 6–8 pm. The artist will be present. \nDonna Huanca (b. Chicago\, 1980) is a multidisciplinary artist whose practice explores the human body and the natural world through mark-making\, raw materials\, immersive environments\, and singular structures. Encompassing painting\, sculpture\, and live performance\, Huanca’s installations are characteristically created for\, and integrated with\, the architectural spaces in which they are presented. \nHer art is deeply invested in communal practice\, exploring ritual at large as a means for transcendence\, meditation\, and transformation. Since 2012\, Huanca has collaborated with performers\, inviting them to improvise and interact with her surrounding sculptures and installations as their painted skin becomes a major element in the composition. \nEach of Huanca’s installations is a new and experimental environment\, drawing on previous bodies of work\, but responsive to its specific context and site. With the exhibition’s title\, VENAS DEL CAPULLO\, Huanca references a state of both waiting and construction inherent to the creative process. She states\, “With the installation and title\, I wanted to respond to the art gallery being a place of commercial transaction and transform this space into a lab: a place that honors the creative process rather than the finished product.” \nFor this exhibition\, Huanca envelops the walls of the gallery with a translucent\, biodegradable membrane\, which she likens to a “womb space that functions like a petri dish in which primal sensory signals proliferate.” The gallery is punctuated throughout with large-scale paintings and various sculptures. Each of them unites natural and synthetic materials and carries traces of the human body that reflect the interactive nature of her performances. \nHuanca’s sinuous\, abstract paintings extend the life cycle of her performances by merging the transience of performance art with the permanence of painting. The surfaces of her paintings are built upon images of bodies photographed during these performances\, printed onto canvas and overpainted. Camouflaged by oil paint of vibrantly colored hues and tantalizing textural dimension\, Huanca’s hallucinatory kaleidoscopes are distinguished by the intermixing of oil pigments with sand and other natural materials. \nInstalled throughout the main gallery\, the exhibition also features chrome and metal sculptures\, ranging from highly reflective pierced mirror silhouettes to totemic aluminum castings alluding to the constant metamorphosis of the human body. The organic shapes\, contours\, and impressions of these sculptural works take on an anthropomorphic quality\, both welcoming visitors into the space and standing as totems for those absent. Embracing her Bolivian heritage rooted in Indigenous rituals\, Huanca adorns her sculptures with ornamental piercings and braids\, the latter referencing the quipu\, a knot-based record-keeping device of the ancient Incan civilization’s system of communication\, bringing traditional practices into a contemporary framework. \nConcurrent with her inaugural exhibition at Sean Kelly\, Huanca is the subject of a major exhibition\, titled SCAR TISSUE (BLURRED EARTH)\, at the Faurschou Foundation\, Brooklyn\, New York\, October 21\, 2023–July 14\, 2024.
URL:https://artinamericaguide.com/event/venas-del-capullo/
LOCATION:Sean Kelly\, New York\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
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DTSTART;VALUE=DATE:20230908
DTEND;VALUE=DATE:20231029
DTSTAMP:20260613T164450
CREATED:20230811T174810Z
LAST-MODIFIED:20231014T152256Z
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SUMMARY:Awol Erizku: Delirium of Agony
DESCRIPTION:Sean Kelly is delighted to present Delirium of Agony\, Awol Erizku’s first solo exhibition at Sean Kelly\, New York. With this exhibition\, Erizku examines the construction of cultural iconography through the lens of contemporary hip-hop\, street culture\, art history\, sports\, and entertainment. Occupying the entire gallery\, the exhibition features paintings\, neon installations\, photographs\, sculptures\, and works on paper. A series of basketball hoops are transformed into a pan-African flag; a coffin into a human-sized mouse trap; and an ancient Egyptian bust into a gleaming disco ball. There will be an opening reception on Friday\, September 8\, from 6-8pm. The artist will be present. \nErizku transforms the linguistic conventions surrounding music\, popular culture\, and sports symbolism into images and sculptures that offer an alternative to the Western gaze. By remixing cultural signifiers\, he weaves together different narratives that interrogate the canons of art history\, philosophy\, and linguistics\, creating unexpected connections that highlight the artist’s interest in contranyms found within the hip-hop vernacular. A recurrent theme throughout Erizku’s practice is the questioning of Eurocentric standards of beauty and art historical tradition\, to create work that represents a uniquely Afrocentric aesthetic\, one the artist refers to as “Afro-Esotericism.” \nRiffing on forbears as varied as Marcel Duchamp and David Hammons\, Erizku uses a postcard of Leonardo da Vinci’s Mona Lisa\, 1503 as his point of reference. Informed by Duchamp’s infamous readymade\, L.H.O.O.Q.\, 1919—comprised of a similar postcard upon which the artist drew a mustache and beard on the Mona Lisa—Erizku in his work depicts the infamous subject with a zipper adhered to her face\, also a knowing reference to artist David Hammons’ iconic Fly Jar\, 1996. Appropriating the presentation of Leonardo da Vinci’s painting of the Mona Lisa in the Louvre\, Paris\, Erizku similarly encases his work behind thick bulletproof glass\, drawing attention to the value placed upon the original within the canon of Western art history\, while simultaneously addressing issues of race\, representation\, and value in the arts. \nThe exhibition also includes a series of large-scale paintings featuring the insignia of popular sports teams. Erizku’s paintings are derived from the addition\, removal\, and obfuscation of logos associated with individuals found within street culture. Again\, mixing visual emblems\, tropes and metaphors from disparate cultures\, such as ancient Egyptian manuscripts in which the original writing is removed\, yet traces are left behind\, in these works Erizku borrows his aesthetic from Los Angeles’ urban culture. As acclaimed writer\, Doreen St. Félix\, has observed\, “as much as Erizku is drawn to creation\, he is also thinking about obliteration as a means of reflection.” By creating a palimpsest of urban history and youth culture\, he informs and shapes local identity. \nInspired by the fantastical coffin culture of Ghana and the duality of hip-hop language\, the exhibition also features two traditional fantasy coffins and a sculptural installation created in collaboration with celebrated Ghanaian coffin maker\, Paa Joe. The coffins take the form of a bottle of promethazine cough syrup (otherwise known as “Lean”) and a mouse trap. In these hand-carved and painted works\, Erizku remixes and expands the implications and connotations of words beyond their initial meanings. Each of the sculptures acts as a catalyst that plays on slang language and the underpinnings of grim realities that infiltrate the hip-hop industry. \nIncorporating symbols\, imagery\, and references\, Erizku portrays stories\, emotions\, and subjects prevalent in the music genre\, making them visually accessible and relatable to audiences. In doing so\, he highlights the rich histories and nuances of these communities\, creating a medium that blends the auditory and visual\, while also acknowledging and preserving vernacular heritage drawn from African and African American diasporas. \nAwol Erizku’s newly released first monograph\, Mystic Parallax was recently published by Aperture. This comprehensive monograph spans Erizku’s career\, examining his studio practice in tandem with his work as a highly in-demand editorial photographer and cultural commentator. The publication features essays by critically acclaimed writers Ishmael Reed and Doreen St. Félix\, curator Ashley James\, and interviews with artist Urs Fischer and critic\, curator\, and writer Antwaun Sargent. \nThere will be a book signing of Mystic Parallax with the artist at the gallery on Saturday\, September 9\, from 2-3pm. \n  \nBorn in Gondar\, Ethiopia\, in 1988\, Erizku attended The Cooper Union before receiving his MFA from Yale University. He has had solo exhibitions with the Public Art Fund\, New York\, and The FLAG Art Foundation\, New York. His work has been exhibited at prominent institutions\, including the Museum of Modern Art\, NY; the Studio Museum Harlem\, NY; the Crystal Bridges Museum of Art\, Bentonville\, AR; the Irish Museum of Modern Art\, Dublin; the Museum of Contemporary Art\, Toronto; the Museum of the African Diaspora\, San Francisco; and the FLAG Art Foundation\, NY\, amongst others. His work is in the permanent collection of many institutions worldwide\, including the Museum of Fine Arts\, Boston\, MA; the Norton Museum of Art\, Palm Beach\, FL; The FLAG Art Foundation\, NY; the Santa Barbara Museum of Art\, CA; LACMA\, Los Angeles\, CA; The Metropolitan Museum of Art\, NY\, and The Whitney Museum of American Art\, NY. \nErizku will be the subject of forthcoming solo exhibitions at The Momentary at Crystal Bridges Museum of American Art and at Savannah College of Art and Design. \n  \nFor additional information on Awol Erizku\, please visit skny.com \nFor media inquiries\, please email Brandon Tho Harris at Brandon@skny.com \nFor all other inquiries\, please email Lauren Kelly at Lauren@skny.com or Thomas Kelly at Thomas@seankellyla.com
URL:https://artinamericaguide.com/event/awol-erizku-delirium-of-agony/
LOCATION:Sean Kelly\, New York\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230630T100000
DTEND;TZID=America/New_York:20230811T170000
DTSTAMP:20260613T164450
CREATED:20230706T181103Z
LAST-MODIFIED:20230707T181826Z
UID:104316-1688119200-1691773200@artinamericaguide.com
SUMMARY:NXTHVN: RECLAMATION
DESCRIPTION:Sean Kelly and NXTHVN are proud to present RECLAMATION\, a group exhibition featuring works that embody the multiplicities of human experience through painting\, drawing\, collage\, sculpture\, installation\, and performance. This culminating exhibition presents artists from NXTHVN’s Cohort 04 Fellowship Program; Anindita Dutta\, Donald Guevara\, Ashanté Kindle\, Athena Quispe\, Edgar Serrano\, and Capt. James Stovall V\, it is curated by Curatorial Fellows Cornelia Stokes and Kiara Cristina Ventura. These artists have created forms that contradict the viewer’s expectation of recognizable materials and icons\, as a means to challenge the perceptible limits of our social conditioning and humanity. Throughout RECLAMATION\, each artist interrogates and reclaims the power of Western consumption as it relates to notions of beauty\, art history\, religion\, spirituality\, and sexuality. \nEdgar Serrano’s paintings critically confront the canon of traditional Western art and artistic portraiture by critiquing European art’s misappropriation of indigenous artistic and cultural traditions in Africa and Latin America. Serrano’s works deceive the eye with loose expressionistic brushstrokes and tightly woven embroidery-like patterns that call attention to the surface of the canvas. Through his methodical style and play with optical appearances\, his paintings incite reactions of amusement\, trickery\, and wonder as they slowly reveal meaning. \nAthena Quispe ​​re-indigenizes the discourse of painting. Rooting her work in Peruvian pre-Hispanic painting and artistic production\, Quispe creates sculptural paintings to honor her ancestral bloodline through blood memory and inherited knowledge. This act intrinsically deconstructs European interdictions of pre-columbian art and traditions. \nAshanté Kindle utilizes the textures\, curl patterns\, and styling of Black hair to envision new realities of personal existence that defy standards of conformity. Through her abstract paintings and video work\, she challenges easily digestible ideas of Black femininity. By magnifying the hair strand on canvas\, accentuated by stylish adornments\, the cellular properties of the hair follicle begin to symbolize the infinite space of the cosmos. \nDonald Guevara constructs vignettes of AFK (away from keyboard) glitch spaces\, where images of cultural and religious icons\, bodily forms\, team sports\, magazine ads\, and trading cards are twisted\, wrapped\, layered\, and superimposed into complex and\, at times\, contradictory composites. Guevara utilizes collage\, drawing\, and painting as visual methods of interrogation into the glitch to explore how dissonant matters can forge a cyborg amalgamation where culture\, race\, and gender openly coalesce together. \nCapt. James Stovall V creates a relatable image of Christ and other biblical figures to comment on the relevancy of these idols’ appearance to the spiritual experience. By masking the figure\, Stovall V intervenes in the correlation between whiteness and divinity\, employing images that contradict the traditional physical appearance of these figures. His compositions also challenge convention as the tag-like drawing style and partially rendered figures refute religious iconographic historical paintings. \nAnindita Dutta’s sculptural and performance practice centers around reclaiming silenced voices\, untold stories\, and concealed horrors. Through her new series\, “Sex\, Sexuality\, and Society: Chapter Two\,” she retrieves the memories of objects that remain silent witnesses to sexual trauma. Utilizing sensuous materials such as used clothes\, boots\, shoes\, rawhide\, horns\, silk\, and velvet\, Dutta gives voice and power to these mutated materials in the pursuit of truth and justice for millions of victims around the world. \nThe works included in RECLAMATION remind viewers to be critical of the things we covet as a means of unearthing the systems that prescribe our longing. These artists show us the potential to liberate desire and image from corrupted ideologies that inform our understanding of art\, history\, beauty\, religion\, and sexuality. The new forms they create demonstrate to the viewer the necessity for reclaiming power structures to break through into new realms of human experience beyond simple classifications.
URL:https://artinamericaguide.com/event/nxthvn-reclamation/
LOCATION:Sean Kelly\, New York\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/07/NXTHVN-2023_SKNY_RECLAMATION_install_photo-Jason-Wyche_021.jpg
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230630
DTEND;VALUE=DATE:20230812
DTSTAMP:20260613T164450
CREATED:20230608T185429Z
LAST-MODIFIED:20230608T185429Z
UID:103877-1688083200-1691798399@artinamericaguide.com
SUMMARY:RECLAMATION
DESCRIPTION:Sean Kelly and NXTHVN are proud to present RECLAMATION\, a group exhibition featuring works that embody the multiplicities of human experience through painting\, drawing\, collage\, sculpture\, installation\, and performance. This culminating exhibition presents artists from NXTHVN’s Cohort 04 Fellowship Program; Anindita Dutta\, Donald Guevara\, Ashanté Kindle\, Athena Quispe\, Edgar Serrano\, and Capt. James Stovall V\, it is curated by Curatorial Fellows Cornelia Stokes and Kiara Cristina Ventura. These artists have created forms that contradict the viewer’s expectation of recognizable materials and icons\, as a means to challenge the perceptible limits of our social conditioning and humanity. Throughout RECLAMATION\, each artist interrogates and reclaims the power of Western consumption as it relates to notions of beauty\, art history\, religion\, spirituality\, and sexuality. \nEdgar Serrano‘s paintings critically confront the canon of traditional Western art and artistic portraiture by critiquing European art’s misappropriation of indigenous artistic and cultural traditions in Africa and Latin America. Serrano’s works deceive the eye with loose expressionistic brushstrokes and tightly woven embroidery-like patterns that call attention to the surface of the canvas. Through his methodical style and play with optical appearances\, his paintings incite reactions of amusement\, trickery\, and wonder as they slowly reveal meaning. \nAthena Quispe ​​re-indigenizes the discourse of painting. Rooting her work in Peruvian pre-Hispanic painting and artistic production\, Quispe creates sculptural paintings to honor her ancestral bloodline through blood memory and inherited knowledge. This act intrinsically deconstructs European interdictions of pre-columbian art and traditions. \nAshanté Kindle utilizes the textures\, curl patterns\, and styling of Black hair to envision new realities of personal existence that defy standards of conformity. Through her abstract paintings and video work\, she challenges easily digestible ideas of Black femininity. By magnifying the hair strand on canvas\, accentuated by stylish adornments\, the cellular properties of the hair follicle begin to symbolize the infinite space of the cosmos. \nDonald Guevara constructs vignettes of AFK (away from keyboard) glitch spaces\, where images of cultural and religious icons\, bodily forms\, team sports\, magazine ads\, and trading cards are twisted\, wrapped\, layered\, and superimposed into complex and\, at times\, contradictory composites. Guevara utilizes collage\, drawing\, and painting as visual methods of interrogation into the glitch to explore how dissonant matters can forge a cyborg amalgamation where culture\, race\, and gender openly coalesce together. \nCapt. James Stovall V creates a relatable image of Christ and other biblical figures to comment on the relevancy of these idols’ appearance to the spiritual experience. By masking the figure\, Stovall V intervenes in the correlation between whiteness and divinity\, employing images that contradict the traditional physical appearance of these figures. His compositions also challenge convention as the tag-like drawing style and partially rendered figures refute religious iconographic historical paintings. \nAnindita Dutta’s sculptural and performance practice centers around reclaiming silenced voices\, untold stories\, and concealed horrors. Through her new series\, “Sex\, Sexuality\, and Society: Chapter Two\,” she retrieves the memories of objects that remain silent witnesses to sexual trauma. Utilizing sensuous materials such as used clothes\, boots\, shoes\, rawhide\, horns\, silk\, and velvet\, Dutta gives voice and power to these mutated materials in the pursuit of truth and justice for millions of victims around the world. \nThe works included in RECLAMATION remind viewers to be critical of the things we covet as a means of unearthing the systems that prescribe our longing. These artists show us the potential to liberate desire and image from corrupted ideologies that inform our understanding of art\, history\, beauty\, religion\, and sexuality. The new forms they create demonstrate to the viewer the necessity for reclaiming power structures to break through into new realms of human experience beyond simple classifications.
URL:https://artinamericaguide.com/event/reclamation/
LOCATION:Sean Kelly\, New York\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230428
DTEND;VALUE=DATE:20230618
DTSTAMP:20260613T164450
CREATED:20230420T161159Z
LAST-MODIFIED:20230420T161159Z
UID:102953-1682640000-1687046399@artinamericaguide.com
SUMMARY:HAVANA
DESCRIPTION:Sean Kelly is delighted to present HAVANA\, Kehinde Wiley’s highly anticipated new exhibition at the gallery. Featuring new paintings\, works on paper and a three-channel film\, this body of work is informed by Wiley’s focus on the evolution of Black culture globally. Inspired by two visits Wiley made to Cuba\, this new body of work explores the phenomenon of the carnivalesque in Western culture. Referencing artists as diverse as Toulouse-Lautrec\, Picasso\, Calder\, and Western European depictions of the carnivalesque\, the circus\, and the power of street performance and dance\, the HAVANA paintings focus on the circus as a site of disruption for the rational mind and circus performers who embrace a dynamic and vibrant way of living and being in the world. There will be an opening reception on Thursday\, April 27 from 6-8pm. The artist will be present.
URL:https://artinamericaguide.com/event/havana/
LOCATION:Sean Kelly\, New York\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/04/KW-PA-23-012_Framed-scaled.jpg
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230225
DTEND;VALUE=DATE:20230416
DTSTAMP:20260613T164450
CREATED:20230301T180946Z
LAST-MODIFIED:20230301T181017Z
UID:102007-1677283200-1681603199@artinamericaguide.com
SUMMARY:Candida Höfer Heaven on Earth – Curated by Toshiko Mori
DESCRIPTION:Sean Kelly is delighted to present Heaven on Earth\, an exhibition of work by Candida Höfer curated by award-winning architect Toshiko Mori. Spanning nearly thirty years of Höfer’s practice\, Mori has selected images that exemplify the range of spaces Höfer has photographed throughout her career from libraries and museums to public theatres and churches.
URL:https://artinamericaguide.com/event/candida-hofer-heaven-on-earth-curated-by-toshiko-mori/
LOCATION:Sean Kelly\, New York\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/03/CH-08879-Mock-Up-Frame-scaled.jpg
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