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:20230312T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20231105T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20240310T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20241103T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20250309T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20251102T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20260308T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20261101T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20270314T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20271107T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20280312T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20281105T060000
END:STANDARD
TZID:America/Denver
BEGIN:DAYLIGHT
TZOFFSETFROM:-0700
TZOFFSETTO:-0600
TZNAME:MDT
DTSTART:20250309T090000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0600
TZOFFSETTO:-0700
TZNAME:MST
DTSTART:20251102T080000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0700
TZOFFSETTO:-0600
TZNAME:MDT
DTSTART:20260308T090000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0600
TZOFFSETTO:-0700
TZNAME:MST
DTSTART:20261101T080000
END:STANDARD
TZID:America/Los_Angeles
BEGIN:DAYLIGHT
TZOFFSETFROM:-0800
TZOFFSETTO:-0700
TZNAME:PDT
DTSTART:20250309T100000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0700
TZOFFSETTO:-0800
TZNAME:PST
DTSTART:20251102T090000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0800
TZOFFSETTO:-0700
TZNAME:PDT
DTSTART:20260308T100000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0700
TZOFFSETTO:-0800
TZNAME:PST
DTSTART:20261101T090000
END:STANDARD
TZID:America/Chicago
BEGIN:DAYLIGHT
TZOFFSETFROM:-0600
TZOFFSETTO:-0500
TZNAME:CDT
DTSTART:20260308T080000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0500
TZOFFSETTO:-0600
TZNAME:CST
DTSTART:20261101T070000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231208
DTEND;VALUE=DATE:20261207
DTSTAMP:20260403T144544
CREATED:20240522T193731Z
LAST-MODIFIED:20240522T193731Z
UID:108575-1701993600-1796601599@artinamericaguide.com
SUMMARY:Isaac Julien: Lessons of the Hour — Frederick Douglass
DESCRIPTION:Sir Isaac Julien’s moving image installation Lessons of the Hour (2019) interweaves period reenactments across five screens to create a vivid picture of nineteenth-century activist\, writer\, orator\, and philosopher Frederick Douglass. Through critical research\, fictional reconstruction\, and a marriage of poetic image and sound\, Julien asserts Douglass’ enduring lessons of justice\, abolition\, and freedom that remain just as relevant today. \nLessons of the Hour features passages from Douglass’ key speeches\, including the titular “Lessons of the Hour\,” “What to the Slave Is the Fourth of July?” and “Lecture on Pictures.” \nJulien weaves together reenacted scenes from Douglass’ life and lectures\, filming at his historic home in Washington\, DC\, and a restaged studio of famed Black photographer J.P. Ball (1825–1904) as he makes a portrait of Douglass. Images of contemporary Baltimore—the city where Douglass was enslaved and escaped from bondage in 1838—including footage of fireworks and protests in 2015 following the death of Freddie Gray\, Jr. while in police custody\, are interspersed as the struggle to make good on America’s promise of equality continues. \nLessons of the Hour was jointly acquired by SAAM and the National Portrait Gallery in 2023. The 28-minute work debuted for Washington audiences December 8\, 2023\, and remains on public view through the 250th anniversary of the founding of the United States in 2026.
URL:https://artinamericaguide.com/event/isaac-julien-lessons-of-the-hour-frederick-douglass/
LOCATION:Smithsonian American Art Museum\, 750 9th St. N.W.\, Washington\, DC\, 20001\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/05/isaac-julien-1-scaled.jpg
ORGANIZER;CN="Smithsonian American Art Museum":MAILTO:americanartpressoffice@si.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240726T080000
DTEND;TZID=America/New_York:20280726T170000
DTSTAMP:20260403T144544
CREATED:20240703T180957Z
LAST-MODIFIED:20240703T180957Z
UID:109170-1721980800-1848243600@artinamericaguide.com
SUMMARY:Glenn Kaino: Bridge
DESCRIPTION:Glenn Kaino’s powerful aerial sculpture Bridge is comprised of 200 golden arms hanging from the ceiling of SAAM’s Luce Foundation Center. Each is a casting of the outstretched right arm of Tommie Smith\, the American winner of the men’s 200-meter race at the 1968 Olympic Games in Mexico City. During the medal ceremony\, Smith bowed his head and raised his black-gloved fist in a symbolic act of protest. Coming at a moment of turmoil in the United States\, where public unrest flared over the war in Vietnam\, racial discrimination and inequality\, and the assassinations of Martin Luther King Jr. and Robert F. Kennedy\, his gesture was an assertion of Black solidarity in the fight for human rights. Echoed by the American bronze medalist John Carlos\, it inspired social causes around the world and irrevocably changed Smith’s own life.
URL:https://artinamericaguide.com/event/glenn-kaino-bridge/
LOCATION:Smithsonian American Art Museum\, 750 9th St. N.W.\, Washington\, DC\, 20001\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/07/bridge.jpeg
ORGANIZER;CN="Smithsonian American Art Museum":MAILTO:americanartpressoffice@si.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250307T110000
DTEND;TZID=America/New_York:20271231T180000
DTSTAMP:20260403T144544
CREATED:20250224T180514Z
LAST-MODIFIED:20250224T180514Z
UID:112255-1741345200-1830276000@artinamericaguide.com
SUMMARY:Tending and Dreaming: Stories from the Collection
DESCRIPTION:Tending and Dreaming: Stories from the Collection launches the first dedicated collection galleries at the Museum. Providing unprecedented access to core works in San José’s only publicly held art collection\, SJMA’s collection galleries position artists as storytellers to imagine the Museum as a space where culture and meaning are actively made and always in process.  \nOrganized into thematic groupings\, Tending and Dreaming offers poetic starting points for engaging with ideas woven through the works of almost fifty artists from the Bay Area and beyond\, including  Ruth Asawa\, Martha Atienza\, Shilpa Gupta\, Yolanda López\, and Elias Sime\, among many others. 
URL:https://artinamericaguide.com/event/tending-and-dreaming-stories-from-the-collection/
LOCATION:San Jose Museum of Art\, 110 S. Market Street\, San Jose\, CA\, 95113\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/02/2004.16_valdezpatssi_theimaginarygarden_FV_2.jpg
GEO:37.3327419;-121.8905201
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=San Jose Museum of Art 110 S. Market Street San Jose CA 95113 United States;X-APPLE-RADIUS=500;X-TITLE=110 S. Market Street:geo:-121.8905201,37.3327419
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20250919T100000
DTEND;TZID=America/Denver:20260510T170000
DTSTAMP:20260403T144544
CREATED:20250123T201026Z
LAST-MODIFIED:20250123T201026Z
UID:111745-1758276000-1778432400@artinamericaguide.com
SUMMARY:“Tell Clyfford I Said ‘Hi’”: An Exhibition Curated by Children of the Colville Confederated Tribes
DESCRIPTION:“Tell Clyfford I Said ‘Hi’”: An Exhibition Curated by Children of the Colville Confederated Tribes is a collaborative exhibition co-curated with youth from the Colville Confederated Tribes in Washington State\, on view from September 19\, 2025–May 10\, 2026\, at the Clyfford Still Museum. It highlights the perspectives of Colville children on Clyfford Still’s depictions of their ancestors and their home\, as well as his abstract works. Installed in all nine of the Museum’s galleries\, this exhibition investigates six themes identified by our co-curators: Family & Culture\, Connection\, Storytelling\, Wilderness\, Love\, and Paint & Color. \nClyfford Still Museum’s curatorial and education staff worked with young children (ages three years to fourteen years old) and teachers from partner schools and childcare centers on the Colville Confederated Tribes Reservation on every level of the exhibition\, including artwork selection and arrangement\, object interpretation and gallery text\, and interactive space. \nThis exhibition continues CSM’s efforts to foster engagement with its collections by sharing authority on Still’s work with the Museum’s critical communities and is an occasion to bridge various gaps—physical\, cultural\, metaphorical—that exist between Indigenous communities and the traditional art museum space. \nBackground and Development \nWhile working as an instructor at the Washington State College Fine Arts Department\, Clyfford Still assisted in founding a summer art colony for WSC community members and became one of its first instructors in the summers of 1937 and 1938. Instructors held classes in Nespelem on the Colville Reservation and Toppenish on the Yakama Indian Reservation in Washington. The Clyfford Still Museum collections include three paintings on canvas\, over 85 drawings and sketches on paper\, nearly 20 documentary photographs\, and other archival ephemera documenting Still’s time in the area. These objects reveal how Still’s experiences with the Colville community profoundly impacted his work for years. \nWhile culturally distinct and diverse\, the twelve bands of the Confederated Tribes of the Colville Reservation—Chelan\, Chief Joseph Band of Nez Perce\, Colville\, Entiat\, Lakes\, Methow\, Moses-Columbia\, Nespelem\, Okanogan\, Palus\, San Poil\, and Wenatchi—share cultural practices and 1.4 million acres of land. Though CSM has focused past exhibitions and programs on Still’s work from Nespelem since 2013\, this exhibition seeks to extend and deepen CSM’s relationship with the Colville Tribal community. \nCo-curated with children in the Colville Confederated Tribes in northeastern Washington\, this exhibition explores Clyfford Still’s work through the perspectives of children\, some of whom are direct descendants of individuals Still portrayed in his art. “Tell Clyfford I Said ‘Hi’” centers young Indigenous voices by engaging them to collaboratively develop an exhibition that builds upon previous evaluation\, research\, and CSM exhibitions.
URL:https://artinamericaguide.com/event/tell-clyfford-i-said-hi-an-exhibition-curated-by-children-of-the-colville-confederated-tribes/
LOCATION:Clyfford Still Museum\, 1250 Bannock St.\, Denver\, CO\, 80204\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/01/Colville-Children-Curate-scaled.jpg
ORGANIZER;CN="Clyfford Still Museum":MAILTO:press@clyffordstillmuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20251015T110000
DTEND;TZID=America/Los_Angeles:20260412T170000
DTSTAMP:20260403T144544
CREATED:20251002T210138Z
LAST-MODIFIED:20251002T210138Z
UID:114915-1760526000-1776013200@artinamericaguide.com
SUMMARY:Boren Banner Series: Camille Trautman
DESCRIPTION:Every photograph is a reminder that the act of framing is never neutral. In Camille Trautman’s first solo museum exhibition in their hometown\, the Seattle-born Duwamish artist uses photography and video to challenge colonial narratives and counter Indigenous erasure. The exhibition presents selections from their ongoing series The North American LCD—spectral self-portraits staged in varied natural landscapes. Rooted in Trautman’s process of coming out as transgender\, the images show the artist’s body partially obscured by large LCD screens. The series examines how both landscape photography and digital media can shape or distort cultural identity\, often by promoting or denying visibility.
URL:https://artinamericaguide.com/event/boren-banner-series-camille-trautman/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/10/till_001_01_X1_0018_small.jpg
ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251017T110000
DTEND;TZID=America/New_York:20260607T170000
DTSTAMP:20260403T144544
CREATED:20250930T190523Z
LAST-MODIFIED:20250930T190523Z
UID:114809-1760698800-1780851600@artinamericaguide.com
SUMMARY:ektor garcia: loose ends
DESCRIPTION:In a materials-based practice that draws on Mexican handcraft traditions and a DIY sensibility\, ektor garcia subtly challenges hierarchies ​of​ gendered and racialized labor while undermining notions of static identity. ​He draws from a​ ​unique ​vocabulary of materials—copper wire\, cast metals\, glass\, clay\, horsehair\, seashells\, and leather—​which he​ w​ea​ve​s​\, knot​s​\, and crochet​s​​ into objects​ at once​ vulnerable and resistant\, soft and hard. ​He begins e​ach piece with a single gesture or stitch\, ​which he ​repeat​s​ over countless hours to ​create​ long chains\, textiles\, nets\, and altar-like accumulations. Such works are shaped by the artist’s responsiveness to materials\, environmental and social context​s​\, and the intuitive inattention that develops with manual repetition. As sculptures​\,​ they ​are​ quiet but restless​—​psychologically and politically charged in their ​misleading ​delicacy and susceptibility to transformation. \nRecords of time and labor\, garcia’s creations are only ever paused in their growth\, never complete. The artist is ​also ​known to undo previously exhibited objects\, reshaping and gathering them into ​new​ constellations. ​Through​​ ​his​ ​practice\, ​he​ opens up​ new​ possibilities for making and knowing that are constantly engaged in a process of unraveling and reworking\, learning and quiet change. \nIn SJMA’s Davies ​G​allery\, garcia’s installation will incorporate existing and new sculptures repurposed into a single\, new installation. Originally from California​\, the artist is​ currently living nomadically​;​ this exhibition marks his homecoming to the ​B​ay ​A​rea.
URL:https://artinamericaguide.com/event/ektor-garcia-loose-ends/
LOCATION:San Jose Museum of Art\, 110 S. Market Street\, San Jose\, CA\, 95113\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/09/garcia-crochet-web-size.jpg
GEO:37.3327419;-121.8905201
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=San Jose Museum of Art 110 S. Market Street San Jose CA 95113 United States;X-APPLE-RADIUS=500;X-TITLE=110 S. Market Street:geo:-121.8905201,37.3327419
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20251018T110000
DTEND;TZID=America/Los_Angeles:20260419T170000
DTSTAMP:20260403T144544
CREATED:20251002T210138Z
LAST-MODIFIED:20251002T210138Z
UID:114907-1760785200-1776618000@artinamericaguide.com
SUMMARY:Priscilla Dobler Dzul: Water Carries the Stories of Our Stars
DESCRIPTION:Water Carries the Stories of our Stars is the expansive museum debut from artist Priscilla Dobler Dzul\, who lives in Tacoma\, Washington\, and Yucatán\, Mexico. The exhibition brings together an entirely new body of sculpture\, textile\, and video work to chart urgent stories of environmental harm and cultural justice. Drawing from her Maya and multicultural heritage and building on years of research\, the artist merges pre-Hispanic techniques\, collaborations with Yucatec Maya elders\, and regionally sourced materials to reflect on the loss of water and its consequences. From Mexican cenotes to Washington wetlands\, Dobler Dzul’s work centers living waters as portals of cosmic ancestral knowledge. She calls on us to listen—to the birds\, the winds\, the elders—and to reimagine collective existence through the labor of craft.
URL:https://artinamericaguide.com/event/priscilla-dobler-dzul-water-carries-the-stories-of-our-stars/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/10/Turtle-and-vulture-gathered-the-bones-to-awaken-margay-tapirus-and-human-iguana_small.jpg
ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20251025T110000
DTEND;TZID=America/Los_Angeles:20260920T170000
DTSTAMP:20260403T144544
CREATED:20251002T210138Z
LAST-MODIFIED:20251002T210138Z
UID:114919-1761390000-1789923600@artinamericaguide.com
SUMMARY:Frye Salon + Jonathan Lasker
DESCRIPTION:Frye Salon is both a fixture and a living experiment—an ever-evolving installation that invites fresh perspectives on the museum’s founding-era collection. The gallery features more than one hundred paintings in a floor-to-ceiling presentation mode known as “salon style\,” recalling the striking displays once found in Charles and Emma Frye’s First Hill home. In Frye Salon + Jonathan Lasker\, a selection of large canvases by the contemporary American painter—subject of the concurrent exhibition Drawings and Studies—intermingle with the featured collection works. Known for his bold visual language of biomorphic forms and distinctive use of line\, Lasker uses the familiar tools of representational painting—figure and ground\, space and perspective—to destabilize the dividing line with abstraction. Situated among the works of Frye Salon\, his vibrant\, evocatively titled compositions open unexpected conversations across time\, style\, and painterly intent.
URL:https://artinamericaguide.com/event/frye-salon-jonathan-lasker/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/10/Frye-20240415-079_small.jpg
ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20251025T110000
DTEND;TZID=America/Los_Angeles:20260927T170000
DTSTAMP:20260403T144544
CREATED:20250930T190545Z
LAST-MODIFIED:20250930T190545Z
UID:114829-1761390000-1790528400@artinamericaguide.com
SUMMARY:Jonathan Lasker: Drawings and Studies
DESCRIPTION:For over five decades\, American artist Jonathan Lasker has approached the elements of painting like a puzzle—taking it apart\, turning the pieces\, and putting it back together in new ways. Drawings and Studies offers a close look at how his ideas take shape\, featuring works on paper that Lasker created from the 1980s to the 2020s\, tracking the refinement of his distinctive visual language. At once analytical and expressive\, these compositions play with the visual cues of figuration\, teasing allusions to portraits\, landscapes\, or still lifes through biomorphic forms and carefully choreographed marks. In Lasker’s hands\, abstraction exists in spirited tension with representation\, and the act of seeing becomes part of the story.
URL:https://artinamericaguide.com/event/jonathan-lasker-drawings-and-studies-2/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20251025T110000
DTEND;TZID=America/Los_Angeles:20260927T170000
DTSTAMP:20260403T144544
CREATED:20250930T190545Z
LAST-MODIFIED:20250930T190545Z
UID:114831-1761390000-1790528400@artinamericaguide.com
SUMMARY:Jonathan Lasker: Drawings and Studies
DESCRIPTION:For over five decades\, American artist Jonathan Lasker has approached the elements of painting like a puzzle—taking it apart\, turning the pieces\, and putting it back together in new ways. Drawings and Studies offers a close look at how his ideas take shape\, featuring works on paper that Lasker created from the 1980s to the 2020s\, tracking the refinement of his distinctive visual language. At once analytical and expressive\, these compositions play with the visual cues of figuration\, teasing allusions to portraits\, landscapes\, or still lifes through biomorphic forms and carefully choreographed marks. In Lasker’s hands\, abstraction exists in spirited tension with representation\, and the act of seeing becomes part of the story.
URL:https://artinamericaguide.com/event/jonathan-lasker-drawings-and-studies/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/09/Study-for-Fake-Freak-scaled.jpg
ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260202
DTEND;VALUE=DATE:20260602
DTSTAMP:20260403T144544
CREATED:20260202T204903Z
LAST-MODIFIED:20260310T180514Z
UID:115760-1769990400-1780358399@artinamericaguide.com
SUMMARY:Toward What Sun? Vol. I
DESCRIPTION:“Toward What Sun? Vol. I” is the first installment of a four-part online exhibition of prints by Philip Van Keuren featuring forty photogravures made between 2016 and 2026\, presented by Manneken Press.\n\n\nPhilip Van Keuren has been making photographs for many years\, guided by everyday observations that reveal the world as both sublimely beautiful and fundamentally unknowable. His images form a sustained meditation on time\, memory\, and place\, unfolding slowly across decades rather than moments.
URL:https://artinamericaguide.com/event/toward-what-sun-vol-i/
CATEGORIES:Virtual Events + Viewing Rooms
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/Snowstorm_2016_cropped.jpg
ORGANIZER;CN="Manneken Press":MAILTO:ink@mannekenpress.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260202
DTEND;VALUE=DATE:20270203
DTSTAMP:20260403T144544
CREATED:20260202T204903Z
LAST-MODIFIED:20260202T204903Z
UID:115756-1769990400-1801612799@artinamericaguide.com
SUMMARY:Sarah Smelser: Sandia
DESCRIPTION:Sarah Smelser’s “Sandia” images filter her experience of the desert environments of the American Southwest\, its particular qualities of light\, heat\, emptiness and expansive spaces of the landscape through an abstract sensibility.
URL:https://artinamericaguide.com/event/sarah-smelser-sandia/
CATEGORIES:Virtual Events + Viewing Rooms
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/sandia_XXII_web.jpg
ORGANIZER;CN="Manneken Press":MAILTO:ink@mannekenpress.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260202
DTEND;VALUE=DATE:20270203
DTSTAMP:20260403T144544
CREATED:20260202T204903Z
LAST-MODIFIED:20260202T204903Z
UID:115748-1769990400-1801612799@artinamericaguide.com
SUMMARY:Inner Vision: Judy Ledgerwood's Monotypes
DESCRIPTION:In 2020 Judy Ledgerwood produced a significant body of unique prints with Manneken Press. a project that continued over a period of months and resulted in more than thirty monotypes. \nUsing watercolor\, rather tan traditional printing inks\, the aqueous media flowed\, allowing the colors to pool\, run together\, settle and dry in unique patterns and textures\, emphasizing its physical materiality as a substance and producing results distinctly different from working with watercolor in an unmediated\, direct manner on paper. Ledgerwood’s signature quatrefoil shapes\, loose\, diagonal grids\, floral and yonic symbols\, references to quilts and the “feminine arts” and intense\, penetrating colors are found throughout the monotype series.
URL:https://artinamericaguide.com/event/inner-vision-judy-ledgerwoods-monotypes/
LOCATION:IFPDA Viewing Room
CATEGORIES:Virtual Events + Viewing Rooms
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/field_of_flowers_blue_black.jpg
ORGANIZER;CN="Manneken Press":MAILTO:ink@mannekenpress.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260202
DTEND;VALUE=DATE:20270203
DTSTAMP:20260403T144544
CREATED:20260202T204903Z
LAST-MODIFIED:20260202T204903Z
UID:115743-1769990400-1801612799@artinamericaguide.com
SUMMARY:Inner Vision: Judy Ledgerwood's Monotypes
DESCRIPTION:In 2020 Judy Ledgerwood produced a significant body of unique prints with Manneken Press. a project that continued over a period of months and resulted in more than thirty monotypes. \nUsing watercolor\, rather tan traditional printing inks\, the aqueous media flowed\, allowing the colors to pool\, run together\, settle and dry in unique patterns and textures\, emphasizing its physical materiality as a substance and producing results distinctly different from working with watercolor in an unmediated\, direct manner on paper. Ledgerwood’s signature quatrefoil shapes\, loose\, diagonal grids\, floral and yonic symbols\, references to quilts and the “feminine arts” and intense\, penetrating colors are found throughout the monotype series.
URL:https://artinamericaguide.com/event/inner-vision-judy-ledgerwoods-monotypes-2/
LOCATION:IFPDA Viewing Room
CATEGORIES:Virtual Events + Viewing Rooms
ORGANIZER;CN="Manneken Press":MAILTO:ink@mannekenpress.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260202T080000
DTEND;TZID=America/New_York:20270202T170000
DTSTAMP:20260403T144544
CREATED:20260202T204903Z
LAST-MODIFIED:20260202T204903Z
UID:115752-1770019200-1801587600@artinamericaguide.com
SUMMARY:Array: A Woodcut Opus by Rupert Deese
DESCRIPTION:“Array” are twenty circular woodcuts by Rupert Deese\, the series unfolded over seven years: Array 700 appeared in 2005\, followed by Array 350 and Array 500 in 2006\, with the project culminating in Array 1000 in 2012. Each print divides the circular field into a distinct tiling system. Beginning with nine equal radial divisions\, Deese further organizes the space through additional radial lines and inscribed circles\, producing intricate\, balanced configurations that are unique to each work. \nWhile firmly abstract\, the Array images maintain a subtle relationship to the landscapes and watersheds of California’s upper Merced and Tuolumne Rivers—regions central to the artist’s experience and to his larger practice. The suite can be understood as an extended meditation on these geographies\, translating their rhythms and structures into ordered\, contemplative visual systems.
URL:https://artinamericaguide.com/event/array-a-woodcut-opus-by-rupert-deese/
CATEGORIES:Virtual Events + Viewing Rooms
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/array_pair.jpg
ORGANIZER;CN="Manneken Press":MAILTO:ink@mannekenpress.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260207
DTEND;VALUE=DATE:20260405
DTSTAMP:20260403T144544
CREATED:20260205T191930Z
LAST-MODIFIED:20260210T223853Z
UID:115812-1770422400-1775347199@artinamericaguide.com
SUMMARY:Beauford Delaney: The Light Contained in Every Thing
DESCRIPTION:The gallery’s fourth solo presentation featuring the work of celebrated American artist Beauford Delaney (1901–1979)\, Beauford Delaney: The Light Contained in Every Thing includes abstract paintings and works on paper created between 1954 and 1968. Taking its title from the introduction to Delaney’s 1964 solo exhibition at Galerie Lambert in Paris written by his close friend and famed author James Baldwin (1924–1987)\, this exhibition illuminates Delaney’s unmatched ability to imbue his compositions with a radiance that resonates on a visual\, psychological\, and spiritual level. \nLearn more
URL:https://artinamericaguide.com/event/beauford-delaney-the-light-contained-in-every-thing/
LOCATION:Michael Rosenfeld Gallery\, 100 11th Ave\, New York\, NY\, New York\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/Beauford-Delaney_framed.jpg
ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
GEO:40.7460874;-74.0076191
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Michael Rosenfeld Gallery 100 11th Ave New York NY New York United States;X-APPLE-RADIUS=500;X-TITLE=100 11th Ave:geo:-74.0076191,40.7460874
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260207
DTEND;VALUE=DATE:20260405
DTSTAMP:20260403T144544
CREATED:20260205T191953Z
LAST-MODIFIED:20260210T223810Z
UID:115808-1770422400-1775347199@artinamericaguide.com
SUMMARY:William T. Williams: Word of Eye
DESCRIPTION:William T. Williams: Word of Eye is the debut presentation for a new series of paintings by William T. Williams (b.1942). The gallery’s fourth solo exhibition of the artist’s work\, the show includes eleven paintings created between 2024 and 2025. Imbued with a sense of monumentality that is expressed through their beauty\, compositional complexity\, and perceptual impact\, Williams states: “I wanted to make a body of work that demanded and would require a person looking and looking for a sustained amount of time. It’s not a 30 second pass\, its stopping\, looking\, inquiring\, and allowing the painting and the viewer to become one in the same.” \nLearn more
URL:https://artinamericaguide.com/event/william-t-williams-word-of-eye/
LOCATION:Michael Rosenfeld Gallery\, 100 11th Ave\, New York\, NY\, New York\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/William-T.-Williams.jpg
ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
GEO:40.7460874;-74.0076191
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Michael Rosenfeld Gallery 100 11th Ave New York NY New York United States;X-APPLE-RADIUS=500;X-TITLE=100 11th Ave:geo:-74.0076191,40.7460874
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260207T110000
DTEND;TZID=America/Los_Angeles:20260517T170000
DTSTAMP:20260403T144544
CREATED:20260109T153801Z
LAST-MODIFIED:20260109T153801Z
UID:115662-1770462000-1779037200@artinamericaguide.com
SUMMARY:Wallflowers
DESCRIPTION:Wallflowers is a dialogue across time centered on one of art history’s most underestimated genres: the floral still life. Bringing together eleven paintings from the Frye’s collection with newly commissioned wallpaper designs from eleven contemporary artists\, the exhibition explores how artists from the nineteenth century to the present have turned to floral imagery as fertile ground for experimentation and reinvention. \nThe floral still life genre has proven remarkably durable\, capable of holding centuries’ worth of ideas about beauty\, impermanence\, social class\, and the shifting relationship between art and craft. Today\, contemporary artists continue to redeploy the floral as both image and symbol: an unassuming bouquet is actually neither quaint nor static\, but full of cultural memory\, and a site for subversive social critique. \nStructured to mimic the delights of navigating a cultivated garden\, Wallflowers oscillates between discrete paintings and immersive patterns\, between contemplation and exuberance. The selected works tell a broader story of industrialization\, design\, and modernism’s ongoing flirtation with the decorative\, and celebrate the ability of artists to invest familiar forms with fresh meaning.
URL:https://artinamericaguide.com/event/wallflowers/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/01/John-Marshall-Gamble_Chrysanthemums.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260219
DTEND;VALUE=DATE:20260629
DTSTAMP:20260403T144544
CREATED:20260105T215119Z
LAST-MODIFIED:20260105T215119Z
UID:115457-1771459200-1782691199@artinamericaguide.com
SUMMARY:Brush\, Block\, and Blood: Three Generations of Yoshida Women Printmakers
DESCRIPTION:This exhibition traces over a century of innovation and artistic vision through the work of three generations of women printmakers from the celebrated Yoshida family: Fujio Yoshida (1887–1987)\, Chizuko Yoshida (1924–2017)\, and Ayomi Yoshida (born 1958). Accompanying Ayomi Yoshida’s commission for our Street Nihonga exhibition\, Brush\, Block\, and Blood offers an introduction to her practice through the vibrant legacy of Yoshida family printmaking.
URL:https://artinamericaguide.com/event/brush-block-and-blood-three-generations-of-yoshida-women-printmakers/
LOCATION:Spencer Museum of Art\, University of Kansas\, 1301 Mississippi St.\, Lawrence\, KS\, 66045\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/12/2008.0040.jpg
ORGANIZER;CN="Spencer Museum of Art%2C University of Kansas":MAILTO:spencerart@ku.edu
GEO:38.9596803;-95.244588
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Spencer Museum of Art University of Kansas 1301 Mississippi St. Lawrence KS 66045 United States;X-APPLE-RADIUS=500;X-TITLE=1301 Mississippi St.:geo:-95.244588,38.9596803
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260219
DTEND;VALUE=DATE:20260629
DTSTAMP:20260403T144544
CREATED:20260105T215119Z
LAST-MODIFIED:20260105T215119Z
UID:115450-1771459200-1782691199@artinamericaguide.com
SUMMARY:Street Nihonga: The Art of Jimmy Tsutomu Mirikitani
DESCRIPTION:Street Nihonga: The Art of Jimmy Tsutomu Mirikitani explores the life and work of Jimmy Tsutomu Mirikitani (1920–2012)\, whose art blends traditional Japanese aesthetics with the rawness of street life in New York City. Born in Sacramento\, California\, in 1920 and raised in Hiroshima\, Japan\, Mirikitani lived a life shaped by displacement\, resilience\, collaboration\, and creativity across borders. Trained in Nihonga (“Japanese-style” painting) in prewar Japan\, he returned to the United States in 1940 and endured wartime incarceration at Tule Lake\, the loss of family and friends in Hiroshima to the atomic bombing\, and decades of statelessness and homelessness in postwar New York City. His art—spanning painting\, drawing\, collage\, and mixed media—became both a survival strategy and a way to transform memories of his transpacific journey and Japanese American experiences into shared testimony. With more than 160 artworks\, Street Nihonga brings together the largest assembly of Mirikitani’s works to date. Mirikitani’s art invites viewers to engage with his extraordinary life stories beyond national divides\, emphasizing artmaking’s power as a means of survival\, political expression\, and cross-cultural dialogue.
URL:https://artinamericaguide.com/event/street-nihonga-the-art-of-jimmy-tsutomu-mirikitani/
LOCATION:Spencer Museum of Art\, University of Kansas\, 1301 Mississippi St.\, Lawrence\, KS\, 66045\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/12/EL2026.002.jpg
ORGANIZER;CN="Spencer Museum of Art%2C University of Kansas":MAILTO:spencerart@ku.edu
GEO:38.9596803;-95.244588
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Spencer Museum of Art University of Kansas 1301 Mississippi St. Lawrence KS 66045 United States;X-APPLE-RADIUS=500;X-TITLE=1301 Mississippi St.:geo:-95.244588,38.9596803
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260226
DTEND;VALUE=DATE:20260405
DTSTAMP:20260403T144544
CREATED:20260210T204436Z
LAST-MODIFIED:20260210T204436Z
UID:115837-1772064000-1775347199@artinamericaguide.com
SUMMARY:Martine Gutierrez: Lottery
DESCRIPTION:RYAN LEE is pleased to announce Lottery\, an exhibition of photographs and video installation by Martine Gutierrez. Arising out of a recent performance in Paris that took inspiration from 1970s feminist performance art\, Gutierrez incorporates her tool of choice\, the camera\, to subvert hierarchies of power and explore notions of control and access.
URL:https://artinamericaguide.com/event/martine-gutierrez-lottery/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
GEO:40.7500935;-74.0036112
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=RYAN LEE 515 W 26th St 3rd Fl New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=515 W 26th St\, 3rd Fl:geo:-74.0036112,40.7500935
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260226
DTEND;VALUE=DATE:20260405
DTSTAMP:20260403T144544
CREATED:20260218T163500Z
LAST-MODIFIED:20260218T163500Z
UID:115852-1772064000-1775347199@artinamericaguide.com
SUMMARY:Erick Johnson: Continuum
DESCRIPTION:Kathryn Markel Fine Arts is pleased to announce an upcoming exhibition of new paintings by Erick Johnson titled Continuum.  This is his third solo exhibition with the gallery. A reception for the artist will be held on February 26th from 6-8pm. \n\nJohnson’s abstract paintings explore the synergy between color and form. Irregular shapes stack and slide together\, building walls of reverberating color. The elements touch occasionally\, but most are separated by narrow white passages that create the illusion of forms suspended in space. \n\nJohnson uses handmade tools to pull paint across the surface in layered passes. Small interruptions in the lines remain as evidence of the process. Opaque and translucent bands of color play against each other\, creating rhythm and movement. Fluctuating stripes build vibrant\, shifting polygons\, while fuzzy edges bleed into the surrounding white. Some settle into place like masonry; others teeter on their neighbors. \nThe compositions feel active rather than fixed. The shapes become worlds of their own\, grazing one another and pressing against the picture’s edge. They are both grounded and moving – structured geometry animated by color.  To Johnson the shapes “often straddle the line between object and opening\, construction and evolution.” \n  \nErick Johnson holds an MFA from Bard College and a BFA from Empire State College. He has presented notable solo exhibitions\, including at the Brattleboro Museum & Art Center\, VT\, Gallery Neptune & Brown\, Wash DC\, and Furnace: Art on Paper Archive in Falls Village\, CT. He has also participated in group exhibitions at Pierogi Gallery\, NYC\, LABspace\, Hillsdale\, NY\, and Bernays Fine Art in Great Barrington\, MA amongst others. He is a new 2023 member of the historic American Abstract Artists group and lives and works in New York City.
URL:https://artinamericaguide.com/event/erick-johnson-continuum/
LOCATION:529 W 20th St. 6W\, 529 W 20th St. 6W\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/joh063-scaled.jpg
ORGANIZER;CN="Kathryn Markel Fine Arts":MAILTO:markel@markelfinearts.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260226
DTEND;VALUE=DATE:20260413
DTSTAMP:20260403T144544
CREATED:20260226T210131Z
LAST-MODIFIED:20260226T210131Z
UID:116008-1772064000-1776038399@artinamericaguide.com
SUMMARY:Robert The: Book Work
DESCRIPTION:Artist Robert The creates sculptural works in which books are transformed with subversive wit and scrupulous invention. Often working with remaindered volumes that were part of large-scale mass-market editions\, the artist transfigures these objects through singular gestures such as through-slicing words and cutting out new iconic forms. Always uniquely appropriate to his source material\, the artist’s interventions have included turning a bible into a grenade and a Malevich monograph into a Kalashnikov. \nFor History of Art\, 2017\, The modifies a copy of H.W. Janson’s ubiquitous art history doorstopper by slicing ‘bristles’ into its leaved edge and affixing a broom handle to its spine. This remarkable sculptural hybrid could be designed for sweeping away the remnants of a dated art history—or reminding us of the alternate histories swept under the carpet by Janson’s grand narrative. \nWith The Illustrated Story of “O”\, 2005\, the artist highlights the violence at the core of the notorious “erotic” novel\, cutting a nested handgun through the book. As with all his work\, The’s disruptive gesture manages to hold the original book and its new form in an urgent\, engaging open conversation with one another. \nIn Philosophical Investigations\, 2017\, the artist cuts the word THIS all the way through a copy of Wittgenstein’s opus\, suggesting both an analog for indexical meaning\, as well as a counter to linguistic relativity through a gesture toward presentness. \nView the exhibition online here. \nWhile the precision of Robert The’s work suggests the use of die or laser-cut processes\, the works are in fact all directly cut by the artist. Playfully referring to his work as “precision vandalism”\, The prefers to avoid marks of the hand-crafted and high-end: his book works instead foreground the laser-like sharpness of their creator’s inventiveness. \n  \nRobert The studied philosophy and mathematics at the University of Wisconsin\, Madison\, and design at the Institute of Lettering and Design in Chicago. His work has been included in exhibitions at Yale University Art Gallery\, New Haven\, CT; the Bonner Kunstverein\, Bonn\, Germany; Momenta Art\, Brooklyn NY; Walker Art Center\, Minneapolis\, MN; Samuel Dorsky Museum of Art\, SUNY\, New Paltz\, NY; Center for Book Arts\, New York\, NY; and Parsons School of Design\, New York\, NY. The artist’s work can be found in the permanent collections of Los Angeles Museum of Contemporary Art\, Los Angeles\, CA; The Museum of Modern Art Artist Book Collection\, New York\, NY; New York Public Library\, Print Collection\, New York\, NY; Walker Art Center Library\, Minneapolis\, MN; Yale University Library\, Arts of the Book Collection\, New Haven\, CT; and Banff Centre Library\, Banff\, Alberta\, Canada\, among many others.
URL:https://artinamericaguide.com/event/robert-the-book-work/
LOCATION:JHB Gallery New York\, 26 Grove Street\, 4C\, New York\, NY\, 10014\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/Bible-grenade-1.jpg
ORGANIZER;CN="JHB Gallery":MAILTO:info@jhbgallery.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260226
DTEND;VALUE=DATE:20260413
DTSTAMP:20260403T144544
CREATED:20260226T210132Z
LAST-MODIFIED:20260226T210132Z
UID:116004-1772064000-1776038399@artinamericaguide.com
SUMMARY:Robert The: Book Work
DESCRIPTION:Artist Robert The creates sculptural works in which books are transformed with subversive wit and scrupulous sculptural invention. Often working with remaindered volumes that were part of large-scale mass-market editions\, the artist transfigures these objects through singular gestures such as through-slicing words and cutting out new iconic forms. Always uniquely appropriate to his source material\, the artist’s interventions have included turning a bible into a grenade and a Malevich monograph into a Kalashnikov. \nFor History of Art\, 2017\, The modifies a copy of H.W. Janson’s ubiquitous art history doorstopper by slicing ‘bristles’ into its leaved edge and affixing a broom handle to its spine. This remarkable sculptural hybrid could be designed for sweeping away the remnants of a dated art history—or reminding us of the alternate histories swept under the carpet by Janson’s grand narrative. \nWith The Illustrated Story of “O”\, 2005\, the artist highlights the violence at the core of the notorious “erotic” novel\, cutting a nested handgun through the book. As with all his work\, The’s disruptive gesture manages to hold the original book and its new form in an urgent\, engaging open conversation with one another. \nIn Philosophical Investigations\, 2017\, the artist cuts the word THIS all the way through a copy of Wittgenstein’s opus\, suggesting both an analog for indexical meaning\, as well as a counter to linguistic relativity through a gesture toward presentness. \nWhile the precision of Robert The’s work suggests the use of die or laser-cut processes\, the works are in fact all directly cut by the artist. Playfully referring to his work as “precision vandalism”\, The prefers to avoid marks of the hand-crafted and high-end: his book works instead foreground the laser-like sharpness of their creator’s inventiveness. \nView the exhibition online here. \nRobert The studied philosophy and mathematics at the University of Wisconsin\, Madison\, and design at the Institute of Lettering and Design in Chicago. His work has been included in exhibitions at Yale University Art Gallery\, New Haven\, CT; the Bonner Kunstverein\, Bonn\, Germany; Momenta Art\, Brooklyn NY; Walker Art Center\, Minneapolis\, MN; Samuel Dorsky Museum of Art\, SUNY\, New Paltz\, NY; Center for Book Arts\, New York\, NY; and Parsons School of Design\, New York\, NY. The artist’s work can be found in the permanent collections of Los Angeles Museum of Contemporary Art\, Los Angeles\, CA; The Museum of Modern Art Artist Book Collection\, New York\, NY; New York Public Library\, Print Collection\, New York\, NY; Walker Art Center Library\, Minneapolis\, MN; Yale University Library\, Arts of the Book Collection\, New Haven\, CT; and Banff Centre Library\, Banff\, Alberta\, Canada\, among many others. \n 
URL:https://artinamericaguide.com/event/robert-the-book-work-2/
LOCATION:JHB Gallery New York\, 26 Grove Street\, 4C\, New York\, NY\, 10014\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/Bible-grenade.jpg
ORGANIZER;CN="JHB Gallery":MAILTO:info@jhbgallery.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260226
DTEND;VALUE=DATE:20260413
DTSTAMP:20260403T144544
CREATED:20260304T164457Z
LAST-MODIFIED:20260304T164457Z
UID:116020-1772064000-1776038399@artinamericaguide.com
SUMMARY:Robert The: Book Work
DESCRIPTION:Artist Robert The creates sculptural works in which books are transformed with subversive wit and scrupulous invention. Often working with remaindered volumes that were part of large-scale mass-market editions\, the artist transfigures these objects through singular gestures such as through-slicing words and cutting out new iconic forms. Always uniquely appropriate to his source material\, the artist’s interventions have included turning a bible into a grenade and a Malevich monograph into a Kalashnikov. \n  \nFor History of Art\, 2017\, The modifies a copy of H.W. Janson’s ubiquitous art history doorstopper by slicing ‘bristles’ into its leaved edge and affixing a broom handle to its spine. This remarkable sculptural hybrid could be designed for sweeping away the remnants of a dated art history—or reminding us of the alternate histories swept under the carpet by Janson’s grand narrative. \n  \nWith The Illustrated Story of “O”\, 2005\, the artist highlights the violence at the core of the notorious “erotic” novel\, cutting a nested handgun through the book. As with all his work\, The’s disruptive gesture manages to hold the original book and its new form in an urgent\, engaging open conversation with one another. \n  \nIn Philosophical Investigations\, 2017\, the artist cuts the word THIS all the way through a copy of Wittgenstein’s opus\, suggesting both an analog for indexical meaning\, as well as a counter to linguistic relativity through a gesture toward presentness. \n  \nWhile the precision of Robert The’s work suggests the use of die or laser-cut processes\, the works are in fact all directly cut by the artist. Playfully referring to his work as “precision vandalism”\, The prefers to avoid marks of the hand-crafted and high-end: his book works instead foreground the laser-like sharpness of their creator’s inventiveness. \n  \nView the exhibition online here>. \n  \nRobert The studied philosophy and mathematics at the University of Wisconsin\, Madison\, and design at the Institute of Lettering and Design in Chicago. His work has been included in exhibitions at Yale University Art Gallery\, New Haven\, CT; the Bonner Kunstverein\, Bonn\, Germany; Momenta Art\, Brooklyn NY; Walker Art Center\, Minneapolis\, MN; Samuel Dorsky Museum of Art\, SUNY\, New Paltz\, NY; Center for Book Arts\, New York\, NY; and Parsons School of Design\, New York\, NY. The artist’s work can be found in the permanent collections of Los Angeles Museum of Contemporary Art\, Los Angeles\, CA; The Museum of Modern Art Artist Book Collection\, New York\, NY; New York Public Library\, Print Collection\, New York\, NY; Walker Art Center Library\, Minneapolis\, MN; Yale University Library\, Arts of the Book Collection\, New Haven\, CT; and Banff Centre Library\, Banff\, Alberta\, Canada\, among many others.
URL:https://artinamericaguide.com/event/robert-the-book-work-3/
LOCATION:JHB Gallery New York\, 26 Grove Street\, 4C\, New York\, NY\, 10014\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/Philosophical-Investigations-Hi-Res-2-of-3-scaled.jpg
ORGANIZER;CN="JHB Gallery":MAILTO:info@jhbgallery.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260305
DTEND;VALUE=DATE:20260522
DTSTAMP:20260403T144544
CREATED:20260226T200253Z
LAST-MODIFIED:20260310T180350Z
UID:115993-1772668800-1779407999@artinamericaguide.com
SUMMARY:Unseen Layers
DESCRIPTION:“The most beautiful emotion we can experience is the mysterious. \nIt is the fundamental emotion that stands at the cradle of all true art and science.” \nAlbert Einstein \nfrom a 1931 essay\, included later in Ideas and Opinions and quoted by Eleanor Heartney in Unseen Layers catalogue. \n  \nRonald Feldman Gallery presents a series of new science-inspired paintings by Edwin Schlossberg\, marking his fifteenth solo exhibition with the gallery.  Compelled by his study of visual realms newly observed by scientists using innovative techniques and cutting-edge technology\, the works expound upon a broad range of subjects: biological and cosmic processes\, cellular emergence\, organic composition\, neural phenomenon\, and many others – all united by their alive-ness.  The artist approaches life’s activities from an expansive perspective\, where art\, science and humanity fundamentally interconnect\, and opportunities for crosspollination and renewal continually exist. \n  \nNotably\, Schlossberg considers each work a type of portrait\, with titles such as Portrait of Cells Dividing\, Portrait of Mouse Brain\, and Portrait of the Sun Shining.  At once corporeal and spiritual\, the paintings are made of luminous\, metallic colors with daubed or web-like compositions; the multiple paint layers applied to highly-reflective backgrounds portray structural\, life-supporting (or potentially life-threatening) entities. \nSchlossberg’s Making Visible will be played in the gallery’s street window.  The visionary\, 26:38 minute\, black and white video was commissioned by the Dilexi Foundation for public television in 1969.  The experimental work\, narrated by the artist and Buckminster Fuller\, is an essayistic exploration of the vast potential for electronic communication\, and embodies the promise of technology facilitating human interaction and understanding. \nThe exhibition is accompanied by a catalogue featuring contributors invited by Edwin Schlossberg and Lara Pan. The publication includes texts and reflections by John Alexander\, Céline Fribourg\, Steven Heller\, Eleanor Heartney\, Brett Littman\, Debbie Millman\, George Musser\, Lara Pan\, Rose Schlossberg\, Sasha Stiles\, Sacha Wade\, and Kevin Wade\, edited by Lara Pan. \n  \nEdwin Schlossberg has been represented by Ronald Feldman Gallery since 1978.  For over five decades\, he has worked across conventional and unconventional media to create visual and poetic worlds that bridge language\, image and perception.  His work has been exhibited widely in the United States and internationally and is included in major public and private collections\, including the Art Institute of Chicago\, the Solomon R. Guggenheim Museum\, the Metropolitan Museum of Art\, and the Museum of Modern Art.  In 2004\, he received the National Arts Club Medal of Honor\, and in 2011 he was appointed by President Barack Obama to the U.S. Commission of Fine Arts. \n  \nGallery hours are Tuesday through Thursday and Saturday\, 1-5pm (closed Saturday March 7th and April 4th) \nFor press and image inquiries\, contact Cat Zhou at (212) 226-3232 or catherine@feldmangallery.com \nReception: Thursday\, March 5\, 6-8pm\nPanel Discussion: Saturday March 28\, 5pm with Edwin Schlossberg\, Eleanor Heartney\, and George Musser\, moderated by Lara Pan
URL:https://artinamericaguide.com/event/unseen-layers/
LOCATION:Ronald Feldman Gallery\, 31 Mercer Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/Schlossberg-Portrait-of-Mouse-Brain-2023.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260306T100000
DTEND;TZID=America/New_York:20260802T170000
DTSTAMP:20260403T144544
CREATED:20260120T154410Z
LAST-MODIFIED:20260120T154410Z
UID:115670-1772791200-1785690000@artinamericaguide.com
SUMMARY:Celtic Art Across the Ages
DESCRIPTION:Discover the many forms of Celtic creativity and their artistic legacies in this sweeping story that spans ancient to modern times. \nWhen you think of the word “Celtic\,” what do you picture? Perhaps intricate knotwork designs\, legendary warriors\, or mystical spirituality? Maybe even a certain NBA team? Celtic Art Across the Ages will introduce visitors to the worlds of the various peoples who were historically labeled “Celts”—through the objects they created\, the interactions they had across the European continent\, and the myths that shaped their legacy\, then as now. The exhibition stretches from 800 BCE through today\, showcasing the craftsmanship\, innovation\, cultural connections\, and multilayered reception that characterized Celtic art in Europe and beyond. \nThe first major exhibition on this topic to take place in the United States\, Celtic Art Across the Ages offers an unprecedented opportunity to explore masterful metalwork\, including exquisitely decorated weaponry\, jewelry\, and horse and chariot trappings of the first millennium BCE Iron Age and early medieval times\, all brought to light through archaeological discoveries of the last 200 years. See how imagery transformed under Roman rule\, and trace the revival of Celtic art and identities in the modern era. From shape-shifting ancient ornaments to the more well-known Celtic iconography of medieval Ireland and Scotland\, the objects in this exhibition reveal rich and complex artistic traditions that defy stereotypes of what constitutes “Celtic art.” \nCheck out the exhibition catalogue\, with essays from international experts considering the themes of the exhibition and providing a solid introduction to this often underappreciated area of art history.
URL:https://artinamericaguide.com/event/celtic-art-across-the-ages/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/01/Pony-cap.jpeg
ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260319
DTEND;VALUE=DATE:20260427
DTSTAMP:20260403T144545
CREATED:20260304T164457Z
LAST-MODIFIED:20260304T164457Z
UID:116034-1773878400-1777247999@artinamericaguide.com
SUMMARY:Nishiki Sugawara-Beda: Scale and Tonality
DESCRIPTION:Amos Eno Gallery\, a non-profit\, artist-run gallery\, is pleased to present Scale and Tonality\, a solo exhibition by artist Nishiki Sugawara-Beda\, featuring the new series of work\, KuroKuroShiro+. The exhibition will be on view from March 19 to April 26\, 2026\, with an opening reception on Friday\, March 20\, from 6 to 8 p.m. at the gallery at 191 Henry St. on New York’s Lower East Side. \nLive music by the renowned duo Shoko Nagai and Satoshi Takeishi\, inspired by Sugawara-Beda’s paintings\, will be performed on Thursday\, April 9 at 6 p.m.\, followed by an art discussion moderated by Kyoko Sato\, a New York-based curator and Editor-in-Chief and Publisher of Japan Contemporaries. A closing reception is also scheduled on Saturday\, April 25\, from 2 to 5pm. Works and installation images are available to view via Artsy. \nFor many years\, Sugawara-Beda researched and used Sumi ink in her works—a material traditionally used in East Asia for writing and drawing\, made from soot and animal glue. She has made her own Sumi by collecting organic materials to burn into soot from various locations across the world. The resulting paintings\, a series called KuroKuroShiro\, act as a stage for the fusing together of this traditional Japanese craft and matter sourced from specific places that she has been drawn to over the course of her life. \nFor Scale and Tonality\, she is debuting a brand-new body of work\, KuroKuroShiro+\, which she began in early 2024 with the invitation to artistically respond to Palo Duro Canyon in west Texas\, the second largest canyon in the U.S. Multiple visits to the canyon allowed her to touch\, feel\, and extract materials from the canyon system and create this series of work that incorporated the materials from Texas. In addition\, she collaborated with a New York-based composer\, pianist\, and accordionist\, Shoko Nagai\, who created two pieces of music after visiting the canyon with Sugawara-Beda. Springboarded from this experience\, Scale and Tonality explores how the titular themes intersect in both the visual and aural realms. Ultimately\, this exhibition explores the relationship between scales and tonalities across music and painting through the materials she has harvested and collected from her current home state\, Texas\, and her native country\, Japan. \nAmos Eno Gallery’s new\, narrow gallery space in Manhattan inspired Sugawara-Beda to envision this exhibition with a large-scale painting\, KuroKuroShiro+ Scale and Tonality\, consisting of 6 panels as the center piece and aiming to occupy the majority of the viewer’s field of vision. The viewer’s visual experience will be accompanied by music that guides them and highlights the notions of scale and tonality\, both physically in the space and visually in the painting. Sugawara-Beda notes that “tonality becomes a guide for the viewer to navigate the painting; in the music\, the tonal shifts will help navigate the painting—the observation of tonality is really to create a more meaningful\, engaged experience with the painting itself.” Through the monumentality of the painting\, as well as the recording of Nagai’s music that will play throughout the gallery\, Sugawara-Beda hopes to guide the viewer into new emotional depths of reflection. \nFor the live music event on April 9\, the layers of interpretations can be witnessed through this performance which is the ultimate culmination of the collaboration between the musician and the artist. For this project\, Sugawara-Beda said “this synthesis began when I interpreted the music by Nagai and the land to produce a series of work. Then in this live music event\, Nagai will interpret my large painting which was the result of my exploration of the relationship between the visual and aural\, specifically her music”. Therefore\, this event will be the cycle of interpretation through a multi-sensory experience both for the viewers and herself. \nScale and Tonality welcomes the viewers to be immersed both physically with a large-scale painting and aurally with the sound of Nagai’s music\, bringing Texas and Japan to New York City. \nAbout the Artist \nNishiki Sugawara-Beda is a Japan-born\, Japanese-American visual artist. Through her art\, she seeks to find the core of shared humanity\, connecting across space and time. To do this\, she centers traditional artistic methods from multiple cultures and foregrounds the origins of materials in her artworks. \nShe holds an MFA in Painting from Indiana University in Bloomington\, Indiana\, exhibits her work in solo and group exhibitions\, and lectures nationwide and abroad. Her works are in private and public collections including the Dallas Museum of Art (TX) and the Dennos Museum (MI). Currently\, she is an Associate Professor and Cox Family Endowed Professor of Painting and Drawing at Southern Methodist University in Dallas\, Texas. \nAbout Amos Eno Gallery \nAmos Eno Gallery has been a fixture in the New York art scene since 1974 when it opened in Soho. The gallery is open Thursdays through Sundays from noon to 6 p.m. and is run by a small community of professional artists\, both from New York City and across the country\, and a part-time director. ​ \nAmos Eno Gallery’s programs are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature. \nAmos Eno Gallery is also partially funded thanks to the generosity of the Joseph Roberts Foundation.
URL:https://artinamericaguide.com/event/nishiki-sugawara-beda-scale-and-tonality/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/Detail-of-KKS-Scale-and-Tonality.jpg
ORGANIZER;CN="Amos Eno Gallery":MAILTO:amosenogallery@gmail.com
GEO:40.7057864;-73.9331373
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Amos Eno Gallery 191 Henry Street New York NY 10002 United States;X-APPLE-RADIUS=500;X-TITLE=191 Henry Street:geo:-73.9331373,40.7057864
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260330T100000
DTEND;TZID=America/New_York:20260509T170000
DTSTAMP:20260403T144545
CREATED:20260325T165823Z
LAST-MODIFIED:20260325T165823Z
UID:116138-1774864800-1778346000@artinamericaguide.com
SUMMARY:Mark Kelner: American Mosaic
DESCRIPTION:Washington\, DC – HEMPHILL is pleased to announce the virtual exhibition MARK KELNER: American Mosaic\, beginning on Monday\, March 30\, 2026. The virtual exhibition will be viewable on hemphillartworks.com from March 30 – May 9\, 2026. \nIf we accept the idea that art is inherently both decorative and political\, we begin to grasp its full power. Work that leans more toward decoration may mask its political position\, but it still conveys economic value and status. An artwork that implores the viewer to read its political content over time becomes increasingly decorative. Inevitably\, those artists with a political axe to grind are the most exciting to experience\, sharing their ambitions\, sometimes wild\, sometimes disagreeable\, always thought-provoking. \nIn this spirit\, we invite you to view Mark Kelner’s American Mosaic. Mark is energetic\, talkative\, and intelligent. His work tells us where we are today\, from an insightful\, sometimes humorous\, and always worthwhile contemplative perspective. \nMark Kelner is a visual artist and filmmaker based in Brooklyn and Washington\, DC. Conceived in Russia\, born in Ohio\, and raised by television\, Kelner’s art is often rooted in the refraction of overlapping\, if not\, competing national identities. Kelner has shown at the American University Museum in Washington\, DC\, The Container in Tokyo\, Ronald Feldman Gallery in New York\, Librairie du Globe in Paris\, Art Contemporary Los Angeles\, and HEMPHILL Artworks in Washington\, DC among others. His work can be found in many private and public collections including the American University Museum\, Washington\, DC\, Capital Jewish Museum\, Washington\, DC\, Moscow Museum of Modern Art\, Moscow\, Russia and the Zuzeum Art Centre\, Riga\, Latvia.
URL:https://artinamericaguide.com/event/mark-kelner-american-mosaic/
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/03/22American-Mosaic22-21-x-48-x-6-12_2026-sm-scaled.jpeg
ORGANIZER;CN="HEMPHILL":MAILTO:gallery@hemphillfinearts.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260409
DTEND;VALUE=DATE:20260510
DTSTAMP:20260403T144545
CREATED:20260325T165823Z
LAST-MODIFIED:20260325T165823Z
UID:116144-1775692800-1778371199@artinamericaguide.com
SUMMARY:Waves of Knowing
DESCRIPTION:RYAN LEE Gallery is pleased to announce Waves of Knowing\, an exhibition of paintings\, sculpture\, and works on paper by artists associated with the Metcalf Chateau group from Hawai‘i: Satoru Abe (1926-2025)\, Bumpei Akaji (1921-2002)\, Tetsuo Ochikubo (1923- 1975)\, Tadashi Sato (1923-2005)\, and Harry Tsuchidana (1932-). Many of these artists have never been shown on the mainland United States\, or haven’t been shown on the mainland since the 1960s. Their work combines the ideas of Abstract Expressionism learned during their time in New York and Europe with inspiration from the Hawaiian landscape and waters.
URL:https://artinamericaguide.com/event/waves-of-knowing/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/03/SAB-26-01-RL.jpg
ORGANIZER;CN="RYAN LEE":MAILTO:info@ryanleegallery.com
GEO:40.7500935;-74.0036112
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=RYAN LEE 515 W 26th St 3rd Fl New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=515 W 26th St\, 3rd Fl:geo:-74.0036112,40.7500935
END:VEVENT
END:VCALENDAR