current exhibitions & events | ArtSlant https://www.artslant.com/ny/Events/show en-us 40 - The Jewish Museum - April 11th, 2003 - December 31st, 2035 <p>At the heart of The Jewish Museum is its permanent exhibition, <i><a target="_blank" href="http://www.thejewishmuseum.org/exhibitions/CultureAndContinuity">Culture and Continuity: The Jewish Journey</a></i>, representing one of the world's great opportunities to explore Jewish culture and history through art. This vibrant two-floor exhibition features 800 works from the Museum's remarkably diverse collection of art, archaeology, ceremonial objects, video, photographs, interactive media and television excerpts. It examines the Jewish experience as it has evolved from antiquity to the present, over 4,000 years, and asks two vital questions: How has Judaism been able to thrive for thousands of years across the globe, often in difficult and even tragic circumstances? What constitutes the essence of Jewish identity? <br /><br />The exhibition traces the dynamic interaction among three catalysts that have shaped the Jewish experience: the constant questioning and reinterpretation of Jewish traditions, the interaction of Jews and Judaism with other cultures, and the impact of historical events that have transformed Jewish life. <i>Culture and Continuity: The Jewish Journey</i> proposes that Jews have been able to sustain their identity, despite wide dispersion and sometimes tragic circumstances, by evolving a culture that can adapt to life in many countries and under various conditions. Survival as a people has depended upon both the continuity of Jewish ideas and values and the flexibility to adapt to changing circumstances.<br /><br />We invite you to visit the Museum and see <i>Culture and Continuity: The Jewish Journey</i> in person. Visitors to the Museum can enjoy random access audio guide tours of the exhibition, including a "Director's Highlights" audio guide featuring Joan Rosenbaum, Helen Goldsmith Menschel Director of The Jewish Museum, and a special audio guide for children and families. Audio guides are free of charge with Museum admission and were made possible by Bloomberg.<br /><br /><i>Bring a <a target="_blank" href="http://www.thejewishmuseum.org/exhibitions/CultureAndContinuity">copy of the exhibit's web page on the Jewish Museum's Web site </a>to The Jewish Museum Admissions Desk with your e-mail address and you will receive one 50% admissions discount.</i></p> Wed, 08 Jul 2009 03:05:47 -0600 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list WM ROSE - ARTBREAK - August 17th, 2009 - August 17th, 2020 <p>THE GALLERY IS AT  WWW.ARTBREAK.COM    WHERE YOU MAY SEARCH FOR</p> <p> </p> <p>WILLIAM RO-SEY       THERE YOU MAY CONTACT  WCD207@GMAIL.COM TO OFFER THE FAMILY A PRICE IRREGARDLESS OF PRICE MARKED</p> Thu, 24 Dec 2009 15:12:51 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Peter Borgese - PETER BORGESE MODERN ART GALLERY - September 19th, 2013 - January 6th, 2034 <p>A new chapter of surrealism created by Borgese, painter of modern conceptualism,&nbsp;to captivate, stimulate, and motivate the senses of the viewer for a life time; is exhibited in this body of work at gallery&nbsp;Borgese. There are over 30 original fine art&nbsp;paintings and 20 drawings&nbsp;framed and hung for you to view, purchase, take home or have delivered.</p> Sun, 02 Mar 2014 10:46:25 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list - Housatonic Museum of Art - August 15th, 2011 - October 20th, 2020 <p>The Housatonic Museum of Art is pleased to announce <em>Polaridad Complementaria: Recent Works from Cuba, </em>an exhibition that<em> </em>introduces North America to the new generation of influential artists from Cuba. <em> </em><em>Polaridad Complementaria </em>is on view in the Burt Chernow Galleries at the Housatonic Museum of Art from <strong>August 15</strong> through <strong>October 20, 2011<br /> </strong> <br /> Developed by the Centro de Arte Contemporaneo Wifredo Lam, Havana, <em>Polaridad Complementaria</em> offers audiences the opportunity to become acquainted with the island’s current and upcoming artistic talent. More than 40 works of painting, drawing, sculpture, photography, video and installation art provide a sense of the serious aesthetic and conceptual concerns that characterizes Cuban art today. The 24 artists presented here are mainly young artists who have attained international recognition. The majority of these artists have taken part in fairs and biennials abroad and all have exhibited in Europe, Latin America and were featured in various editions of the Havana Biennial. Several have exhibited in the United States, including René Peña, Abel Barroso, Aimeé García, Yoan Capote, Eduardo Ponjuán, Lázaro Saavedra, Sandra Ramos and Roberto Fabelo.<br />  <br /> Often compared to American photographer Robert Mapplethorpe, artist René Peña explores the relationship between individuals within society and the struggle for their own identity. Abel Barroso carves three-dimensional pieces using wood and various printing methods to create a conversation about technology and the third-world. From Zulueta, Cuba, Duvier del Dago takes things one step further, combining drawing with handmade 3D design examining the unattainable, whether it be the material or the ideal. From simplistic to intricately fabricated, these artists create a narrative of Cuba today.<br />  <br /> Diverse in both medium and themes, the artists featured in <em>Polaridad Complementaria</em> understand the power of their art to address a wide range of social issues. The exhibition highlights works that connect the local context with global concerns and universal human issues. After many years, <em>Polaridad Complementaria</em> opens a pathway for dialogue and cultural exchange between Cuba and the United States, two countries with historic ties and common cultural processes, despite troubled relations.<br /> <br /> <strong>Margarita Sánchez Prieto</strong> is curator, researcher and art critic at Centro de Arte Contemporaneo Wifredo Lam in Havana and recipient of the National Prize of Curatorship at the 2000 Havana Biennial. She has curated various exhibitions and lectured extensively on Cuban and Latin American art throughout South America, Europe and Canada. Her work has been published in various art magazines and she is the author of the anthology <em>An Outlook of Latin American Art in the Decade of 1980</em>.  <br /> <br /> Director of the Wifredo Lam Contemporary Art Centre and curator and art critic of the Havana Biennial, <strong>Jorge Fernandez Torres</strong> has curated over 15 major exhibitions in Cuba, Spain, Central, and South America. He was a member of the Commission for Cuban Cultural Development of UNESCO in 1997 and on the Advisory Council for the Arts of the National Library of Cuba in 2000 and 2001 as well as Vice Rector of the Higher Institute of Arts in Havana for the past ten years. He is the Author of several texts in catalogues of Cuban art and as professor of contemporary art at the Higher Institute of Arts (ISA), and has lectured all over the world. <br /> <br /> <em>Polaridad Complementaria: Recent Works from Cuba</em> was developed by the <strong>Centro de Arte Contemporáneo Wifredo Lam</strong>, Havana and is toured by International Arts &amp; Artists, Washington, DC. </p> Sun, 09 Oct 2011 19:50:07 -0600 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Molly Dilworth - The James Hotel - May 1st, 2013 - January 1st, 2023 <p>Painting for the garden at The James Hotel, 27 Grand Street, NYC. Opening May 1, 2013.<br /><br />Ghost acreage is extraterritorial land annexed for production. Historically, American land was used to produce cotton for space-constrained Europe; today variations of this practice can be found everywhere in industrial production from food to electronics.<br /><br />The designs for the Urban Garden pillar at The James Hotel were generated by sampling from visual and historical markers on 6th Avenue immediately adjacent to the pillar. Examples include the multicolored z-shaped crosswalk pavers, the Avenue of the Americas lamppost medallions and the statue of Juan Pablo Durate who helped found the Dominican Republic and establish its independence from Hati.<br /><br />During the colonial period, residents of Lower Manhattan and Carribean countries shared the experience of being subjects and revolutionaries. While mostly invisible today, evidence of these histories can be found just outside the Urban Garden.</p> Thu, 09 May 2013 14:03:07 -0600 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list - Queens Museum of Art - November 9th, 2013 - November 9th, 2023 <p>The Queens Museum will always be inextricably linked to the 1939 and 1964 World&rsquo;s Fairs, and with a collection of more than 10,000 objects pertaining to the two expositions, the Museum is a key resource to both scholars and fans. In an effort to provide visitors with a greater understanding of the scope of the Museum&rsquo;s enormous holdings of 1939 and 1964 World&rsquo;s Fair artifacts and memorabilia, the newly installed World&rsquo;s Fair Visible Storage and Gallery on the second floor displays more than 900 three-dimensional pieces arranged by the date of each World&rsquo;s Fair, and within these categories, arranged by donor. The dense installation provides an opportunity to study a large number of related works of World&rsquo;s Fair objects up close, and to compare and contrast a wide range of items from 1939 and 1964. The Visible Storage provides unprecedented access to students, scholars, and the general public to explore the collection that was formerly hidden in the Museum&rsquo;s art vault, off-limits to the public. Many of these objects have never been displayed in the history of the Queens Museum.</p> <p>Visible Storage addresses the challenge of organizing a public exhibition space while fulfilling the traditional purpose of safely displaying and storing an important cross-section of the Museum&rsquo;s collections in a climate-controlled and easily accessible environment. Light sensitive objects, such as documents, photographs and textiles, remain stored in dedicated low-light facilities.</p> <p>These large glass cases now house more than 90% of the three-dimensional objects in the Museum&rsquo;s World&rsquo;s Fair collection. New acquisitions and private collections that, in most cases, have been donated to the Museum, will be added to the Visible Storage allowing visitors to gain new insight into the history and evolution of the World&rsquo;s Fairs through a visual understanding, and a palpable sense of place by exploring these artifacts and memorabilia. Furthermore, with all the objects donated by a particular collector displayed as a group, the collections within the collection become evident.</p> <p>As milestone anniversaries of both the 1939 and 1964 World&rsquo;s Fairs near, Visible Storage pays homage to momentous events in the history of Flushing Meadows Corona Park and the Queens Museum. These objects simultaneously evoke the past and a yearning for tomorrow. Linking thematically with the beloved Panorama of the City of New York and its slightly more modest relative, the Relief Map of the New York City Water Supply System, the Visible Storage completes the triumvirate at the heart of the NYC Building&rsquo;s rich history as a World&rsquo;s Fair pavilion. The World&rsquo;s Fair collection is ever-growing, those interested in donating artifacts can email worldsfair@queensmuseum.org or call 718.592.9700 x122.</p> <p>Also on view within the World&rsquo;s Fair Gallery is <em>ChronoLeap: The Great World&rsquo;s Fair Adventure</em>, a virtual experience and game that transports visitors back in time to the 1964 World&rsquo;s Fair. The World&rsquo;s Fair offered a glimpse of the future, with different pavilions featuring exhibitions showcasing the latest innovations in science and technology as an avenue for better lifestyles. <em>ChronoLeap</em> allows for a virtual experience of the Fair, complete with pavilion tours and a conversation with Fair President Robert Moses. <em>ChronoLeap</em> is organized by Dr. Lori C. Walters, a Research Assistant Professor with the Institute for Simulation and Training and Department of History at the University of Central Florida. Funded by both the National Endowment for the Humanities and the National Science Foundation, the project explores the use of 3D virtual environments as an educational tool to expand the understanding of Science, Technology, Engineering and Mathematics (STEM) education.</p> Sun, 08 Dec 2013 14:54:47 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Anselm Kiefer - Mass MOCA - September 29th, 2013 - December 1st, 2028 <p>In a major collaboration with the Hall Art Foundation, the keystone of which is a large and long-term exhibition of sculpture and paintings by Anselm Kiefer, MASS MoCA opens a 10,000 square-foot building at MASS MoCA specially re-purposed by the Hall Art Foundation and devoted to the art of Anselm Kiefer.</p> <p>The exhibition includes <em>&Eacute;troits sont les Vaisseaux (Narrow are the Vessels)</em> (2002), an 82-foot long, undulating wave-like sculpture made of cast concrete, exposed rebar, and lead; <em>The Women of the Revolution (Les Femmes de la Revolution)</em> (1992), comprised of more than twenty lead beds with photographs and wall text; <em>Velimir Chlebnikov </em> (2004), a steel pavilion containing 30 paintings dealing with nautical warfare and inspired by the quixotic theories of the Russian mathematical experimentalist Velimir Chlebnikov; and a new, large-format commission created by the artist specifically for the installation at MASS MoCA.</p> <p>Anselm Kiefer, who first visited MASS MoCA in 1990 when it was still in the early planning stages, ranks among the best-known and most important of post-World War II German artists living and working today. Born in 1945 in southern Germany during the final days of the collapse of the Third Reich, Kiefer experienced divided postwar Germany firsthand. Across his body of work, Kiefer argues with history, addressing controversial and even taboo issues from recent history with bold directness and lyricism. Kiefer often turns to literature and history as prime source material for his work, as he did, for example, in the suite of paintings that comprise <em>Velimir Chlebnikov </em>(2004).</p> <p>The artist often builds his imagery on top of photographs, layering his massive canvases with dirt, lead, straw, and other materials that generate a &ldquo;ground&rdquo; that reads literally of the earth itself. Within these thick, impastoed surfaces Kiefer embeds textual or symbolic references to historic figures or places: these become encoded signals through which Kiefer invokes and processes history.</p> <p>A law student, Kiefer switched his studies to art in 1965 and held his first solo exhibit in 1969. During the early 1970s he studied with conceptual artist Joseph Beuys, whose interest in using an array of cultural myths, metaphors, and personal symbolic vocabulary as a means to engage and understand history inspired Kiefer. The artist has described his own art-making process as stimulated by Beuys&rsquo; philosophies: &ldquo;Painting, for me, is not just about creating an illusion. I don&rsquo;t paint to present an image of something. I paint only when I have received an apparition, a shock, when I want to transform something. Something that possesses me, and from which I have to deliver myself. Something I need to transform, to metabolize, and which gives me a reason to paint.&rdquo; Like Beuys, whose works were often constructed of fragile, organic materials (including blood, fat, and honey), Kiefer&rsquo;s works often incorporate unusual, fugitive materials such as ash, clay,and dried plant materials. With their rough-hewn textures and expansive narrative formats that often evoke charred landscape and historical, sometimes apocalyptic settings, Kiefer&rsquo;s work did not conform to the pared-down Minimalist or Conceptualist movements that were becoming mainstream at the time he was a student. Instead he created massive, dark paintings, books constructed of large sheets of lead, and figurative works that explored German folklore and were inspired by Caspar David Friedrich, among others.</p> <p>Kiefer&rsquo;s works are often realized in large formats, which in turn demand special exhibition spaces. MASS MoCA is adept at collaborating with artists, collectors, foundations, and cultural institutions to bring important bodies of art to the public, best exemplified by its 2008 partnership with Yale University Art Gallery, the Williams College Museum of Art, and the studio of Sol LeWitt, which realized a 25-year exhibition devoted to LeWitt&rsquo;s monumental wall drawings, a landmark quasi-permanent installation that was named "#1 Museum Exhibition of the Year" by Time magazine. The museum is proud to host an array of distinct curatorial points of view, within its renovated 19th singular factory campus.</p> <p>The Hall Art Foundation makes available works of postwar and contemporary art from its collection and from the collection of Andrew and Christine Hall for the enjoyment and education of the public. In addition to the dedicated gallery space at MASS MoCA, the Hall Art Foundation operates a contemporary art space in Reading, Vermont.</p> Sun, 13 Apr 2014 19:26:48 -0600 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list - MASS MoCA, North Adams, MA - September 28th, 2013 - December 1st, 2028 <p>In a major collaboration with the Hall Art Foundation, the keystone of which is a large and long-term exhibition of sculpture and paintings by Anselm Kiefer, MASS MoCA opens a 10,000 square-foot building at MASS MoCA specially re-purposed by the Hall Art Foundation and devoted to the art of Anselm Kiefer.</p> <p>The exhibition includes <em>&Eacute;troits sont les Vaisseaux (Narrow are the Vessels)</em> (2002), an 82-foot long, undulating wave-like sculpture made of cast concrete, exposed rebar, and lead; <em>The Women of the Revolution (Les Femmes de la Revolution)</em> (1992), comprised of more than twenty lead beds with photographs and wall text; <em>Velimir Chlebnikov </em> (2004), a steel pavilion containing 30 paintings dealing with nautical warfare and inspired by the quixotic theories of the Russian mathematical experimentalist Velimir Chlebnikov; and a new, large-format commission created by the artist specifically for the installation at MASS MoCA.</p> <p>Anselm Kiefer, who first visited MASS MoCA in 1990 when it was still in the early planning stages, ranks among the best-known and most important of post-World War II German artists living and working today. Born in 1945 in southern Germany during the final days of the collapse of the Third Reich, Kiefer experienced divided postwar Germany firsthand. Across his body of work, Kiefer argues with history, addressing controversial and even taboo issues from recent history with bold directness and lyricism. Kiefer often turns to literature and history as prime source material for his work, as he did, for example, in the suite of paintings that comprise <em>Velimir Chlebnikov </em>(2004).</p> <p>The artist often builds his imagery on top of photographs, layering his massive canvases with dirt, lead, straw, and other materials that generate a &ldquo;ground&rdquo; that reads literally of the earth itself. Within these thick, impastoed surfaces Kiefer embeds textual or symbolic references to historic figures or places: these become encoded signals through which Kiefer invokes and processes history.</p> <p>A law student, Kiefer switched his studies to art in 1965 and held his first solo exhibit in 1969. During the early 1970s he studied with conceptual artist Joseph Beuys, whose interest in using an array of cultural myths, metaphors, and personal symbolic vocabulary as a means to engage and understand history inspired Kiefer. The artist has described his own art-making process as stimulated by Beuys&rsquo; philosophies: &ldquo;Painting, for me, is not just about creating an illusion. I don&rsquo;t paint to present an image of something. I paint only when I have received an apparition, a shock, when I want to transform something. Something that possesses me, and from which I have to deliver myself. Something I need to transform, to metabolize, and which gives me a reason to paint.&rdquo; Like Beuys, whose works were often constructed of fragile, organic materials (including blood, fat, and honey), Kiefer&rsquo;s works often incorporate unusual, fugitive materials such as ash, clay,and dried plant materials. With their rough-hewn textures and expansive narrative formats that often evoke charred landscape and historical, sometimes apocalyptic settings, Kiefer&rsquo;s work did not conform to the pared-down Minimalist or Conceptualist movements that were becoming mainstream at the time he was a student. Instead he created massive, dark paintings, books constructed of large sheets of lead, and figurative works that explored German folklore and were inspired by Caspar David Friedrich, among others.</p> <p>Kiefer&rsquo;s works are often realized in large formats, which in turn demand special exhibition spaces. MASS MoCA is adept at collaborating with artists, collectors, foundations, and cultural institutions to bring important bodies of art to the public, best exemplified by its 2008 partnership with Yale University Art Gallery, the Williams College Museum of Art, and the studio of Sol LeWitt, which realized a 25-year exhibition devoted to LeWitt&rsquo;s monumental wall drawings, a landmark quasi-permanent installation that was named "#1 Museum Exhibition of the Year" by Time magazine. The museum is proud to host an array of distinct curatorial points of view, within its renovated 19th singular factory campus.</p> <p>The Hall Art Foundation makes available works of postwar and contemporary art from its collection and from the collection of Andrew and Christine Hall for the enjoyment and education of the public. In addition to the dedicated gallery space at MASS MoCA, the Hall Art Foundation operates a contemporary art space in Reading, Vermont.</p> Wed, 22 Jan 2014 08:10:19 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Michael Oatman - Mass MOCA - October 23rd, 2010 - October 31st, 2020 <p><em>all utopias fell</em> is a project in three interrelated parts: <em>The Shining</em>, <em>The Library of the Sun</em>, and <em>Codex Solis</em>.</p> <p><em>The Shining</em> is a 1970s-era &lsquo;satellite&rsquo; that has crash-landed at MASS MoCA. This beautifully reflective, repurposed Airstream trailer &ndash; with large parachutes and active solar panels &ndash; is inspired by an earlier era of pulp aeronauts like Buck Rogers, Tom Swift and Tom Corbett: Space Cadet, as well as the works of Giotto, Jules Verne, NASA, and Chris Marker&rsquo;s 1962 film <em>La Jet&eacute;e</em>. Visitors can climb a staircase in the Boiler Plant and enter into the craft where they will encounter <em>The Library of the Sun</em>. Hybridizing a domestic space, a laboratory and a library, it has the feel of a hermitage, where the occupant will &lsquo;be right back&rsquo;, only it is 30 years later. Videos relating to the sun and its mythology flicker to life on the cockpit&rsquo;s instrumentation panels. In addition to these elements, visitors will be stunned by a stained glass window in what was once the windshield of the vehicle. Once inside the craft, visitors will also be able to view <a href="http://www.massmoca.org/event_details.php?id=371" target="_blank" rel="nofollow"><em>Codex Solis</em>, a massive field of photovoltaic (PVs) or solar panels</a>. At 50kw, the field will generate 7% of the power consumed by MASS MoCA. In addition to this 230-foot long grid, mirrors are interspersed in the middle of the field, and suggest an absent text. The arrangement of mirrors and solar panels is based on a specific quote by an unnamed author, and will not be revealed by the artist; instead the public will be encouraged to spend time with the piece, watch the reflected sky, and solve the riddle as birds and planes, inverted, fly by.</p> <p>Supported by the Massachusetts Technology Collaborative's Renewable Energy Trust and the Massachusetts Cultural Council.</p> Tue, 21 Jan 2014 19:44:50 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Barbara Takenaga - Mass MOCA - July 12th, 2015 - September 9th <p style="text-align: justify;">Painter Barbara Takenaga creates a new work of&nbsp;unprecedented scale for a 100&rsquo; gallery space. Known for&nbsp;her labor-intensive abstractions composed of matrixlike&nbsp;patterns of dots, Takenaga translates her&nbsp;meticulous, easel-sized work to wallpaper in this large-scale&nbsp;commission.</p> <div class="ap-whitebox-body description"> <p style="text-align: justify;">Painter Barbara Takenaga creates a new work of an unprecedented scale for a 100&rsquo; wall in the Hunter Center lobby at MASS MoCA. Known for her labor-intensive, exuberant abstractions composed of matrix-like, swirling patterns of dots, Takenaga translates her meticulous, handcrafted, easel-sized work to wallpaper in this large-scale commission. The mural features a new image from her series,&nbsp;<em>Nebraska Paintings</em>, a body of work that moves closer to the representational imagery only implied in earlier pieces, but which captures the wide open spaces and big sky of the artist&rsquo;s native state.</p> <p style="text-align: justify;">At MASS MoCA, Takenaga&rsquo;s pared-down landscape of earth and atmosphere is painted in grays and muted tones, which the artist likens to the quality of light at dusk. In her words, the moody palette, punctuated with the artist&rsquo;s signature burst of high color, conveys &ldquo;the &lsquo;violet hour&rsquo; of in-between time, when the land and sky start to blur.&rdquo; A horizon line, situated high in Takenaga&rsquo;s composition, places the viewers&rsquo; perspective floating above the ground, suggesting that an immense expanse of plain stretches out in front of them. Repeated lines of white dots radiate out in all directions from an implied vanishing point on the horizon line to suggest blooming crops, a snowy blizzard, or a star-filled sky. The single image is repeated twelve times along the length of the wall, with the composition&rsquo;s receding lines and diminishing dots of classical one-point perspective alternately moving backward toward the horizon and forward toward the viewer. The long horizon is regularly interrupted by a diamond-like shape formed by the intersection of lines at the seams between each image. As viewers walk the length of the wall, the chain of images functions like a series of film stills, implying movement and the rhythm of time. The result is a tension-filled composition that emphasizes both the flat surface of the wall and an illusion of depth. Adding even more dimension to the work, as well as a sense of the artist&rsquo;s hand to the digitally reproduced image, Takenaga will apply iridescent paint to the wallpaper surface.</p> <p style="text-align: justify;">Describing Takenaga&rsquo;s paintings as both &ldquo;hallucinogenic&rdquo; and &ldquo;sternly disciplined,&rdquo; writer Nancy Princenthal aptly describes the&nbsp;<em>Nebraska Paintings</em>: &ldquo;It would be misleading to overstate the figurative suggestions of these paintings, or their emotional weight. Many present a sleek seductiveness that combines acid-trip visual plentitude with James Bond cool. But given a minute, the imagery grows more complex. Takenaga&rsquo;s work explores the minimum requirements for evoking astral space, or snow over the plains, or an uncharted sea. And it demonstrates the many pleasures, not excluding the optical, that such evocations provide.</p> <p style="text-align: justify;">Barbara Takenaga was born in North Platte, Nebraska, and has a M.F.A. from the University of Colorado, Boulder. She has had solo exhibitions at the Colorado University Museum, University of Colorado, Boulder; Brattleboro Art Museum, Brattleboro, Vermont; McKinney Avenue Contemporary, Dallas; Art in General, New York; and the Williams College Museum of Art, among other museums and galleries. Takenaga&rsquo;s work has also been exhibited in group exhibitions at the Pennsylvania Academy of the Fine Arts, Philadelphia; San Antonio Museum of Art, Texas; Henry Art Gallery, Seattle; American Academy of Arts &amp; Letters, New York; Bell Gallery, Brown University, Providence, Rhode Island; deCordova Sculpture Park and Museum, Lincoln, Massachusetts; Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, New York; Museum of Contemporary Art, Denver; and the Asia Society, New York. In 2013 Takenaga was elected National Academician of the National Academy, New York. Her work can be found in numerous public and private collections, including the Pennsylvania Academy of the Fine Arts; Crocker Art Museum, Sacramento, California; Neuberger Museum of Art, Purchase, New York; the San Jose Museum; Library of Congress, Washington, D.C.; and the Frederick R. Weisman Art Foundation, Los Angeles; among others. Takenaga is the Mary A. &amp; William Wirt Warren Professor of Art at Williams College, Williamstown, Massachusetts. She is represented by DC Moore Gallery, New York; and Gregory Lind Gallery, San Francisco. Takenaga lives and works in New York City and Williamstown, Massachusetts.</p> </div> Mon, 22 May 2017 07:15:13 -0600 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Britannie Bond - Dream Hotel - Midtown - March 14th, 2016 - April 11th, 2019 <p><a href="http://blog.indiewalls.com/2015/11/collection-notes-suite-dreams/" rel="nofollow">http://blog.indiewalls.com/2015/11/collection-notes-suite-dreams/</a></p> Tue, 12 Apr 2016 09:11:03 -0600 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Group Show - HUC-JIR Museum - New York - September 8th, 2016 - June 30th <p>Numbers are integral to Jewish rituals, belief, significant historical dates, and daily life. Numbers and numerology have been at the core of Biblical understanding since the Bible was codified and possibly before. Inescapable, numbers are the global language of humanity. In this new exhibition, more than fifty contemporary artists explore the meaning of numbers and their symbolism through a broad range of artistic media.</p> <p>&nbsp;</p> Fri, 02 Sep 2016 15:12:31 -0600 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list - Queens Museum of Art - April 10th, 2016 - April 30th, 2018 <p style="text-align: justify;">Austrian immigrants Dr. Egon Neustadt and his wife Hildegard were among the earliest collectors of works by famed American artist Louis C. Tiffany (1848-1933) and they played a critical role in reviving interest in Tiffany&rsquo;s lamps in the mid-twentieth century. In 1935, newly married and living in Flushing, Queens, the Neustadts purchased their first Tiffany lamp &ndash; a small Daffodil, for the incredible price of $12.50 &ndash; from a secondhand shop in Greenwich Village. Tiffany&rsquo;s work was decidedly unfashionable at this time; indeed, Louis C. Tiffany died in 1933 and his Tiffany Studios would declare bankruptcy in 1937. But the Neustadts, undeterred by the current disinterest in Tiffany lamps, were struck by the beauty of the colorful glass and enchanted that the shade had been made by an artist from the beloved country they now called home. Over the course of the next fifty years, their collection grew to include more than 200 lamps of all shapes, sizes, and designs. It remains today the largest and most comprehensive lamp collection ever assembled.</p> <p style="text-align: justify;"><em>A Passion for Tiffany Lamps</em>&nbsp;highlights the extraordinary scope of the Neustadts&rsquo; collection. Examples of Tiffany&rsquo;s most iconic lamps &ndash; the&nbsp;<em>Wisteria</em>&nbsp;and&nbsp;<em>Dragonfly</em>&nbsp;&ndash; will be on view, along with unusual lamps produced in limited number, such as the&nbsp;<em>Pond Lily</em>&nbsp;globe and&nbsp;<em>Peacock</em>&nbsp;hanging shade.</p> <p style="text-align: justify;">In 1995, The Neustadt partnered with the Queens Museum to share its collection with the New York metropolitan area through a permanent Tiffany gallery and educational programming. This partnership has special significance because Tiffany&rsquo;s glass furnace, bronze foundry, and workshops were located in Corona, Queens, less than two miles from the Museum.</p> <p style="text-align: justify;"><em>A Passion for Tiffany Lamps</em>&nbsp;is organized by The&nbsp;Neustadt&nbsp;Collection of Tiffany Glass</p> Mon, 05 Sep 2016 11:24:29 -0600 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Janet Taylor Pickett - Montclair Art Museum - September 10th, 2016 - June 18th <p>This exhibition explores the dialogue between Janet Taylor Pickett&rsquo;s artwork and that of renowned French artist Henri Matisse. Employing a diverse range of media, Taylor Pickett is known for using the dress form as an iconic template to express her journey as an African American woman, daughter, mother, and artist. The exhibition features over 76 collages and four handmade books, spotlighting the ongoing creative conversation between the two artists and the profound impact of Matisse on Taylor Pickett&rsquo;s art.</p> Thu, 08 Sep 2016 16:24:52 -0600 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list - Asia Society Museum - December 20th, 2016 - January 7th, 2018 <p style="text-align: justify;">This exhibition features a selection of the finest artworks from the renowned Asia Society Museum Collection. Included are Chinese, Korean, and Japanese ceramics, Indian and Cambodian sculpture, and sculptures from South and Southeast Asia and the Himalayas that show the varied imagery associated with the transmission of Buddhism across the region.</p> Fri, 30 Sep 2016 01:01:07 -0600 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Group Show - Brooklyn Museum of Art - November 4th, 2016 - June 18th <p style="text-align: justify;">In <em>Iggy Pop Life Class</em>, Turner Prize‒winning artist Jeremy Deller uses the traditional life drawing class to stage a performative event with Iggy Pop as model and subject. The exhibition presents the resulting drawings along with works from our historical collections, chosen by Deller, that depict the male body, examining shifting representations of masculinity throughout history.<br /> <br /> The fifty-three drawings included in the exhibition were created on February 21, 2016, during a one-day life drawing class, using Pop as the unexpected model. The class was held at the New York Academy of Art and included twenty-two artists drawn from New York City&rsquo;s diverse communities, ranging in age from 19 to 80, with varying backgrounds and levels of education and experience. The class was led by artist and drawing professor Michael Grimaldi. The participating artists are Jeremy Day, Jeanette Farrow, Margaret Fisher, Seiji Gailey, Robert Hagan, Tobias Hall, Deirdra Hazeley, Patricia Hill, Okim Woo Kim, Maureen McAllister, Kallyiah Merilus, Guno Park, Kinley Pleteau, Angel Ramirez, Robert Reid, Mauricio Rodriguez, Danielle Rubin, Taylor Schultek, Charlotte Segall, Andrew Shears, and Levan Songulashvili.</p> <p style="text-align: justify;">Deller&rsquo;s collaboration with Pop as a nude model is essential to his concept. A pioneer rock musician&mdash;as a singer, songwriter, musician, and actor&mdash;Pop began performing in the 1960s, becoming known for strenuous and unpredictable stage performances that often left his body battered and cut. As Deller notes, &quot;Iggy Pop has one of the most recognizable bodies in popular culture. A body that is key to an understanding of rock music, and that has been paraded, celebrated, and scrutinized through the years in a way that is unusual for a man. It is also fair to say that it has witnessed a lot. It was for these reasons that I wanted him to sit for a life class.&quot; For Deller, the life drawing class offered the opportunity to study his body in direct and palpable terms.</p> <p style="text-align: justify;"><em>Iggy Pop Life Class </em>is organized by Sharon Matt Atkins, Vice Director, Exhibitions and Collections Management, Brooklyn Museum.</p> <div class="exhibition-sponsors"> <p style="text-align: justify;">Generous support for this exhibition is provided by Mike Wilkins and Sheila Duignan, the FUNd, and Cristina Enriquez-Bocobo.</p> <p style="text-align: justify;">The accompanying book is published by the Brooklyn Museum in association with Heni Publishing, London. This publication is supported by the FUNd.<br /> &nbsp;</p> <p style="text-align: justify;"><em>Iggy Pop Life Class</em> is part of <em>A Year of Yes: Reimagining Feminism at the Brooklyn Museum</em>, a yearlong series of ten exhibitions celebrating the 10th anniversary of the Elizabeth A. Sackler Center for Feminist Art. Leadership support is provided by Elizabeth A. Sackler, an anonymous donor, the Stavros Niarchos Foundation, the Calvin Klein Family Foundation, and Mary Jo and Ted Shen. Generous support is also provided by the Taylor Foundation, the Antonia and Vladimer Kulaev Cultural Heritage Fund, and The Cowles Charitable Trust.</p> </div> Sat, 25 Mar 2017 10:05:15 -0600 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Hanne Darboven - Dia Art Foundation - November 5th, 2016 - July 30th <div class="right rich-text"> <p style="text-align: justify;">Dia presents Hanne Darboven&rsquo;s <em>Kulturgeschichte 1880&ndash;1983 </em>(<em>Cultural History 1880&ndash;1983</em>, 1980&ndash;83) at Dia:Chelsea at 545 West 22nd Street in New York City.&nbsp; The presentation offers audiences the opportunity to experience this important work from Dia&rsquo;s permanent collection, which has not been on view in the United States for over a decade.</p> <p style="text-align: justify;"><em>Cultural History 1880&ndash;1983</em> features 1,590 framed works on paper and 19 sculptural objects. The framed works on paper include photographs of doorways, daily newsmagazine covers, images of cameras and Hollywood celebrities, touristic postcards, the contents of an exhibition catalogue on postwar art, and documentation of prior installations of the work. The specificity of the materials chosen embodies a blending of the personal and the public, telling the story of society at large, while also presenting an autobiography of Darboven herself. From the covers of <em>Der Spiegel</em> with their emphasis on war and brutality, to the racial overtones seen in the slave figures and rainmaker sculptures, to the postcards presenting a bucolic and pastoral prewar Germany, there is a narrative of trauma and recovery that runs throughout Darboven&rsquo;s work. For the viewer,&nbsp;<em>Cultural History 1880&ndash;1983</em> can be an all-encompassing and overwhelming experience, physically impossible to take in at once. It is the magnum opus of an artist whose work remains lesser known than her Minimalist and Conceptual peers, particularly so within the United States.<strong>&nbsp;</strong></p> </div> Fri, 30 Sep 2016 01:35:32 -0600 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Kishio Suga - Dia Art Foundation - November 5th, 2016 - July 30th <div class="right rich-text"> <p style="text-align: justify;">Dia presents an exhibition of Kishio Suga&rsquo;s work at Dia:Chelsea at 541 West 22nd Street in New York City. Suga is a founding member of Mono-ha (School of Things), which emerged in Japan in the 1960s and 1970s and developed in parallel with Postminimal and Land art in the United States and Arte Povera in Europe&mdash;movements at the core of Dia&rsquo;s permanent collection. Curated by Jessica Morgan and Alexis Lowry, this is&nbsp;Suga&rsquo;s first solo museum show in the United States.&nbsp;</p> <p style="text-align: justify;">In this exhibition, Suga responds to the building&rsquo;s unique history as a marble-cutting facility by recreating his&nbsp;<em>Placement of Condition</em>&nbsp;(1973), a signature installation of cut stones that lean precariously away from each other, but are bound together with wire into a mutually dependent and stable network. This work is on view alongside a selection of other significant historical installations and new works conceived specifically for Dia that explore issues of balance and structure and that respond to the physical parameters of the space. His new commission investigates material equilibrium through a series of interweaving metal rods that are perched on top of wooden uprights.<strong>&nbsp;</strong></p> </div> Fri, 30 Sep 2016 01:37:02 -0600 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list - Edward Hopper House - October 1st, 2016 - May 31st <p>The Edward Hopper House is pleased to present the restaging of Edward Hopper&rsquo;s bedroom. The bedroom in which Hopper spent the first 28 years of his life is transformed into a showcase designed in period style by Architectural Digest featured designer, Ernest de la Torre, and architect, Walter Cain.</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</p> <p>The staging of Hopper&rsquo;s bedroom is a fitting acknowledgement of the profound impact the space had on his artistic development. Growing up with a view of the Hudson River from his bedroom window, young Edward Hopper was inevitably drawn to its banks. He would spend hours at the village docks and shipyards, sketching and watching the building and rigging of boats. The activity on the river is captured in many of Hopper&rsquo;s early drawings and paintings, and boats and seascapes remained common subjects in his art throughout his life.</p> <p>&nbsp;</p> <p>Also central to his artistic development was the so-called &ldquo;Hudson River light&rdquo; of Nyack. The strong rays of morning sunlight streaming through the east facing windows of his bedroom would create shifting patterns of light and shadow on the floor and walls. Hopper incorporated these tangible blocks of sunlight into early paintings and many of his later masterpieces. Visitors to this showcase will be able to appreciate all the unique features of the bedroom that so inspired Edward Hopper and led him on his creative path.&nbsp; Due to the historic nature of the house and other limitations, the second floor room is only accessible by the stairs.&nbsp;</p> Wed, 12 Oct 2016 13:15:40 -0600 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list - The Metropolitan Museum of Art - October 20th, 2016 - May 29th <div id="moz-reader-content" class="line-height4" style="display: block;"> <div id="readability-page-1" class="page"> <div class="rich-text"> <p style="text-align: justify;">This exhibition of Renaissance maiolica, drawn exclusively from The Met's world-renowned collection, will celebrate the publication of <em>Maiolica, Italian Renaissance Ceramics in The Metropolitan Museum of Art</em> by Timothy Wilson. As Wilson writes, "Painted pottery, at its most ambitious, is a serious form of Italian Renaissance art, with much to offer those interested in the wider culture of this astoundingly creative period." This creativity was applied to a vast range of practical objects. The exhibition will include tableware and serving vessels, desk ornaments, storage containers, devotional objects, as well as sculpture, all made in painted and tin-glazed earthenware.</p> <p style="text-align: justify;">The maiolica tradition flourished from the 15th to the 17th century. Italian potters transformed techniques they owed to the Islamic world into something entirely unprecedented, and in turn laid the foundations for similar pottery traditions across Europe. Potters and pottery painters exploited innovations of the Renaissance goldsmith, sculptor, and painter in what was a relatively humble medium. That it was owned by the social elite of Italy, however, testifies to its artistic value.</p> <p style="text-align: justify;">This exhibition will explore how the different functions of Renaissance maiolica dictated the ways painted pottery was seen and decorated. Groups of objects will be installed in displays suggestive of their use. An assembly of storage jars will give a sense of a pharmacy's shelves. Among the tableware on display will be <em>istoriato</em> plates and dishes&mdash;their surfaces covered with scenes from mythology and ancient history&mdash;from some of the most important services commissioned by leading Italian families. The exhibition will also show maiolica-makers using ceramic, paint, and glaze to compete with other art forms, including a <em>Madonna and Child</em> that imitates a framed panel painting and a <em>Lamentation</em> group that likely once functioned as a sculpted altarpiece, the largest known example of sculptural maiolica to survive.</p> </div> <p style="text-align: justify;">The publication is made possible by The Metropolitan Museum of Art's Friends of European Sculpture and Decorative Arts, The Peter Jay Sharp Foundation, Marica and Jan Vilcek, and Ceramica-Stiftung Basel.</p> </div> </div> Tue, 18 Oct 2016 12:35:52 -0600 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list