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 02:05:47 -0700 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 14:12:51 -0800 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 09:46:25 -0800 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 18:50:07 -0700 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 13:03:07 -0700 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 13:54:47 -0800 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 18:26:48 -0700 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 07:10:19 -0800 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 18:44:50 -0800 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 08:11:03 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list - Queens Museum of Art - April 10th, 2016 - April 30th <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 10:24:29 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list - Asia Society Museum - December 20th, 2016 - July 8th <p style="text-align: justify;">Even before John D. Rockefeller 3rd (1906&ndash;1978) established Asia Society in 1956, he was deeply involved with the arts and culture of Asia. He firmly believed that art was an indispensable tool for understanding societies, and thus made culture central to the new multidisciplinary organization that would encompass all aspects and all parts of East, South, and Southeast Asia and the Himalayas. From 1963 to 1978, he and his wife, Blanchette Hooker Rockefeller (1909&ndash;1992), worked with art historian Sherman E. Lee (1918&ndash;2008) as an advisor to build the Mr. and Mrs. John D. Rockefeller 3rd Collection, which was later bequeathed to Asia Society. The group of spectacular historical objects they assembled&mdash;including sculpture, painting, and decorative arts&mdash;became the core of the Asia Society Museum Collection and is now world renowned. The Collection is distinguished by the high proportion of acclaimed masterpieces, representing the artistic pinnacles of the cultures that produced them, to which additional high-quality gifts and acquisitions have been added since the original bequest to Asia Society.</p> <p style="text-align: justify;">The selections in the exhibition showcase the breadth and depth of creative expression across Asia created by artists and artisans with extraordinary skill. To this day the objects remain an important means for sharing the talent, imagination, and deep history of the peoples of Asia with audiences all over the world. <em>Masterpieces from the Asia Society Museum Collection</em> explores the specialized artistry of Asian ceramics, metalwork, and stone carving, and the development of Hinduism and Buddhism in Asia through some of the most refined and accomplished examples of the region&rsquo;s great artistic traditions.</p> Thu, 01 Jun 2017 04:16:47 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list - Newark Museum - March 8th, 2017 - February 25th <p style="text-align: justify;"><span>Featuring more than 25 works from the Museum&rsquo;s collection, this installation celebrates music through the arts of East and South Asia. &nbsp;Introducing string, percussion and wind instruments not found in Western traditions&mdash;both the actual musical instruments and images of their sounding will be featured. Prints, paintings, ivories and lacquer works from China, India, Japan, Korea, Nepal and Tibet reveal disparate dynamic melodic traditions. These visuals will be enhanced by audio and video multimedia&mdash;a feast for the eyes and ears.</span></p> <p style="text-align: justify;">This installation is part of the Museum&rsquo;s ongoing conservation efforts which require the rotation of fragile objects within its galleries. Works within <em>Musical Arts of Asia&nbsp;</em>can be found throughout the Asian galleries<span>&mdash;</span>China, Japan, Korea, Nepal and Tibet<span>&mdash;</span>and can be identified by a unique text label.</p> <p style="text-align: justify;">Katherine Anne Paul, Ph.D., Curator, Arts of Asia</p> Fri, 24 Feb 2017 10:23:06 -0800 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Constantin Brancusi - Solomon R. Guggenheim Museum - March 17th, 2017 - April 28th <div class="post-content content-column-standard"> <p style="text-align: justify;">In gallery space devoted to the permanent collection, the Guggenheim is showcasing its rich holdings of the work of <a href="https://www.guggenheim.org/artwork/artist/constantin-brancusi">Constantin Brancusi</a> (1876&ndash;1957). In the early decades of the twentieth century, Brancusi produced an innovative body of work that altered the trajectory of modern sculpture. During this period, Brancusi lived and worked in Paris, then a thriving artistic center where many modernist tenets were being developed and debated. He became an integral part of these conversations both through his relationships with other artists, such as Marcel Duchamp, Fernand L&eacute;ger, Amedeo Modigliani, and Henri Rousseau, and through his own pioneering work. His aspiration to express the essence of his subjects through simplified forms and his engagement with non&ndash;Western European artistic traditions led to new stylistic approaches. In addition, his mode of presentation, which equally emphasized sculpture and base and in which works were shown in direct relation to one another, instead of as independent entities, introduced new ways of thinking about the nature of the art object.</p> <p style="text-align: justify;">The Solomon R. Guggenheim Museum began collecting Brancusi&rsquo;s work in-depth in the mid-1950s under the leadership of its second director, James Johnson Sweeney. When Sweeney began his tenure at the museum, the collection was focused on nonobjective painting. Sweeney significantly expanded the scope of the institution&rsquo;s holdings, bringing in other styles and mediums, particularly sculpture. The Guggenheim&rsquo;s commitment to Brancusi during these years extended beyond its collecting priorities, and in 1955 the museum held the first major exhibition of the artist&rsquo;s work.</p> <p class="caption" style="text-align: justify;">Supported in part by the Romanian Cultural Institute in New York.</p> </div> Mon, 23 Oct 2017 20:21:28 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list - Rubin Museum of Art - June 29th, 2016 - May 28th <p style="text-align: justify;"><i>Gateway to Himalayan Art </i>introduces visitors to the main forms, concepts, and meanings of Himalayan art represented in our collection. A large multimedia map orients the visitors and highlights cultural regions of a diverse Himalayan cultural sphere that includes parts of present day India, China, Nepal, Bhutan, and Mongolia. Visitors are invited to explore exemplary objects from the Museum&rsquo;s collection, organized and presented in thematic sections: Figures and Symbols, Materials and Techniques, and Purpose and Function.</p> <p style="text-align: justify;">The exhibition employs a concise and informative approach to convey the principal notions inherent in the rich traditions of Himalayan art to first-time visitors and specialists alike. In addition to sculptures and paintings, objects such as a stupa, prayer wheel, and ritual implements demonstrate that their patrons sought the accumulation of merit and hoped for wealth, long life, and spiritual gains, all to be fulfilled through the ritual use of these objects and commissioning works of art.</p> <p style="text-align: justify;">Among the featured installations are a display that explains the process of Nepalese lost-wax metal casting and a presentation of the stages of Tibetan hanging scroll painting <i>(thangka</i>). Visitors will also encounter life-size reproductions of murals from Tibet&rsquo;s Lukhang Temple, photographed by Thomas Laird and Clint Clemens.</p> <p style="text-align: justify;">As a whole the exhibition provides visitors with tools for understanding the artistic traditions presented throughout the museum, including a <i>Looking Guide</i>, a take away brochure and an audio guide.</p> <p style="text-align: justify;"><i>Curated by Elena Pakhoutova</i></p> <p style="text-align: justify;"><b><i>This exhibition is </i></b><b><i>supported, in part, by contributors to the 2016 Exhibitions Fund.</i></b></p> Fri, 05 Jan 2018 09:44:15 -0800 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list - Rubin Museum of Art - March 8th, 2017 - March 26th <p style="text-align: justify;"><i>Masterworks</i>, a regularly changing exhibition at the Rubin, explores major strands in the development of Himalayan art, covering a period of over one thousand years, and presents regional artistic traditions in their broad cultural, geographic, historical, and stylistic contexts. The 2017 iteration of this exhibition draws primarily from the Rubin collection and is augmented by a few select long-term loans.</p> <p style="text-align: justify;">Masterworks is organized geographically, showcasing the diverse regional traditions of western Tibet, central Tibet, eastern Tibet, and Bhutan in relation to the neighboring areas of India, Kashmir, Nepal, China, and Mongolia. Highlights from the exhibition include:</p> <p style="text-align: justify;">● A delightfully intimate 13th century Nepalese sculpture of the divine Hindu couple Shiva and Parvati which coveys a decidedly human character</p> <p style="text-align: justify;">● A Fearsome 15th century Tibetan painting of Black Hayagriva swirling with hypnotic flames</p> <p style="text-align: justify;">● A charming 17th century painting of the Great Indian Spiritual Adept Virupa, who stops the sun in its tracks so he can continue drinking, seated in a rich blue-green landscape</p> <p style="text-align: justify;">● A 19th century terracotta sculpture of a local god of the land, Kula Kari, riding his great shaggy yak while cute animals cavort across his mountain</p> <p style="text-align: justify;">A special area of the gallery is devoted to an extensive display of all 59 folio of <a href="http://rubinmuseum.org/blog/collection-highlight-white-beryl-manuscript" title=""><i>The White Beryl</i></a>, a prominent recent acquisition and an exquisitely illuminated manuscript illustrating the Tibetan system of elemental divination.</p> <p style="text-align: justify;"><i>Curated by Karl Debreczeny</i></p> <p style="text-align: justify;"><i>Support of this exhibition has been provided by contributors to the 2016 Exhibitions Fund.</i></p> Fri, 05 Jan 2018 09:28:43 -0800 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Janice Kerbel - Mass MOCA - May 28th, 2017 - May 9th <h4 style="text-align: justify;">At once poetic and darkly comedic, Janice Kerbel&rsquo;s <em>Slip </em>uses graphic musical notation to imagine the trajectory of a body in mortal peril as it slips on a banana peel. Moving from very small to very large print along an upward curve before suddenly crashing downward, <em>Slip</em> unfolds across more than 100 running feet of wallspace in MASS MoCA&rsquo;s newly renovated Building 6. The work calls on the history of graphic notation, physical comedy, and concrete poetry to create a visual representation of a brief moment across both space and time. Situated just outside of the new galleries devoted to the musical instruments of Gunnar Schonbeck and works by experimental musician and artist Laurie Anderson, <em>Slip</em> conflates visual art and musical performance &mdash; cornerstones of MASS MoCA&rsquo;s program &mdash; at a grand architectural scale.</h4> <p class="sponsor-field" style="text-align: justify;">Major exhibition support is provided by the Horace W. Goldsmith Foundation, the Barr Foundation, and the Massachusetts Cultural Council.</p> Mon, 22 May 2017 05:57:46 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list - Mass MOCA - May 28th, 2017 - May 1st <h4 style="text-align: justify;">In October 2016, artists Lauren Bon, Richard Nielsen, and Tristan Duke of the Optics Division of the Metabolic Studio spent a week at MASS MoCA using their <em>Liminal Camera</em>&nbsp;&mdash; a moveable, monumental camera built from a repurposed shipping container &mdash; to create a series of portraits of Building 6. The team examined the adjacency of this repurposed industrial building to the industrialized Hoosic River. To make the prints on display, the Optics Division collected Hoosic water and poured it over the paper during printing, imbuing the image with ripples of river water.</h4> Mon, 22 May 2017 06:01:52 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Wes Sam-Bruce - Mass MOCA - June 17th, 2017 - June 3rd <h4 style="text-align: justify;">In<em> Cavernous: The Inner Life of Courage</em>, Colorado-based artist Wes Sam-Bruce uses the Hoosac Tunnel as a metaphor for brave endeavors. Kidspace explores what it takes to be courageous and persevere in the face of mountain-sized obstacles. Gallery visitors are invited to play in a tunnel-like structure built specifically for the museum. A free opening celebration takes place with the artist on Saturday, June 17, from 11am to 1pm.</h4> <p style="text-align: justify;">Sam-Bruce, renowned for producing interactive artworks, found the North Adams icon to be a fascinating historical site to explore. According to the artist, &ldquo;the Hoosac Tunnel construction can be viewed as a representation of an act of courageousness: a journey through the unknown &mdash; dark, cavernous, difficult, loss, successful, light-giving, connecting, a triumph, tenacity, and grit.&rdquo; Being central to the North Adams community, he views the tunnel as a symbol of the legacy of a group of people who then and now have acted courageously through the many chapters of the city&rsquo;s history. Sam-Bruce will spend a month in residency at the museum conducting local history research and building an artwork that will feature a cavernous mountain, tunnels, and thresholds. Visitors can make their way through the installation, an uncharted exhalation composed of repurposed wood, text, and drawings, finding themselves surrounded by content that delves into the human experience; they have not only entered the mountain, but also, as Sam-Bruce puts it, &ldquo;the space of one&rsquo;s innermost self &mdash; the root of courage.&rdquo;</p> <p style="text-align: justify;"><em>Cavernous</em> is the third component of Kidspace&rsquo;s&nbsp;<em>Art 4 Change</em>, a four-year project that explores problem-solving through empathy, optimism, and courage. The guiding principle for these exhibition projects is Albert Einstein&rsquo;s statement that &ldquo;[We] cannot solve our problems with the same thinking we used when we created them.&rdquo; In other words, without empathy, hope, and courage, societal problems can seem overwhelming. In an era of narcissism and cynicism, therefore, an experience with Sam-Bruce&rsquo;s work provides the opportunity to strengthen our collective sense of bravery, tolerance, and kindness.</p> <p style="text-align: justify;">The free opening celebration takes place on Saturday, June 17, from 11am to 1pm. Meet the artist, make some art, and enjoy some refreshments. Admission to Kidspace is always free; the ArtBar is open on weekends and during school breaks.</p> <p class="sponsor-field" style="text-align: justify;">Core education funding is provided by the WLS Spencer Foundation.</p> <p class="sponsor-field" style="text-align: justify;">Education at MASS MoCA is made possible in part by the Institute of Museum and Library Services. Additional support is provided by the National Endowment for the Arts, Milton and Dorothy Sarnoff Raymond Foundation, Holly Swett, Feigenbaum Foundation, John DeRosa , Ruth E. Proud Charitable Trust, Massachusetts Cultural Council, Berkshire Bank, Bessie Pappas Charitable Foundation, Adelard A. Roy and Valeda Lea Roy Foundation, Price Chopper&rsquo;s Golub Foundation, the Gateway Fund and the William and Margery Barrett Fund of the Berkshire Taconic Community Foundation, John F. and Judith B. Remondi, and an anonymous donor.</p> <p class="sponsor-field" style="text-align: justify;">The Milton and Dorothy Sarnoff Raymond Foundation gives in memory of Sandy and Lynn Laitman.</p> Mon, 22 May 2017 06:12:21 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Derrick Adams - Studio Museum in Harlem - May 3rd, 2017 - February 23rd <p style="text-align: justify;"><em>Derrick Adams: Patrick Kelly, The Journey</em> is an <em>inHarlem</em> project presented by The Studio Museum in Harlem in partnership with the <a href="https://www.nypl.org/locations/schomburg">Schomburg Center for Research in Black Culture</a> and the <a href="https://www.nypl.org/locations/countee-cullen">New York Public Library&rsquo;s Countee Cullen Library</a> branch. The exhibition is based on artist Derrick Adams&rsquo;s extensive research into the archive of the influential African-American fashion designer Patrick Kelly (1954&ndash;1990), housed at the Schomburg Center.</p> <p style="text-align: justify;">At the center of <em>Patrick Kelly, The Journey</em> is Adams&rsquo;s &ldquo;Mood Board&rdquo; series, a new body of work responding to Kelly&rsquo;s legacy as a formalist who imbued social context and humor into his creations. These abstract collages incorporate Kelly&rsquo;s vintage clothing patterns, as well as his iconic fabrics, colors and shapes: bold and colorful geometric forms, contours of the female body, and buttons and other embellishments. The works exalt Kelly&rsquo;s formal excellence while demonstrating Adams&rsquo;s ongoing interest in deconstructing, fragmenting and manipulating structure and surface.</p> <p style="text-align: justify;"><em>Derrick Adams: Patrick Kelly, The Journey</em> is organized by Hallie Ringle, Assistant Curator.</p> <p style="text-align: justify;">Now its second year, <em>inHarlem</em> is designed to explore innovative ways to engage the community while taking the Museum beyond its own walls, and encompasses a growing range of dynamic exhibitions and programs.</p> <p style="text-align: justify;">inHarlem <em>programming is made possible thanks to </em><em>support</em><em> from the Stavros Niarchos Foundation; William R. Kenan Jr. Charitable Trust; Rockefeller Brothers Fund; National Endowment for the Arts, and the Marcus Garvey Park Alliance with funding provided by the Harlem Community Development Corporation. Additional support is provided by The New York City Department of Cultural Affairs; The Andrew W. Mellon Foundation; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature and the New York City Council.</em></p> Sat, 27 Jan 2018 10:14:31 -0800 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list