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 Liz Glynn - Mass MOCA - October 15th, 2017 - December 29th <p style="text-align: justify;">Los Angeles-based artist Liz Glynn presents her most ambitious project to date in MASS MoCA&rsquo;s signature Building 5 gallery, a sprawling sculptural experience of sight, sensation, sound, and scent stretching nearly a football field in length. <em>The Archaeology of Another Possible Future</em> expands Glynn&rsquo;s interest in the rise and fall of empires, the assignment of cultural value, and labor and production. This multi-level presentation &mdash; which invites viewers to experience the museum&rsquo;s former factory spaces from catwalks 18 feet above the floor &mdash;&nbsp;examines our physical and psychological relationship to our increasingly abstracted world. Glynn is particularly interested in the shift from a material-based economy to one in which technology companies seem to generate billion dollar valuations out of thin air, nanotechnology continues to operate beyond the field of the visually apprehensible, and capital is accumulated as a pure concept. Glynn seeks to reconcile the presence of physical bodies and individual subjectivities within this contemporary state, emphasizing the experience of physical movement in time and space by creating a two-tiered labyrinth. She suggests the sense of ephemeralization through elevated walkways and platforms that host digital printers above while presenting abstract sculptures below that translate abstract data into three-dimensional, nearly tectonic forms and cave-like structures made of shipping pallets that host a number of analog sensory experiences, focusing on touch, sound, and scent.</p> Tue, 21 Aug 2018 08:29:19 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list - The Metropolitan Museum of Art - December 16th, 2017 - December 16th <p style="text-align: justify;">The single most potent symbol of Buddhist ritual as performed in Nepal is the Vajracarya priest&#39;s crown. Five examples presented in this exhibition create a cosmic field into which viewers enter, encircled by paintings of ritual performance. The exhibition is occasioned by the recent acquisition of a superb early Vajracarya crown dating to the 13th or early 14th century; this is joined by an 18th-century crown already in the collection and two others recently discovered in the Department of Arms and Armor. Bronze and wooden ritual utensils, Nepalese cloth paintings, and archival photographs of ritual enactment complete the exhibition.</p> <p style="text-align: justify;">The exhibition is made possible by The Miriam and Ira D. Wallach Foundation Fund and Dipti B. and Rakesh Mathur.</p> Tue, 24 Jul 2018 07:16:49 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list - The Metropolitan Museum of Art - December 18th, 2017 - December 31st <div class="rich-text"> <p style="text-align: justify;">Textile scholar Milton Sonday is one of the world&#39;s foremost authorities on the structures of handmade fabrics, particularly woven textiles and lace. Hired in 1962 by the Textile Museum in Washington, D.C., as a draftsman for a project on Precolumbian ceramics, he was promoted shortly thereafter to assistant curator responsible for carpets. In 1967, he joined the curatorial staff of the Cooper Hewitt Museum. Early in his career, Sonday began to put his artistic skills to use in creating legible and visually pleasing technical drawings that express the weaves of patterned textiles. He went on to teach seminars on fabric analysis, developing various methods that enabled students (even those who claimed they &quot;couldn&#39;t draw&quot;) to re-create and therefore understand the structures of historical textiles.</p> <p style="text-align: justify;">This installation includes a selection of Sonday&#39;s studies of lace structures and couched embroidery, loom models for patterned weaves, and diagrams made from classic handwoven textiles. His clear, comprehensible, and attractive drawings and models have become more than didactic tools. The wit and imagination evident in Sonday&#39;s choices of materials and colors and the skill with which the works are made has inspired delight and appreciation over the years.</p> <p style="text-align: justify;">In 2012, Sonday donated his research archive to the Antonio Ratti Textile Center at The Met. The first portions are <a href="http://library.metmuseum.org/record=b1938459~S1">available for study now</a> while the Museum continues cataloguing and processing this treasure trove. Sonday has generously given his time to assist with the ongoing organization of the archive, which spans his entire career and includes his most recent projects.</p> </div> Tue, 24 Jul 2018 07:16:49 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list - The Metropolitan Museum of Art - August 26th, 2017 - August 18th, 2019 <div class="rich-text"> <blockquote style="margin: 0px 0px 0px 40px; border: none; padding: 0px;"> <p style="text-align: justify;"><em>From the standpoint of splendid scenery, painting cannot equal [real] landscape. But when it comes to the wonders of brush and ink, [real] landscape is no match for painting!</em><br /> <span style="text-align: right;">&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&mdash;Dong Qichang (1555&ndash;1636)</span></p> </blockquote> <p style="text-align: justify;">About a thousand years ago, the Chinese landscape painter Guo Xi posed the question, &quot;In what does a gentleman&#39;s love of landscape consist?&quot; This question is at the heart of the exhibition, which explores the many uses of landscape in the Chinese visual arts.</p> <p style="text-align: justify;">This exhibition, which showcases more than 120 Chinese landscape paintings in three rotations, offers insights into the tradition and reveals distinctions between types of landscape that might not be obvious at first glance. What initially appears to be a simple mountain dwelling, for example, turns out to be the villa of the painter&#39;s friend, encoding a wish for his happy retirement. Similarly, what seems at first to be a simple study in dry brushwork turns out to be an homage to an old master, an expression of reverence for what has come before.</p> <p style="text-align: justify;">Drawn primarily from The Met&#39;s holdings and supplemented by a dozen private loans, the presentation is augmented by decorative art objects with landscape themes.</p> <p style="text-align: justify;">The exhibition is made possible by the Joseph Hotung Fund.</p> </div> Tue, 24 Jul 2018 07:24:52 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list - The Metropolitan Museum of Art - August 7th, 2017 - June 23rd, 2019 <p style="text-align: justify;">Bringing together 62 masterpieces of 16th-century northern European art from The Met collection and one important loan, this exhibition revolves around questions of historical worth, exploring relative value systems in the Renaissance era. Organized in six sections&mdash;raw materials, virtuosity, technological advances, fame, market, and paragone&mdash;tapestry, stained and vessel glass, sculpture, paintings, precious metal-work, and enamels are juxtaposed with pricing data from 16th-century documents. What did a tapestry cost in the 16th century? Goldsmiths&#39; work? Stained glass? How did variables like raw materials, work hours, levels of expertise and artistry, geography, and rarity, affect this? Did production cost necessarily align with perceived market valuation in inventoried collections? Who assigned these values? By exploring different 16th-century yardsticks of gauging worth, by probing extrinsic versus intrinsic value, and by presenting works of different media and function side-by-side, the exhibition captures a sense of the splendor and excitement of this era.</p> Tue, 24 Jul 2018 07:16:50 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list - Rubin Museum of Art - February 2nd - January 7th, 2019 <p style="text-align: justify;">In 2018, the future will be both present and projected from the past at the Rubin Museum of Art, with a new exhibition that tells the story of the legendary Indian master Padmasambhava. Celebrated by Tibetans as &ldquo;The Second Buddha,&rdquo; Padmasambhava, the Lotus Born, is believed to have been instrumental in converting the land and people of Tibet to Buddhism. His legends carry universal relevance about triumph over obstacles, the power of human emotions, transformation, impermanence, achieving liberation from life and death, and notions of time&mdash;all of which transcend specific cultures and eras.</p> <p style="text-align: justify;"><i>The Second Buddha </i>brings together 41 works of art from the 13th to 20th century with interactive technology. Central to the exhibition are themes of the interconnected nature of past and future as the basis for constructing identity and projecting teachings into the future. It is said that in the past Padmasambhava concealed his teachings, known as treasure teachings, throughout the Tibetan landscape to be discovered by foretold disciples at opportune times in the future. To parallel such discoveries, visitors will engage with select objects to reveal their hidden meaning and content. As one of the methods for revealing that which is hidden, visitors will use Augmented Reality (AR) tablets. The exhibition will also be activated by other interactive technology and performances, which bring the narratives to life and let visitors consider mechanisms of storytelling that touch on the themes of the exhibition, the past, the present, and ways of enabling the future.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">An audio tour and series of public programs complements the exhibition, which will be accompanied by a publication coproduced with the Frances Young Tang Teaching Museum and Art Gallery at Skidmore College. The exhibition will also travel to the Tang Museum in 2019.</p> <p style="text-align: justify;"><i>Curated by Elena Pakhoutova</i></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><i>This exhibition is made possible in part by the Ellen Bayard Weedon Foundation, E. Rhodes &amp; Leona B. Carpenter Foundation, and contributors to the 2018 Exhibition Fund.</i></p> Fri, 05 Jan 2018 09:48:15 -0800 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list - Grounds For Sculpture - May 7th, 2017 - December 31st <p style="text-align: justify;">This exhibition will focus on the Johnson family&rsquo;s passions, their belief in the spirit of innovation and the power of community, and how the founder&rsquo;s vision for&nbsp;The Johnson Atelier Technical Institute of Sculpture&nbsp;shaped Grounds For Sculpture&rsquo;s early years.&nbsp;<br /> <br /> Curated by&nbsp;<strong>Lynn DeClemente Losavio</strong>, Collection Manager of&nbsp;<a href="http://sewardjohnsonatelier.org" target="_blank"><span style="color:#008000;"><strong>The Seward Johnson Atelier</strong></span></a>.</p> Thu, 11 Jan 2018 10:14:04 -0800 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list - The Metropolitan Museum of Art - January 25th - January 6th, 2019 <div class="rich-text"> <p style="text-align: justify;">Presenting a wide array of samurai armor, blades, and accoutrements dating from the 15th to the 19th century, this exhibition celebrates the promised gift of 37 objects from the collection of Etsuko and John Morris, as well as other important gifts made by Mr. and Mrs. Morris to The Met&#39;s Department of Arms and Armor over the past 17 years.</p> <p style="text-align: justify;">The collection was originally assembled in the early 20th century by Dr. Frederick Malling Pedersen (1869&ndash;1947) of New York. It later passed by descent to Mr. and Mrs. Morris, who have seen to its care and restoration. Key works include a rare complete <a href="https://www.metmuseum.org/art/collection/search/24975?sortBy=Relevance&amp;ft=Bamen+Tomotsugu&amp;offset=0&amp;rpp=20&amp;pos=1">armor (<em>gusoku</em>)</a> by Bamen Tomotsugu (active 18th century); a <a href="https://www.metmuseum.org/art/collection/search/27599?sortBy=Relevance&amp;ft=Fusamune&amp;offset=0&amp;rpp=20&amp;pos=1">blade</a> attributed to Fusamune of Sōshū (active late 15th&ndash;early 16th century) with mounting; and a helmet (<em>kawari-kabuto</em>) in the shape of a wave (17th century, restored 2015). The gift of choice objects from the collection represents a significant addition to the Museum&#39;s holdings of Japanese arms and armor, which are the most comprehensive of their kind outside of Japan.</p> </div> Tue, 24 Jul 2018 07:16:49 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list - The Metropolitan Museum of Art - February 27th - January 21st, 2019 <div class="rich-text"> <p style="text-align: justify;">Painting blossomed in Japan during the Edo period (1615&ndash;1868), as artists daringly experimented with conventional styles. In this exhibition, more than 40 examples of Edo-period paintings from the collection of Estelle P. Bender and her late husband T. Richard Fishbein&mdash;mostly gifts and promised gifts to The Met&mdash;will help trace the development of the major schools and movements of this fascinating era. Contemporary Japanese ceramics will be juxtaposed with Edo-period paintings, while works in various formats and media from The Met collection will provide context. The celebration of the natural world will serve as a unifying theme, and the intertwined relationship between poetry and the pictorial arts&mdash;so fundamental to Japanese tradition&mdash;will be a particular focus of the exhibition.</p> <p style="text-align: justify;">Accompanied by a catalogue.</p> <p style="text-align: justify;">The exhibition and catalogue are made possible by the Bender-Fishbein-Goodman Family.</p> </div> Tue, 24 Jul 2018 07:16:48 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list - The Metropolitan Museum of Art - February 5th - January 6th, 2019 <div class="rich-text"> <p style="text-align: justify;">Beginning in the fifth century B.C., Medusa&mdash;the snaky-haired Gorgon whose gaze turned men to stone&mdash;became increasingly anthropomorphic and feminine, undergoing a visual transformation from grotesque to beautiful. A similar shift in representations of other mythical female half-human beings&mdash;such as sphinxes, sirens, and the sea monster Scylla&mdash;took place at the same time. Featuring 60 artworks, primarily from The Met collection, this exhibition will explore how the beautification of these terrifying figures manifested the idealizing humanism of Classical Greek art, and will trace their enduring appeal in both Roman and later Western art.</p> <p style="text-align: justify;">The connection between beauty and horror, embodied above all in the figure of Medusa, outlived antiquity, fascinating and inspiring artists through the centuries. Medusa became the archetypical femme fatale, a conflation of femininity, erotic desire, violence, and death. Along with the beautiful Scylla, she foreshadows the conceit of the seductive but threatening female that emerges in the late 19th century in reaction to women&#39;s empowerment.</p> <p style="text-align: justify;">Accompanied by a <em>Bulletin</em></p> <p style="text-align: justify;">&nbsp;</p> <div class="rich-text"> <p style="text-align: justify;">The exhibition is made possible by The Vlachos Family Fund and Diane Carol Brandt.</p> <p style="text-align: justify;">The accompanying <em>Bulletin</em> is made possible in part by the Jenny Boondas Fund. The Met&#39;s quarterly <em>Bulletin</em> program is supported in part by the Lila Acheson Wallace Fund for The Metropolitan Museum of Art, established by the cofounder of <em>Reader&#39;s Digest</em>.</p> </div> </div> Tue, 24 Jul 2018 07:16:49 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list