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 <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 - The Metropolitan Museum of Art - August 26th, 2017 - August 18th <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 <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 - The Metropolitan Museum of Art - February 27th, 2018 - January 21st <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 Matti Braun, Shezad Dawood, The Otolith Group - Rubin Museum of Art - February 23rd, 2018 - January 28th <p style="text-align: justify;">In the Otolith Group&rsquo;s transtemporal consideration of modernity in urban India, the narrator questions, &ldquo;Why do Indian artists produce so little science fiction?&rdquo; The reply: &ldquo;Satyajit Ray&rsquo;s film <i>The Alien </i>would have rendered this question void. It is this emptiness that allows a nostalgia for a lost future.&rdquo;</p> <p style="text-align: justify;">The three-part exhibition <i>A Lost Future </i>challenges existing histories and speculative futures across cultures and in Bengal&mdash;a culturally rich region divided between present-day India and Bangladesh. The three contemporary artists featured in the exhibition&mdash;Shezad Dawood, the Otolith Group, and Matti Braun&mdash;engage an evocative range of mediums that spans virtual reality to an immersive lake along with painting, film, sculpture, and photography. Through rich storytelling, <i>A Lost Future </i>explores themes of virtuality, modernity, and world-making in ways that are universal as well as interconnected and specific to this region. <i>A Lost Future </i>presents still works by all three artists throughout the run, while the central cove will rotate to highlight each one individually.</p> <p style="text-align: justify;"><i>A Lost Future: Shezad Dawood </i>(February 23&ndash;May 21, 2018) features an interactive virtual reality experience of the Indian hill station Kalimpong, linking a haunting nostalgic portal to a future alternative reality. Expanding on some of the sites and stories in Dawood&rsquo;s paintings and sculptures on view, the virtual reality work allows visitors to travel from the mythic Himalayan Hotel into the mountains, an adjacent monastery, and beyond.</p> <p style="text-align: justify;">Timed tickets are required for the virtual reality experience. <a href="https://tickets.rubinmuseum.org/orders/327/calendar?date=2017-09-13T00:00:00-0400&amp;_ga=2.123492235.1636335073.1519137019-655336444.1501863100" target="_blank">Click here to book</a>.</p> <p style="text-align: justify;"><i>A Lost Future: The Otolith Group </i>(June 1&ndash;September 17, 2018) presents the world premiere of the Turner Prize&ndash;nominated filmmakers&rsquo; new work on the past, present, and future of the Nobel laureate Rabindranath Tagore&rsquo;s radical, pioneering art school Kala Bhavan in Santiniketan, as well as a selection of earlier films, including their &ldquo;premake&rdquo; of Ray&rsquo;s unmade film <i>The Alien</i>, titled <i>Otolith III </i>(2009).</p> <p style="text-align: justify;"><i>A Lost Future: Matti Braun </i>(October 5, 2018&ndash;January 28, 2019)<i> </i>transforms the central gallery into an immersive lake that visitors can traverse. <i>R.T., S.R., V.S. </i>(2003&ndash;present) references the lotus pond in the first scene of Ray&rsquo;s <i>The Alien</i>,<i> </i>in which a friendly, catalytic alien from another time and place lands in a village. It also draws inspiration from the first scene in Steven Spielberg&rsquo;s <i>E.T.</i>, which may have been directly influenced by Ray&rsquo;s script.</p> <p style="text-align: justify;">Curated by Beth Citron.</p> <p style="text-align: justify;"><i>The exhibition will be accompanied by an audio tour, public programming, and a publication in fall 2018 documenting all three rotations of the exhibition.</i></p> <p style="text-align: justify;"><i>A Lost Future: Shezad Dawood/The Otolith Group/Matti Braun is supported by Rasika and Girish Reddy, and by public funds from the New York City Department of Cultural Affairs in partnership with the City Council. Additional support has been provided by Amita and Purnendu Chatterjee, Akhoury Foundation, and contributors to the 2018 Exhibitions Fund.</i></p> <figure style="text-align: left;"><i><img alt="" src="http://rubinmuseum.org/images/content/nycculture.png" width="200" /></i></figure> <p>&nbsp;</p> Mon, 19 Mar 2018 04:22:00 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Group Show - Magazzino Italian Art - March 1st, 2018 - January 21st <p>We are pleased to announce the reopening of Magazzino this Thursday,&nbsp;March 1st<em>,&nbsp;</em>2018 with <em>Arte Povera: From the Olnick Spanu Collection</em>. This exhibition&nbsp;presents&nbsp;a comprehensive panorama on the artistic practice of the 12 artists associated with the&nbsp;<em>Arte Povera</em>&nbsp;movement: Giovanni Anselmo, Alighiero Boetti, Pierpaolo Calzolari, Luciano Fabro, Jannis Kounellis, Mario Merz, Marisa Merz, Giulio Paolini, Pino Pascali, Giuseppe Penone, Michelangelo Pistoletto and Gilberto Zorio.</p> <p>Representing the Olnick Spanu Collection&#39;s core of Post-war Italian art, the exhibition focuses specifically on the generation of Italian artists working in a defining moment in the 1960s. The year 1968 was one of seismic social and political change across the globe, which percolated&nbsp;into the time&#39;s art scene. As Italy was transitioning into an era of burgeoning industrialization, experiencing student rebellion, and the decline of the &ldquo;economic miracle&rdquo; of the 1950s, these artists&nbsp;aimed to eradicate the boundaries between media as well as between nature and art under the mantra &ldquo;Art is Life.&rdquo;&nbsp;</p> <p>50 years later, <em>Arte Povera: From the Olnick Spanu Collection</em>, presents 76 artworks in a variety of media in an effort to display the evolution of each artist&rsquo;s career over time.</p> <p>The show will be on view Thursday through Mondays, from 11 a.m. to 5 p.m. Visit magazzino.art for more information and to book a free visit.</p> Mon, 26 Feb 2018 16:02:59 -0800 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Maren Hassinger - Studio Museum in Harlem - June 16th, 2018 - June 10th <p style="text-align: justify;"><span style="font-family:serif;"><span style="font-size:18px;"><em>Maren Hassinger: Monuments</em> will consist of eight site-specific sculptures installed for approximately one year in Marcus Garvey Park, beginning in June 2018. Hassinger, who has been associated with the Studio Museum since 1984, is a Harlem-based multidisciplinary artist whose work, spanning performance, installation, sculpture, and video, are often meditations on nature and community. Working in the tradition of her earlier projects such as <em>Wreath</em> (1979), Hassinger will use branches to create forms that respond to aspects of the park&rsquo;s landscape&mdash;an outcropping of rock, a triangle near flower beds, an oval near the pool. The artist will create the works with the assistance of volunteers from the Studio Museum&rsquo;s <a href="https://www.studiomuseum.org/teen-leadership-council">Teen Leadership Council</a> and <a href="https://www.studiomuseum.org/expanding-the-walls"><em>Expanding the Walls</em></a> program, so that <em>Monuments</em> will be a project made in Harlem and for Harlem.<br /> <br /> Marcus Garvey Park is located along Madison Avenue between 120th and 124th Streets. Enter at any entrance to view <em>Maren Hassinger: Monuments</em>.<br /> <br /> <em>Maren Hassinger: Monuments</em> is organized by Hallie Ringle, Assistant Curator, and is an <a href="https://www.studiomuseum.org/inharlem"><em>inHarlem</em></a> project presented by The Studio Museum in Harlem in partnership with the Marcus Garvey Park Alliance and NYC Parks.<br /> <br /> Funding for <em>Maren Hassinger: Monuments</em> thanks to Amy J. Goldrich. <em>inHarlem</em> is made possible thanks to Citi; the Stavros Niarchos Foundation; William R. Kenan Jr. Charitable Trust; Rockefeller Brothers Fund; and The Shelley &amp; Donald Rubin Foundation. Additional support is generously provided by The New York City Department of Cultural Affairs; 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; and The Andrew W. Mellon Foundation.</span></span></p> Sun, 27 May 2018 02:55:11 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Gustav Klimt, Egon Schiele - Neue Galerie Museum for German and Austrian Art - June 28th, 2018 - January 21st <p style="text-align: justify;"><span style="font-family:serif;"><span style="font-size:18px;">Gustav Klimt (1862-1918) and Egon Schiele (1890-1918) are two of the greatest artists Austria produced in the early twentieth century. Although born nearly thirty years apart, both tragically died in 1918&mdash;the same year that the Austro-Hungarian Empire ceased to exist following its defeat in World War I. Over the intervening century, the works of Klimt and Schiele have come to define the fertile creativity that marked the so-called &ldquo;joyous apocalypse,&rdquo; an apt term used to connote the waning days of Habsburg rule. This show pays tribute to the groundbreaking achievements of Klimt and Schiele, two masterful artists who are key figures in the collection of the Neue Galerie New York.</span></span></p> Wed, 09 Jan 2019 09:41:52 -0800 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list - Cooper-Hewitt National Design Museum - July 28th, 2018 - March 24th <p style="text-align: justify;"><span style="font-family:serif;"><span style="font-size:18px;">Objects ranging from ancient to the contemporary show how the optical effects of iridescence have maintained a lasting impact on design.</span></span></p> Fri, 20 Jul 2018 01:55:13 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Group Show - Brooklyn Museum of Art - September 14th, 2018 - February 3rd <p style="text-align: justify;"><em>Soul of a Nation: Art in the Age of Black Power</em>&nbsp;shines light on a broad spectrum of Black artistic practice from 1963 to 1983, one of the most politically, socially, and aesthetically revolutionary periods in American history. Black artists across the country worked in communities, in collectives, and individually to create a range of art responsive to the moment&mdash;including figurative and abstract painting, prints, and photography; assemblage and sculpture; and performance.<br /> <br /> Many of the over 150 artworks in the exhibition directly address the unjust social conditions facing Black Americans, such as Faith Ringgold&rsquo;s painting featuring a &ldquo;bleeding&rdquo; flag and Emory Douglas&rsquo;s graphic images of beleaguered Black city life. Additional works present oblique references to racial violence, such as Jack Whitten&rsquo;s abstract tribute to Malcolm X, made in response to the activist&#39;s assassination, or Melvin Edwards&rsquo;s contorted metal sculptures. Working as a collective, members of the AfriCOBRA group presented images of uplift and empowerment. Barkley Hendricks, Emma Amos, and others painted everyday portraits of Black people with reverence and wit. All the artists embraced a spirit of aesthetic innovation, but some took this as their primary goal, often through experiments with color and paint application.</p> <p style="text-align: justify;">This exhibition brings together for the first time the excitingly disparate practices of more than sixty Black artists from this important moment, offering an unparalleled opportunity to see their extraordinary works side by side.</p> <p style="text-align: justify;"><em>Soul of a Nation: Art in the Age of Black Power&nbsp;</em>is organized by Tate Modern in collaboration with the Brooklyn Museum and Crystal Bridges Museum of American Art, Bentonville, Arkansas, and The Broad, Los Angeles, and curated by Mark Godfrey, Senior Curator, International Art, and Zoe Whitley, Curator, International Art, Tate Modern. The Brooklyn Museum presentation is curated by Ashley James, Assistant Curator, Contemporary Art, Brooklyn Museum.</p> <p style="text-align: justify;">Leadership support for this exhibition is provided by the Ford Foundation, the Terra Foundation for American Art, and Universal Music Group. Additional support is provided by Christie&rsquo;s, Raymond Learsy, Saundra Williams-Cornwell and W. Don Cornwell, the Hayden Family Foundation, Carol Sutton Lewis and William Lewis, and Connie Rogers Tilton.</p> <p style="text-align: justify;">Image caption and credit:&nbsp;Barkley Hendricks (American, 1945&ndash;2017).&nbsp;<em>Blood (Donald Formey</em>), 1975.Courtesy of Dr. Kenneth Montague | The Wedge Collection, Toronto. &copy; Estate of Barkley L. Hendricks. Courtesy of the artist&rsquo;s estate and Jack Shainman Gallery, New York. (Photo: Jonathan Dorado, Brooklyn Museum)</p> <p style="text-align: justify;">Tickets for the opening reception can be found here:&nbsp;https://www.showclix.com/event/celebration-soul-of-a-nation-art-in-the-age-of-black-power/listing</p> <p>&nbsp;</p> Tue, 01 Jan 2019 08:00:29 -0800 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list - The Metropolitan Museum of Art - June 7th, 2018 - September 22nd <div class="rich-text"> <p style="text-align: justify;"><span style="font-family:serif;"><span style="font-size:18px;">The history of Korean art spans more than five thousand years. Korea&#39;s cross-cultural contacts with neighbors near and far&mdash;especially China&mdash;have played a significant role in shaping its rich and diverse artistic traditions. Korean culture has also provided important inspiration to others, notably Japan. This exhibition offers a window into the essentials of the peninsula&#39;s creative output, past and present. Arranged in loosely chronological order are major works from The Met collection, augmented by significant loans from the National Museum of Korea. The pieces represent key genres and themes of Korean art; they include strikingly modern-looking pots and glittering jewelry from ancient burial sites; exquisite Buddhist icons; refined green-glazed celadon; understated white porcelain; and pictorial images, both sophisticated and whimsical, that feature a range of motifs from nature.</span></span></p> <p style="text-align: justify;"><span style="font-family:serif;"><span style="font-size:18px;">The Met received its first gift of a Korean object in 1893. The Arts of Korea Gallery opened in 1998. Today, the collection and gallery afford New Yorkers and the Museum&#39;s global visitors ongoing explorations of Korea&#39;s cultural traditions and innovations.</span></span></p> </div> Tue, 24 Jul 2018 07:24:11 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list