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Events in Art and Archaeology

Being: New Photography 2018
NEW YORK  •  Museum of Modern Art  •  15 March - 19 August 2018
 

The works featured in Being call attention to assumptions about how individuals are depicted and perceived. Many challenge the conventions of photographic portraiture, or use tactics such as masking, cropping, or fragmenting to disorient the viewer. In others, snapshots or found images are taken from their original context and placed in a new one to reveal hidden stories. While some of the works might be considered straightforward representations of individuals, others do not include images of the human body at all. Together, they explore how personhood is expressed today, and offer timely perspectives on issues of privacy and exposure; the formation of communities; and gender, heritage, and psychology.

The artists included are:

    Sofia Borges (Brazilian, born 1984)
    Matthew Connors (American, born 1976)
    Sam Contis (American, born 1982)
    Shilpa Gupta (Indian, born 1976)
    Adelita Husni-Bey (Italian, born 1985)
    Yazan Khalili (Palestinian, born Syria, 1981)
    Harold Mendez (American, born 1977)
    Aïda Muluneh (Ethiopian, born 1974)
    Hương Ngô and Hồng-Ân Trương (American, born Hong Kong, 1979; American, born 1976)
    B. Ingrid Olson (American, born 1987)
    Joanna Piotrowska (Polish, born 1985)
    Em Rooney (American, born 1983)
    Paul Mpagi Sepuya (American, born 1982)
    Andrzej Steinbach (German, born Poland, 1983)
    Stephanie Syjuco (American, born Philippines, 1974)
    Carmen Winant (American, born 1983)



Museum of Modern Art Website


Contact: Museum of Modern Art
11 W 53rd Street New York, NY 10019
Tel: (1) (212) 708-9400

Standing Figure, Tlalocan [tunnel under Feathered Serpent Pyramid], Teotihuacan, Mexico, 200–250, Zona de Monumentos Arqueológicos de Teotihuacán/INAH, [Proyecto Tlalocan], photograph by Jorge Pérez de Lara Elías, © INAH
Standing Figure, Tlalocan [tunnel under Feathered Serpent Pyramid], Teotihuacan, Mexico, 200–250, Zona de Monumentos Arqueológicos de Teotihuacán/INAH, [Proyecto Tlalocan], photograph by Jorge Pérez de Lara Elías, © INAH
City and Cosmos: The Arts of Teotihuacan
LOS ANGELES  •  The Los Angeles County Museum of Art  •  25 March - 15 July 2018
 
The Los Angeles County Museum of Art presents City and Cosmos: The Arts of Teotihuacan, a groundbreaking exhibition featuring new archaeological discoveries from the ancient city’s three main pyramids and major residential compounds. City and Cosmos includes nearly 200 works in various media, such as monumental sculpture made of volcanic stones; polychrome mural paintings; and smaller-scale objects made out of precious greenstones, obsidian, and ceramic.

Organized in collaboration with Mexico’s Instituto Nacional de Antropología e Historia (INAH) and the de Young Museum, Fine Arts Museums of San Francisco, City and Cosmos is organized according to the city’s main architectural complexes and highlights visible monumental sculpture and buried offerings from the three main pyramids: Sun Pyramid, Moon Pyramid, and Feathered Serpent Pyramid; residential compounds; and the city’s edges and beyond.

The Los Angeles County Museum of Art Website


Contact: The Los Angeles County Museum of Art
5905 Wilshire Boulevard
Los Angeles, CA 90036
Tel: (1) 323 857-6000

Danh Vo: Take My Breath Away
NEW YORK  •  Solomon R. Guggenheim Museum  •  9 February - 9 May 2018
 
Danish artist Danh Vo (b. 1975, Bà Rịa, Vietnam) dissects the public forces and private desires that define individual experience. His work addresses sweeping cultural and political themes, but refracts them through intimate personal narratives—what the artist calls “the tiny diasporas of a person’s life.” Seen together in this survey exhibition, the sculptures, photographs, and works on paper that he has created over the past fifteen years circle a central paradox: that the self is plural and inherently fluid, yet decisively shaped by larger power structures.

Vo’s work is animated by the act of possession, not just of material belongings and geographic territory, but of the body, faith, and the imagination. An excavation of the residue of colonial occupation and other global power shifts can be traced throughout his oeuvre, accompanied by a meditation on the notion of freedom in different guises. These subjects are at the heart of the artist’s recurrent focus on the self-image of the United States, a country whose recent past is enmeshed with that of his birthplace. Vo probes the myths and symbols that frame the nation’s identity with characteristic duality, amplifying both its brightest ideals and bleakest corruptions.

Solomon R. Guggenheim Museum Website


Contact: Solomon R.  Guggenheim Museum
1071 5th Avenue
New York, NY 10128
Tel: (1) 212 423 35 00

Glenn Ligon: What We Said The Last Time
NEW YORK  •  Luhring Augustine  •  27 February - 2 April 2016
 

Luhring Augustine presents What We Said The Last Time, an exhibition of new work by Glenn Ligon, and Entanglements, a curatorial project by the artist. A companion exhibition entitled We Need To Wake Up Cause That’s What Time It Is opened at Luhring Augustine Bushwick on January 16th and remains on view through 17 April 2016. 

What We Said The Last Time features a suite of seventeen inkjet prints that document the paint-spattered pages of the artist’s well-worn copy of James Baldwin’s seminal 1953 essay “Stranger in the Village.” Written during a stay in a remote Swiss mountain hamlet, Baldwin’s text examines complex and urgent questions around blackness, culture, and history. Since 1996, Ligon has used the essay as the basis of his “Stranger” series, including prints, drawings, and dense paintings made with oil stick and often coal dust that oscillate between legibility and obscurity. While creating these canvases, Ligon kept pages of Baldwin’s essay on his studio table for reference, and over the years they became covered with random smudges of black paint, oil stains, and fingerprints. Intrigued by this accumulation of marks, Ligon transformed the book pages into a suite of large-scale prints, using the full text of the essay for the first time in his career. The resulting work is a palimpsest of accumulated personal histories that suggests Ligon’s long engagement with Baldwin’s essay, as well as a new strategy in his ongoing exploration of the interplay between language and abstraction.

Also on view is Entanglements, a curatorial project by Ligon that examines how artists use the studio as a base from which to engage momentous cultural shifts and political events in both direct and oblique ways.  Key to the exhibition is Bruce Nauman’s Violin Tuned D.E.A.D. (1968), a video that presents the artist repetitively playing a single note on a violin with his back to the camera. While discussions of Nauman’s video works from this period have focused on issues of performativity, endurance, and the body, Ligon was interested in how Nauman’s discordant note can be heard as a soundtrack to the war in Vietnam or the brutal violence faced by civil rights workers. While not directly commenting on these issues, the ominous soundscape of Violin Tuned D.E.A.D. nevertheless suggests Nauman’s engagement with that turbulent moment in American history and served as a point of departure for Ligon to consider other works in which the artist’s studio has acted as a conduit for contemporary events. Ligon’s selections posit new identities, conversations or modes of sociability as a response to pressing social and political issues.  Entanglements features artworks and ephemera by Felix Gonzalez-Torres, David Hammons, On Kawara, Glenn Ligon, Bruce Nauman, Adrian Piper, Bob Thompson, Lynette Yiadom-Boakye, and Andy Warhol. 

Glenn Ligon lives and works in New York.



Luhring Augustine Website


Contact: Luhring Augustine
531 West 24th Street
New York, NY 10011
Tel: (1) 212 206 91 00

Jason Moran
Jason Moran
Jason Moran
MINNEAPOLIS, MINNESOTA  •  Walker Art Center  •  26 April - 26 August 2018
 
The work of the American interdisciplinary artist Jason Moran (US, born 1975) is grounded in musical composition, yet bridges the visual and performing arts through stagecraft. Moran is known for using personal experience to create dynamic musical compositions that challenge the conventional form of the medium. His experimental approach to artmaking embraces the intersection of objects and sound, pushing beyond the traditional staged concert or sculpture and drawing to amplify ways that both are inherently theatrical. This exhibition, the artist’s first museum show, features the range of work Moran has explored, from his own sculptural pieces and collaborations with visual artists to performances.

Walker Art Center Website


Contact: Walker Art Center
725 Vineland Place
Minneapolis, MN 55403
Tel: (1) 612) 375 76 00

Like Life: Sculpture, Color, and the Body (1300–Now)
NEW YORK  •  The Met Breuer  •  21 March - 22 July 2018
 
Seven hundred years of sculptural practice—from fourteenth-century Europe to the global present—are examined anew in this groundbreaking exhibition. Like Life: Sculpture, Color, and the Body (1300–Now) explores narratives of sculpture in which artists have sought to replicate the literal, living presence of the human body. On view exclusively at The Met Breuer, this major international loan exhibition of about 120 works draws on The Met's rich collections of European sculpture and modern and contemporary art, while also featuring a selection of important works from national and international museums and private collections.

The Met Breuer Website


Contact: The Met Breuer
945 Madison Avenue
New York, NY 10021
Tel: (1) 212 731 16 75

<EM>August: Reaping Wheat</EM>, “Da Costa Hours,” Belgium, Ghent, ca. 1515, illuminated by Simon Bening, The Morgan Library &amp; Museum, MS M.399, fol. 9v, purchased by Pierpont Morgan, 1910. Image courtesy of Akademische Druck- u. Verlagsanstalt, Graz/Austria.
August: Reaping Wheat, “Da Costa Hours,” Belgium, Ghent, ca. 1515, illuminated by Simon Bening, The Morgan Library & Museum, MS M.399, fol. 9v, purchased by Pierpont Morgan, 1910. Image courtesy of Akademische Druck- u. Verlagsanstalt, Graz/Austria.
Now and Forever: The Art of Medieval Time
NEW YORK  •  The Morgan Library & Museum  •  26 January - 29 April 2018
 
Drawing upon the Morgan’s rich collection of illuminated manuscripts, Now and Forever: The Art of Medieval Time explores how people in the Middle Ages told time, conceptualized history, and conceived of the afterlife. It brings together more than fifty-five calendars, Bibles, chronicles, histories, and a sixty-foot genealogical scroll. They include depictions of monthly labors, the marking of holy days and periods, and fantastical illustrations of the hereafter.

The Morgan Library & Museum Website


Contact: The Morgan Library & Museum
225 Madison Avenue, at 36th Street
New York, NY 10016-3405
Tel: (1) 212.685.0008

Tel: (1) 212.685.0008

Rockwell Kent: Prints from the Ralf C. Nemec Collection
GLENN FALLS, NEW YORK  •  The Hyde Collection  •  8 April - 22 July 2018
 

Rockwell Kent (American, 1882-1971) was a polarizing figure: An acclaimed artist and printmaker, a household name as traveler and author, his private mores scandalized family and friends, his social activism his political adversaries. His politics garnered him a certain degree of notoriety, while his art earned him critical acclaim. The Hyde Collection presents two exhibitions of the artist's works in three mediums. Rockwell Kent: Prints from the Ralf C. Nemec Collection includes fifty-two prints and a selection of ceramics by Kent; A Life and Art of His Own: Paintings from North Country Collections features thirty-seven paintings drawn from Plattsburgh State University's Art Museum and private collectors throughout the North Country.

Kent traveled extensively to Greenland, Tierra del Fuego, Newfoundland, Alaska, and other remote locations, transporting viewers to the rugged extremes of wilderness. His distinctive style emerged in the early 1900s and seemed inspired by the grand landscapes of the cold, bleak climes he found among the faraway mountains to which he traveled. Many of his works were centered on the inherent good of man and nature, and the relationship between them.

Kent's Modernism appealed to a large following, allowing him a successful career in major metropolitan areas despite living in rural Au Sable Forks (Clinton and Essex counties) for forty-three years. Drawn by what he deemed "humanist wilderness," he moved to the Adirondacks in 1928, building Asgaard Farm with views of Whiteface Mountain and the surrounding High Peaks.



The Hyde Collection Website


Contact: The Hyde Collection
161 Warren Street
Glens Falls, NY 1280
Tel: (1) 518.792.1761

Rodin at the Brooklyn Museum: The Body in Bronze
NEW YORK  •  Brooklyn Museum:  •  17 November 2017 - 22 April 2018
 

Rodin at the Brooklyn Museum: The Body in Bronze marks the hundredth anniversary of Auguste Rodin's death, in 1917, with an installation of the Museum's remarkable collection of 58 Rodin bronzes, acquired through a generous gift from the Iris and B. Gerald Cantor Foundation in 1983.

The presentation places the works in their historical context, examining Rodin's legacy and reputation, and exploring his sculptural practice and the bronze casting process.



Brooklyn Museum Website


Contact: Brooklyn Museum
200 Eastern Parkway
Brooklyn, NY 11238

Gian Lorenzo Bernini (1598–1680): <EM>Bust of Cardinal Roberto Bellarmino</EM>, 1621–24 Marble, 30 7/8 x 27 1/2 x 19 3/4 in.Church of the GesúPhoto: Zeno Colantoni
Gian Lorenzo Bernini (1598–1680): Bust of Cardinal Roberto Bellarmino, 1621–24
Marble, 30 7/8 x 27 1/2 x 19 3/4 in.
Church of the Gesú
Photo: Zeno Colantoni
The Holy Name. Art of the Gesù: Bernini and his Age
FAIRFIELD, CONNECTICUT  •  The Fairfield University Art Museum  •  1 February - 19 May 2018
 
The Fairfield University Art Museum is presenting a major international loan exhibition—The Holy Name. Art of the Gesù: Bernini and his Age, which is on view in the museum’s Bellarmine Hall Galleries from February 1 through May 19, 2018. Its focus is the Church of the Gesù (Chiesa del Santissimo Nome di Gesù all'Argentina) in Rome. The principal or mother church of the Society of Jesus, which was founded by Ignatius of Loyola in 1540 in the charged religious and political climate of the Counter-Reformation, the Gesù is a testament to the power and prestige of the new religious order, its edifice a formidable symbol of the militant Church reborn. The long and at times fraught campaign to erect the church and embellish its interior, the imperative to formulate an imagery celebrating the order and its newly canonized saints, the competing visions of the Jesuits and their strong-willed patrons, and the boundless creative energies of the artists who realized the vastly ambitious project are all explored.

Masterpieces on view include art from the Gesù itself (never before lent to America), the most spectacular being the great Baroque sculptor Gian Lorenzo Bernini’s marble bust of Jesuit theologian and cardinal Roberto Bellarmino, and paintings, drawings, sculpture and prints from numerous museums and private collections in America.

The Fairfield University Art Museum Website


Contact: The Fairfield University Art Museum
1073 North Benson Road
Fairfield, Connecticut 06824
Tel: (1) 203 254 40 00

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