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Culturekiosque Travel Tips  •  United States: Current Listings

Events in Art and Archaeology

Adriana Varejão: <EM>Kindred Spirits I</EM> (detail), 2015 Oil on canvas 3 parts, each: 20.47 x 17.91 x 1.38 inches 52 x 45.5 x 3.5 cm Courtesy the artist and Lehmann Maupin, New York and Hong Kong Photo: Vicente de Mello.
Adriana Varejão: Kindred Spirits I (detail), 2015
Oil on canvas 3 parts, each: 20.47 x 17.91 x 1.38 inches 52 x 45.5 x 3.5 cm
Courtesy the artist and Lehmann Maupin, New York and Hong Kong
Photo: Vicente de Mello.
Adriana Varejão: Kindred Spirits
NEW YORK  •  Lehmann Maupin  •  21 April - 19 June 2016
 
Lehmann Maupin presents Kindred Spirits, Brazilian artist Adriana Varejão’s sixth solo exhibition with the gallery. Varejão includes works from her two most recent series: Kindred Spirits, 29 portraits of the artist donning the face painting and body ornamentation of Native American tribes intermixed with markings derived from artworks by Minimalist and contemporary American artists, and the Mimbres paintings, which reference the visual culture of the Mimbres people who inhabited the American Southwest in the 11th century. Together these bodies of work elaborate on Varejão’s longstanding interest in colonialism’s effect on the aesthetics of identity.

Lehmann Maupin Website


Contact: Lehmann Maupin
201 Chrystie Street
New York, NY 10002
Tel: (1) 212 254 00 54

Jean-Michel Basquiat
Jean-Michel Basquiat
Basquiat: The Unknown Notebooks
ATLANTA, GEORGIA  •  High Museum of Art  •  28 February - 29 May 2016
 

Jean-Michel Basquiat (American, 1960–1988) was one of the most original and influential artists of his generation. Born and raised in Brooklyn, he rose quickly from teenage street artist to art-world celebrity in the early 1980s. Though he is best known for his vibrantly colored figure paintings, language was in many ways his most constant medium. Handwritten texts appear throughout his drawings, paintings, and mixed-media works, blurring the boundaries between writing and drawing and between drawing and painting.

Throughout the 1980s, Basquiat kept notebooks in which he sketched and recorded observations of life in New York City and of the broader culture. Basquiat: The Unknown Notebooks presents for the first time eight notebooks that Basquiat produced between 1980 and around 1987, along with a selection of related drawings, paintings, and collages. The notebooks reveal a lesser-known side of Basquiat and his artistic process and constitute an important source for understanding and appreciating his larger compositions.

Filled with descriptive texts, poems, notations, and occasional drawings, the notebooks on view here contain early versions of images that recur throughout the artist’s production: tepees, crowns, street signs, urban traffic, and skeletal, masklike faces of African Americans. A keen observer of history and the world around him, Basquiat communicated critiques of racism, capitalism, and social and economic injustice with deceptively childlike imagery and a sophisticated poetic voice. Throughout his notebooks, as in his larger works, he experimented with text as a visual element, carefully positioning words or short phrases on an otherwise empty page and consciously misspelling and repeating words and phrases for emphasis and poetic effect.



High Museum of Art Website


Contact: High Museum of Art
1280 Peachtree St NE
Atlanta, GA 30309
Tel: (1) 404 733 51 21

Osias Beert (Antwerp 1580 – 1624): <EM>Still Life of Flowers in a Stone Vase in a Niche</EM>Oil on panel, cradledOn loan from the Grasset Collection
Osias Beert (Antwerp 1580 – 1624): Still Life of Flowers in a Stone Vase in a Niche
Oil on panel, cradled
On loan from the Grasset Collection
Brueghel to Canaletto: European Masterpieces from the Grasset Collection
SAN DIEGO, CALIFORNIA  •  The San Diego Museum of Art  •  2 April - 2 August 2016
 

This exhibition features fine still life and landscape paintings from leading Dutch, Flemish, Italian, Spanish and German artists of the 17th & 18th centuries. Made possible by a loan from a European family, of French origin with close connection to Spain, the exhibition features 40 works never before displayed publicly including landscapes ranging from masters like Jan Brueghel the Elder and Barent Avercamp to the greatest of all Venetian view-painters, Canaletto. The collection is on view at the San Diego Museum, the sole venue for the exhibition.

Spanning the years 1600 to 1750, the featured works represent a turning point in history when artwork began to be collected by those other than nobility–and the art market emerged.



The San Diego Museum of Art Website


Contact:

The San Diego Museum of Art
1450 El Prado
Balboa Park
San Diego, CA


Tel: (1) 619 232 79 31

<P>Edward S. Curtis: <EM>Chief Joseph - Nez Perce</EM>, 1903, Photogravure, Edward S. Curtis 1900, platinum printCourtesy of the Christopher G. Cardozo Collection</P>

Edward S. Curtis: Chief Joseph - Nez Perce, 1903, Photogravure, Edward S. Curtis 1900, platinum print
Courtesy of the Christopher G. Cardozo Collection

Edward S. Curtis: One Hundred Masterworks
PALM SPRINGS, CALIFORNIA  •  Palm Springs Art Museum  •  20 February - 29 May 2016
 

Beginning in 1900, Edward S. Curtis (1868-1952) set out on a monumental quest to create an unprecedented, comprehensive record of the Indians of North American. The culmination of his 30-year project led to his magnum opus, The North American Indian, a twenty-volume, twenty-portfolio set of handmade books containing a selection of over 2,200 original photographs. Today this work stands as a landmark in the history of photography, book publishing, ethnography, and the history of the American West, producing an art historical record of enormous and irreplaceable importance.

One Hundred Masterworks presents an extraordinary selection of vintage photographs by Curtis that highlights both iconic and previously little known images, revealing the aesthetic, emotional, and spiritual qualities, which are the cornerstone of his art. It showcases seven different photographic print mediums including photogravure, platinum, goldtone (orotone), toned and un-toned gelatin silver, cyanotype, and gold-toned printing-out paper prints. Arranged thematically, the exhibition includes a selection of Curtis’ most compelling and rare photographs that look beyond the documentary nature of his work focusing on his aesthetic and technical contributions to the art of photography.

Accompanying the exhibition is a 184-page catalogue published by Foundation for the Exhibition of Photography in association with Delmonico Books/Prestel with essays by curator Christopher Cardozo and contributions by A.D. Coleman, Louise Erdrich, Eric J. Jolly, and Michael Charles Tobias. The catalogue is available for purchase at the Museum Store.



Palm Springs Art Museum Website


Contact: Palm Springs Art Museum
101 Museum Drive
Palm Springs CA
Tel: (1) 760 322 48 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

Katsukawa Shunsh&#333; (Japan, 1726-1792): <EM>Child Dancing with Chrysanthemum Branch</EM>Alternate Title: <EM>Kikujid¯o, Hanging scroll</EM>Ink and colors on silkGift of Caroline and Jarred Morse
Katsukawa Shunshō (Japan, 1726-1792): Child Dancing with Chrysanthemum Branch
Alternate Title: Kikujid¯o, Hanging scroll
Ink and colors on silk
Gift of Caroline and Jarred Morse
Japanese Painting: Figures from Life, Figures from Allegory
LOS ANGELES  •  Los Angeles County Museum of Art  •  12 December 2015 - 29 May 2016
 
This exhibition, featuring 24 figurative works of art, explores feminine beauty in the ukiyo-e (pictures of the floating world) manner, inspired by fashion trends popular in the entertainment quarters of Edo. As Japan’s shogunal capital from 1603 to 1868, Edo (which is now Tokyo) had a predominantly male population, with a huge contingent of samurai and tradesmen who catered to them; in this male-dominated environment, images of womanly allure became very popular.

Los Angeles County Museum of Art Website


Contact: LACMA
5905 Wilshire Blvd.
Los Angeles CA 9003
Tel: (1) 323 857 60 00

<EM>Head of a Guardian King</EM>. Kamakura period, 13th century. Polychromed Japanese cypressHead of a Guardian King. Kamakura period, 13th century.
Head of a Guardian King. Kamakura period, 13th century. Polychromed Japanese cypressHead of a Guardian King. Kamakura period, 13th century.
Kamakura: Realism and Spirituality in the Sculpture of Japan
NEW YORK  •  Asia Society  •  9 February - 8 May 2016
 

The magnificent sculpture of the Kamakura period (1185–1333) has long been considered a high point in the history of Japanese art. Stylistic and technical innovations led to sculpture that displayed greater realism than ever before. Sculptors began signing their works, allowing us to trace the development of individual and workshop styles that influenced later generations for centuries. Religious developments—often combinations of traditional and new practices—brought devotees into closer proximity with the deities they worshipped.

The icons in this exhibition commanded the faith of passionate devotees, some of whom hoped to gain merit from the making of a Buddhist image, to ensure salvation in the afterlife, or to obtain tangible benefits in this life. Others aimed to achieve ultimate awakening through ritual unification with the deity represented by the icon. In their original contexts these powerful icons were “real presences,” brought to life by their naturalistic form, ritual activation, and sacred interior contents.

Craftsmen created these icons during a time of profound political and social disruption. For the first time in Japanese history, powerful warrior clans challenged the imperial court that had dominated the political and cultural landscape for centuries. In the civil war of the 1180s, the great Buddhist temples of the ancient capital in Nara burned to the ground. The devastation shocked the entire country, but rebuilding and repopulating the temples with new sculptures and paintings began almost immediately. Renewed contact with the Asian mainland, which flourished in the early Kamakura period, further invigorated arts and religious practices.

Elite warriors became an important new source of patronage for religious arts, while the imperial court and aristocratic clergy continued their sponsorship of sculpture workshops in Kyoto and Nara even as their fortunes gradually declined. One major new patron was Minamoto Yoritomo, who became the first ruling shogun and established a military government headquartered in the town of Kamakura in eastern Japan. Later in the thirteenth century, however, the continued threat of invasion by the Mongol empire created further instability. In 1333, a cunning Japanese emperor launched a rebellion ending the Kamakura shogunate not even 150 years after its founding.

Despite the brevity of this historical period, it had a lasting impact on the political, artistic, and religious legacy of Japan. Shoguns and warlords were the dominant rulers up until the mid-nineteenth century. Even in the eighteenth century, sculptors proudly traced their artistic lineages back to early Kamakura master sculptors, while religious movements established during the period continue to be some of the most popular forms of Buddhism practiced in Japan today.

Ive Covaci, Guest Curator
Adriana Proser, John H. Foster Senior Curator for Traditional Asian Art, Asia Society



Asia Society Website


Contact:

Asia Society
725 Park Avenue
New York, NY 10021


Tel: (1) 212 517 27 42

Kehinde Wiley:<EM> Portrait of Andries Stilte</EM>, 2006
Kehinde Wiley: Portrait of Andries Stilte, 2006
Kehinde Wiley: A New Republic
SEATTLE, WASHINGTON  •  Seattle Art Museum  •  11 February - 8 May 2016
 

Kehinde Wiley is one of the leading American artists to emerge in the last decade and he has been ingeniously reworking the grand portraiture traditions. In his consideration of portrait traditions, Wiley has been especially drawn to the grand aristocratic portraits of the 18th century.

The artist began his first series of portraits in the early 2000s during a residency at the Studio Museum in Harlem. He set out to photograph and recast assertive and self-empowered young men from the neighborhood in the style and manner of traditional history painting. Since then he has also painted rap and sports stars but for the most part his attention has focused on ordinary men of color in their everyday clothes. Trained at Yale in the 1990s, Wiley was steeped in the discussions concerning identity politics during this decade and he brings his personal insights and theoretical studies to his practice.

Wiley’s portraits are highly stylized and staged, and draw attention to the dialectic between a history of aristocratic representation and the portrait as a statement of power and the individual’s sense of empowerment.



Seattle Art Museum Website


Contact:

Seattle Art Museum
1300 First Avenue
Seattle, WA 98101


Tel: (1) 206 65 431 00

<DIV class=attachment_image_caption><SPAN class="attachment_image full_caption"><SPAN class=title>Kerry James Marshall: <EM>Untitled (Painter)</EM>, 2009Acrylic on PVC; 44 5/8 x 43 1/8 x 3 7/8 in. (113.4 x 109.5 x 9.8 cm).Collection Museum of Contemporary Art Chicago, gift of Katherine S. Schamberg by exchange, 2009.15© 2009 Kerry James Marshall</SPAN> <SPAN class=photo_credit>Photo: Nathan Keay, © MCA Chicago</SPAN></SPAN></DIV>
Kerry James Marshall: Untitled (Painter), 2009
Acrylic on PVC; 44 5/8 x 43 1/8 x 3 7/8 in. (113.4 x 109.5 x 9.8 cm).
Collection Museum of Contemporary Art Chicago, gift of Katherine S. Schamberg by exchange, 2009.15
© 2009 Kerry James Marshall

Photo: Nathan Keay, © MCA Chicago
Kerry James Marshall: Mastry
CHICAGO  •  Museum of Contemporary Art, Chicago  •  23 April - 25 September 2016
 

The MCA is honored to present a major museum survey of Kerry James Marshall (b. 1955), one of America’s greatest living artists. The exhibition focuses primarily on Marshall’s paintings made over the last 35 years, from his seminal inaugural statement Portrait of the Artist as a Shadow of His Former Self (1980) to his most recent explorations of African American history.

Born before the passage of the Civil Rights Act, in Birmingham, Alabama, and witness to the Watts riots in 1965, Marshall has long been an inspired and imaginative chronicler of the African American experience. Best known for his large-scale paintings featuring black figures, defiant assertions of blackness in a medium in which African Americans have long been “invisible men,” Marshall’s interrogation of art history covers a broad temporal swath stretching from the Renaissance to 20th-century American abstraction. He critically examines the Western canon through its most canonical forms: the historical tableau, landscape, and portraiture. His work also touches upon vernacular forms such as the muralist tradition and the comic book, as seen in his comics-inspired Rythm Mastr drawings (2000–present), in order to address and correct the “vacuum in the image bank”—in other words, to make the invisible visible.

Marshall studied in Los Angeles with acclaimed social realist painter Charles White and participated in the residency program at the Studio Museum in Harlem. He has received solo exhibitions throughout Europe and North America and his work has been included in such prestigious international exhibitions as the 1997 Whitney Biennial, the 2003 Venice Biennial, the 2009 Gwangju Biennial, two Documentas (1997 and 2007), and the 1999 Carnegie International. His paintings are in private collections and foundations as well as major public collections including the MCA’s.



Museum of Contemporary Art, Chicago Website


Contact:
Museum of Contemporary Art, Chicago
220 E Chicago Avenue
Chicago, IL 60611

Tel: (1) 312 280 26 60

Ai Weiwei: <EM>Forever</EM>, 200364 Forever brand steel bicyclesThe Ella Fontanals-Cisneros CollectionReproduced with permissionPhotography courtesy of Chuck Choi.
Ai Weiwei: Forever, 2003
64 Forever brand steel bicycles
The Ella Fontanals-Cisneros Collection
Reproduced with permission
Photography courtesy of Chuck Choi.
Megacities Asia
BOSTON, MASSACHUSETTS  •  Museum of Fine Arts, Boston  •  3 April - 17 July 2016
 

Visitors walk under, through, along, around or inside large-scale sculptures and installations that examine issues of urbanization. Eleven artists offer 19 works created from accumulations of objects found in their home “megacities”—those with populations of 10 million or more—in China, India and South Korea, which have seen unprecedented development over the past 50 years.

Megacities Asia features artists Ai Weiwei (born 1957, Beijing), Choi Jeong Hwa (born 1961, Seoul), Subodh Gupta (born 1964, Delhi), Han Seok Hyun (born 1975, Seoul), Hu Xiangcheng (born 1959, Shanghai), Aaditi Joshi (born 1980, Mumbai), Song Dong (born 1966, Beijing), Hema Upadhyay (1972–2015, Mumbai), Asim Waqif (born 1978, Delhi), Yin Xiuzhen (born 1963, Beijing) and the collective flyingCity, led by Jeon Yongseok (born 1968, Seoul). Several of them are being exhibited in an American institution for the first time, and nearly half of the works were created specifically for Megacities Asia.

An accompanying exhibition map and guide lists locations of all the artworks.



Museum of Fine Arts, Boston Website


Contact:

Museum of Fine Arts, Boston
Avenue of the Arts
465 Huntington Avenue
Boston, Massachusetts 02115

 


Tel: (1) 617 267 93 00

<SPAN class=pie>Diego Rivera: <EM>How One Monkey and Artisan were Taught the Arts </EM>(Cómo les Enseñaron las Artes a Hunbatz y Hunchoven), 1931. Watercolor on paper. D.R. © 2015 Banco de México, Fiduciario en el Fideicomiso relativo a los Museos Diego Rivera y Frida Kahlo. Av. 5 de Mayo No. 2, Col. Centro, Del. Cuauhtémoc 06059, México, D.F.</SPAN>
Diego Rivera: How One Monkey and Artisan were Taught the Arts (Cómo les Enseñaron las Artes a Hunbatz y Hunchoven), 1931. Watercolor on paper. D.R. © 2015 Banco de México, Fiduciario en el Fideicomiso relativo a los Museos Diego Rivera y Frida Kahlo. Av. 5 de Mayo No. 2, Col. Centro, Del. Cuauhtémoc 06059, México, D.F.
Popol Vuh: Watercolors of Diego Rivera
SANTA ANA, CALIFORNIA  •  Bowers Museum  •  12 December 2015 - 29 May 2016
 
The exhibition that features 17 original watercolors inspired by the sacred text of the Quiché Maya people. In 1931, the renowned Mexican muralist Diego Rivera produced a series of watercolors to illustrate this sacred book.

Popol Vuh: Watercolors of Diego Rivera is the first United States presentation of these 17 compelling watercolors from the collection of the Museo Casa Diego Rivera in Guanajuato, Mexico. These watercolors not only breathe life into the powerful creation story of an ancient civilization, but also provide insight into Rivera's passionate and creative vision of the pre-Hispanic world.



Bowers Museum Website


Contact: Bowers Museum
2002 North Main Street
Santa Ana, California 92706
Tel: (1) 714 567 36 00

Robert Mapplethorpe: <EM>Self-portrait</EM>, 1980Printed 2008PhotographsGelatin silver printImage: 13 3/4 × 13 3/4 in. (34.93 × 34.93 cm) Primary support: 19 7/8 × 15 7/8 in. (50.48 × 40.32 cm) Frame: 25 1/4 × 24 1/4 in. (64.14 × 61.6 cm)Promised Gift of The Robert Mapplethorpe Foundation to The J. Paul Getty Trust and the Los Angeles County Museum of Art
Robert Mapplethorpe: Self-portrait, 1980
Printed 2008
Photographs
Gelatin silver print
Image: 13 3/4 × 13 3/4 in. (34.93 × 34.93 cm) Primary support: 19 7/8 × 15 7/8 in. (50.48 × 40.32 cm) Frame: 25 1/4 × 24 1/4 in. (64.14 × 61.6 cm)
Promised Gift of The Robert Mapplethorpe Foundation to The J. Paul Getty Trust and the Los Angeles County Museum of Art
Robert Mapplethorpe: The Perfect Medium
LOS ANGELES  •  Los Angeles County Museum of Art  •  20 March - 31 July 2016
 
The Perfect Medium explores Robert Mapplethorpe's (United States, 1946-1989) body of work through early drawings, collages, sculptures, and Polaroid photography; materials from his archive; portraits, still lifes, and figure studies; rare color photographs; and two seldom-seen moving image works. The exhibition also highlights the artist’s relationship to New York's sexual and artistic undergrounds, as well as his experimentation with a variety of media.

Los Angeles County Museum of Art Website


Contact: LACMA
5905 Wilshire Blvd.
Los Angeles CA 9003
Tel: (1) 323 857 60 00

<P>Sebastião Salgado:<EM> Tigray</EM> (Ethiopia)Gelatin silver printCourtesy of the Museum of Photographic Arts</P>

Sebastião Salgado: Tigray (Ethiopia)
Gelatin silver print
Courtesy of the Museum of Photographic Arts

Sebastião Salgado
SAN DIEGO, CALIFORNIA  •  The San Diego Museum of Art  •  20 February - 17 May 2016
 
The Brazilian-born artist’s black-and-white photographs are among the most influential images of our time—capturing the grim realities of industrialization in developing countries, the toll of warfare and the degradation of the natural environment. The artist’s quest to capture nature in its unspoiled original state culminated in 2013 with the publication of Genesis, a portfolio of 200 black-and-white photographs. Sebastião Salgado is the subject of the Oscar-nominated 2014 documentary The Salt of the Earth, directed by acclaimed German filmmaker Wim Wenders and the artist’s son, Juliano Ribeiro Salgado. In Salgado's native Brazil, he and his wife founded the Instituto Terra, a reforestation project whose greenhouses produce more than one million seedlings a year.

On view is a selection of works by Salgado from The San Diego Museum of Art's permanent collection and from the collections of the Museum of Contemporary Art San Diego, and the Museum of Photographic Arts.

The San Diego Museum of Art Website


Contact:

The San Diego Museum of Art
1450 El Prado
Balboa Park
San Diego, CA


Tel: (1) 619 232 79 31

<SPAN class=irc_su dir=ltr style="TEXT-ALIGN: left">Vanessa L. German:<EM> <SPAN class=irc_su dir=ltr style="TEXT-ALIGN: left">White Naphtha Soap, or Contemporary Lessons in Shapeshifting</SPAN></EM></SPAN>
Vanessa L. German: White Naphtha Soap, or Contemporary Lessons in Shapeshifting
State of the Art: Discovering American Art Now
MINNEAPOLIS, MINNESOTA  •  Minneapolis Institute of Art  •  18 February - 29 May 2016
 
State of the Art draws from every region of the United States, offering an unusually diverse snapshot of contemporary American art. This one-of-a-kind exhibition brings together working artists from rural communities and urban centers all over the country —with artwork ranging from works on canvas and paper, to photography and video, to installation art, and more.

Minneapolis Institute of Art Website


Contact:

Minneapolis Institute of Art
2400 3rd Ave S
Minneapolis, MN 55404

 


Tel: (1) 612 870 30 00

<DIV id=stcpDiv style="LEFT: -1988px; POSITION: absolute; TOP: -1999px">Albrecht Durer’s "Adam and Eve" (1504). Photo: Adel Gorgy - See more at: http://www.westsidespirit.com/city-arts-news/20160215/at-the-met-the-primacy-of-prints/2#sthash.08Qfr54J.dpuf</DIV> • <DIV id=stcpDiv style="LEFT: -1988px; POSITION: absolute; TOP: -1999px">Albrecht Durer’s "Adam and Eve" (1504). Photo: Adel Gorgy - See more at: http://www.westsidespirit.com/city-arts-news/20160215/at-the-met-the-primacy-of-prints/2#sthash.08Qfr54J.dpuf</DIV> • <DIV id=stcpDiv style="LEFT: -1988px; POSITION: absolute; TOP: -1999px">Albrecht Durer’s "Adam and Eve" (1504). Photo: Adel Gorgy - See more at: http://www.westsidespirit.com/city-arts-news/20160215/at-the-met-the-primacy-of-prints/2#sthash.08Qfr54J.dpuf</DIV> • <DIV id=stcpDiv style="LEFT: -1988px; POSITION: absolute; TOP: -1999px">Albrecht Durer’s "Adam and Eve" (1504). Photo: Adel Gorgy - See more at: http://www.westsidespirit.com/city-arts-news/20160215/at-the-met-the-primacy-of-prints/2#sthash.08Qfr54J.dpuf</DIV> • <DIV id=stcpDiv style="LEFT: -1988px; POSITION: absolute; TOP: -1999px">Albrecht Durer’s "Adam and Eve" (1504). Photo: Adel Gorgy - See more at: http://www.westsidespirit.com/city-arts-news/20160215/at-the-met-the-primacy-of-prints/2#sthash.08Qfr54J.dpuf</DIV> • <DIV id=stcpDiv style="LEFT: -1988px; POSITION: absolute; TOP: -1999px">Albrecht Durer’s "Adam and Eve" (1504). Photo: Adel Gorgy - See more at: http://www.westsidespirit.com/city-arts-news/20160215/at-the-met-the-primacy-of-prints/2#sthash.08Qfr54J.dpuf</DIV>Albrecht Durer: <EM>Adam and Eve</EM> (1504) Photo: Adel Gorgy
Albrecht Durer's "Adam and Eve" (1504). Photo: Adel Gorgy - See more at: http://www.westsidespirit.com/city-arts-news/20160215/at-the-met-the-primacy-of-prints/2#sthash.08Qfr54J.dpuf
Albrecht Durer's "Adam and Eve" (1504). Photo: Adel Gorgy - See more at: http://www.westsidespirit.com/city-arts-news/20160215/at-the-met-the-primacy-of-prints/2#sthash.08Qfr54J.dpuf
Albrecht Durer's "Adam and Eve" (1504). Photo: Adel Gorgy - See more at: http://www.westsidespirit.com/city-arts-news/20160215/at-the-met-the-primacy-of-prints/2#sthash.08Qfr54J.dpuf
Albrecht Durer's "Adam and Eve" (1504). Photo: Adel Gorgy - See more at: http://www.westsidespirit.com/city-arts-news/20160215/at-the-met-the-primacy-of-prints/2#sthash.08Qfr54J.dpuf
Albrecht Durer's "Adam and Eve" (1504). Photo: Adel Gorgy - See more at: http://www.westsidespirit.com/city-arts-news/20160215/at-the-met-the-primacy-of-prints/2#sthash.08Qfr54J.dpuf
Albrecht Durer's "Adam and Eve" (1504). Photo: Adel Gorgy - See more at: http://www.westsidespirit.com/city-arts-news/20160215/at-the-met-the-primacy-of-prints/2#sthash.08Qfr54J.dpuf
Albrecht Durer: Adam and Eve (1504)
Photo: Adel Gorgy
The Power of Prints : The Legacy of William M. Ivins and A. Hyatt Mayor
NEW YORK  •  Metropolitan Museum of Art  •  26 January - 22 May 2016
 

This exhibition commemorates the centenary of the Department of Prints at The Metropolitan Museum of Art by celebrating the astounding legacy of its founding curator, William Mills Ivins, and his brilliant protégé A. Hyatt Mayor. Together, during their combined fifty-year tenure, Ivins and Mayor amassed a collection of many hundreds of thousands of prints that is both encyclopedic in its scope and studied in its many areas of focus.

By drawing on its own vast holdings, this exhibition reveals how the Met's print collection was artfully constructed according to the vision of Ivins and Mayor—both social historians and amateur print specialists. The exhibition shows how the print collection of the Museum was meant to be like a library, composed from the beginning as a corpus of works (not all distinctly masterful works of art) that describe, in the most comprehensive way, man's aspirations. It displays the most beautiful, rare, and exceptional prints alongside the equally important popular and ephemeral works that were collected in the first fifty years of the department's history. The exhibition tells the story of this great American collection through prints by Andrea Mantegna, Marcantonio Raimondi, Albrecht Dürer, Rembrandt van Rijn, Jacques Callot, Francisco de Goya, James McNeill Whistler, Mary Cassatt, Edward Hopper, Honoré Daumier, Edward Penfield, and Henri de Toulouse-Lautrec, to name just a few artists in the exhibition.



Metropolitan Museum of Art Website


Contact: Metropolitan Museum of Art
1000 5th Avenue
New York, NY 10028
Tel: (1) 212 535 77 10

Vincent van Gogh: <EM>The Bedroom</EM>, 1889. Musée d’Orsay, Paris, sold to national museums under the Treaty of Peace with Japan, 1959.
Vincent van Gogh: The Bedroom, 1889. Musée d’Orsay, Paris, sold to national museums under the Treaty of Peace with Japan, 1959.
Van Gogh's Bedrooms
CHICAGO  •  Art Institute of Chicago  •  14 February - 10 May 2016
 
Vincent van Gogh’s bedroom in Arles held special significance for the artist, who created three distinct paintings of this intimate space from 1888 to 1889. This exhibition—presented only at the Art Institute of Chicago—brings together all three versions of The Bedroom for the first time in North America, offering a pioneering and in-depth study of their making and meaning to Van Gogh in his relentless quest for home.

Art Institute of Chicago Website


Contact:

Art Institute of Chicago
111 S Michigan Avenue
Chicago, IL 60603

 

 


Tel: (1) 312 443 36 00

Vik Muniz: <EM>Medusa Marinara,</EM> from the After Warhol series, 1997Dye destruction printCourtesy of the artistArt © Vik Muniz/Licensed by VAGA, New York, NY
Vik Muniz: Medusa Marinara, from the After Warhol series, 1997
Dye destruction print
Courtesy of the artist
Art © Vik Muniz/Licensed by VAGA, New York, NY
Vik Muniz
ATLANTA, GEORGIA  •  The High Museum of Art  •  28 February - 21 August 2016
 

Co-organized by the High and the Foundation for the Exhibition of Photography, Vik Muniz examines the artist’s career and features more than 120 photographs, including many of Muniz’s most recent works. The exhibition will travel internationally following its presentation at the High.

Muniz (born 1961, São Paulo, Brazil) is renowned for creating what he calls “photographic delusions,” Muniz works with a dizzying array of unconventional materials—including sugar, tomato sauce, diamonds, magazine clippings, chocolate syrup, dust and junk—to painstakingly design narrative subjects before recording them with his camera. His resulting photographs often quote iconic images from popular culture and the history of art while defying easy classification and playfully engaging a viewer’s process of perception. His more recent work utilizes electron microscopes and manipulates microorganisms to unveil both the familiar and the strange in spaces that are typically inaccessible to the human eye.

Other featured recent work includes prints from Muniz’s “Colonies” series, for which the artist collaborated with MIT scientists to employ microorganisms, including bacteria and even cancer cells, to multiply in choreographed designs. In these photographs, Muniz morphs the frightening into the beautiful, producing striking, intricate patterns from materials with largely negative connotations. The “Colonies” photographs also follow Muniz’s affinity for bringing attention to social issues though his work—in this case, the importance of medical research and vaccination.



High Museum of Art Website


Contact:

High Museum of Art
1280 Peachtree St NE
Atlanta, GA 30309


Tel: (1) 404 733 51 21

Turkana peoples, Kenya. Finger Knife, EgoluCollected near Maralal, 1976 Steel. L. 3 1/2 in. (8.9 cm).
Turkana peoples, Kenya. Finger Knife, Egolu
Collected near Maralal, 1976
Steel. L. 3 1/2 in. (8.9 cm).
Arts of Kenya; Beauty in Traditional Forms
BLOOMINGTON, INDIANA  •  Indiana University Art Museum  •  5 March - 8 May 2016
 

Colorful jewelry, elegant yet simple containers, and masterfully crafted headrests, stools, walking sticks, and other personal accoutrements are just some of the objects featured in Arts of Kenya: Beauty in Traditional Forms. Designed to introduce visitors to the traditional visual arts of Kenya, the exhibition is drawn from an important collection of over two hundred objects from Kenya acquired by the IU Art Museum in 2014.

The exhibition includes objects from over a dozen ethnic groups in Kenya, but, reflecting the collection as a whole, it focuses on the arts of pastoral peoples, such as the Turkana and the Maasai as well as peoples less well known in the United States, such as the Pokot and the Boran.

Collected in the field and documented in Kenya between 1973 and 1979 by Los Angeles collector and dealer Ernie Wolfe, the museum's recently acquired Kenya collection is especially significant because many of the objects are no longer being made or used.



Indiana University Art Museum Website


Contact: Indiana University Art Museum
1133 E. 7th Street
Bloomington, IN 47405-7509
Tel: (1) 812 855 54 45

Njideka Akunyili Crosby (b. 1983), Before Now After (Mama, Mummy and Mamma), 2015Collection of the artist; courtesy Victoria Miro, London
Njideka Akunyili Crosby (b. 1983), Before Now After (Mama, Mummy and Mamma), 2015
Collection of the artist; courtesy Victoria Miro, London
Njideka Akunyili Crosby: Before Now After (Mama, Mummy and Mamma)
NEW YORK  •  Whitney Museum of American Art  •  23 November 2015 - 22 June 2016
 

Over the course of the next five years, a series of public art installations by key American artists will appear across from the Whitney’s new building and the southern entrance to the High Line, on the facade of 95 Horatio Street. Njideka Akunyili Crosby is the third artist to present work as part of the series, which was initiated by the Whitney in partnership with TF Cornerstone and the High Line. This is the artist’s first solo presentation in an institution in New York.

Njideka Akunyili Crosby (b. 1983; Enugu, Nigeria) is a Los-Angeles based artist who makes large-scale, representational work that combines collage, drawing, painting, and printmaking. Her work routinely fuses both Nigerian and American influences and source material, reflecting on contemporary African life (often her family) along with her experience as an expatriate living in the U.S, and the inherent difficulty of navigating these two realms. The works simultaneously become intimate while more broadly exploring the cultural complications of the dual worlds that she inhabits. 

Akunyili Crosby’s new work for the billboard, Before Now After (Mama, Mummy and Mamma), continues her ongoing exploration of her relationship to her family, and in this case to her sister, mother, and grandmother specifically. The image is closely based on an existing painting entitled Mama, Mummy and Mamma from 2014, now expanded for this site. Like much of her work, the composition fuses both a portrait (in this case of her sister), photographs of both her mother and grandmother, and an elaborate array of objects arranged carefully on the table, suggesting a still life composition. Additionally, the work’s placement at the foot of the High Line seems to implicate the viewer within Akunyili Crosby’s composition—now able to peer into this carefully composed and invented world reflective of her complex personal history.  



Whitney Museum of American Art Website


Contact: High Line
95 Horatio Street
New York, NY
Tel: (1) 212 570 36 00

Alexis Smith: <EM>Snapshot,</EM> 1982Magazine page, wood frame, miniature camera, and glass21 3/4 x 19 3/4 in. (55.24 x 50.16 cm)Lender: Los Angeles County Museum of ArtApproved - LACMA obj
Alexis Smith: Snapshot, 1982
Magazine page, wood frame, miniature camera, and glass
21 3/4 x 19 3/4 in. (55.24 x 50.16 cm)
Lender: Los Angeles County Museum of Art
Approved - LACMA obj
Physical: Sex and the Body in the 1980s
LOS ANGELES  •  Los Angeles County Museum of Art  •  20 March - 31 July 2016
 
Organized as a companion to the exhibition Robert Mapplethorpe: The Perfect Medium, this installation places Mapplethorpe’s art in dialogue with a selection of work by other artists made during his decade of greatest productivity. Many of the featured artists were friends or acquaintances of Mapplethorpe, and like him, they placed issues of the body and sexuality at the center of their practice. Included are works by seminal figures of the period, including Nan Goldin, Sherrie Levine, Sarah Charlesworth, Marina Abramović, Tina Barney, Andres Serrano, Peter Hujar, and Kiki Smith.

Los Angeles County Museum of Art Website


Contact: LACMA
5905 Wilshire Blvd.
Los Angeles CA 9003
Tel: (1) 323 857 60 00

Walid Raad
BOSTON, MASSACHUSETTS  •  Institute of Contemporary Art/Boston  •  24 February - 30 May 2016
 
The Institute of Contemporary Art/Boston presents a comprehensive survey of the artist Walid Raad (b. 1967, Lebanon), a pivotal figure in contemporary art whose work investigates the ways in which we represent, remember, and make sense of history. Walid Raad brings together over 200 works across various mediums—including photography, video, sculpture, and performance. Informed by his upbringing in Lebanon during the civil war (1975–90) and by the socioeconomic and military policies that have shaped the Middle East in the past few decades, Raad’s work is dedicated to exploring archives and photographic documents in the public realm, the role of memory and narrative within discourses of conflict, and the construction of histories of art in the Arab world.

The exhibition focuses on two of the artist’s long-term projects: The Atlas Group (1989–2004) and Scratching on things I could disavow (2007–ongoing). These two distinct projects are united by the question: How does war affect bodies, minds, and cultures?

Under the rubric of The Atlas Group, a 15-year project exploring the contemporary history of Lebanon, Raad produced photographs, videotapes, notebooks, and lectures that related imaginary stories. The stories were inspired in part by real events and extensive research in Lebanon’s various archives and elsewhere.

Raad’s recent work has expanded to address the Middle East region at large. His ongoing project Scratching on things I could disavow examines the recent emergence in the Arab world of new infrastructures for the visual arts—art fairs, biennials, museums, and galleries—alongside the geopolitical, economic, and military conflicts that have consumed the region in the past few decades.

The exhibition also features a series of live, in-gallery performances by Raad.

Institute of Contemporary Art/Boston Website


Contact: Institute of Contemporary Art/Boston
100 Northern Avenue
Boston, MA 02210
Tel: (1) 617 478 31 00

<EM>The Vampire,</EM> 1855, Charles Meryon, etching on laid paper. Courtesy of Richard A. Simms
The Vampire, 1855, Charles Meryon, etching on laid paper. Courtesy of Richard A. Simms
Noir: The Romance of Black in 19th-Century French Drawings and Prints
LOS ANGELES  •  J. Paul Getty Museum  •  9 February - 15 May 2016
 
In the mid 19th century, French artists began depicting shadowy, often nocturnal or twilight scenes in which forms appear to emerge out of darkness. This quest for darkened realms led them to explore new subject matter, such as dream states and non-idealized representations of contemporary life.

The range and availability of black drawing materials exploded with the Industrial Revolution, along with improvements in working methods. This coincided with an interest in painterly techniques, not only in drawing but also in printmaking. It is impossible to say what influences came first, but what followed was a graphic exploration of darkness that constitutes an important moment in the history of Modernism.

This exhibition examines the inspiration that artists drew from their materials, and their expression of darkness in all its imaginative and narrative associations. Works are drawn from the Museum’s permanent collection and loans from private and public Los Angeles collections.

Contact: J. Paul Getty Museum
1200 Getty Center Drive
Los Angeles, CA 90049-1679
Tel: (1) 310 440 73 00

Abel Alejandre: <EM>Trinity</EM>, 2016Graphite/Acrylic on Wood
Abel Alejandre: Trinity, 2016
Graphite/Acrylic on Wood
Abel Alejandre: Public Secrets
LOS ANGELES  •  Coagula Curatorial  •  9 April - 22 May 2016
 
 

This exhibition comes just weeks away from a major public work installation by Alejandre, opening to the public this spring. Twelve permanent artwork panels by the artist are now in place at the Westwood/Rancho Park Metro Station, part of the Expo Line extension opening 20 May.

Public Secrets is a show of new paintings by Alejandre, who is mostly known for his meticulous graphite drawings.

Events of significance are reframed or colored by the secrets we laugh at, evangelize, believe, or run away from. Public Secrets is a new painting series that deals with conspiracies, family secrets, and UFOs. Such secrets can provide comfort as they surround us in an ordinary sort of way. The world is shaped and given a form we can recognize and somehow feel included in on the joke. The air we breathe, the technology we love and love to hate, our illnesses, our leaders and their overseers, untold histories; it is all suspect. Upon closer inspection, we see there is an invisible needle that threads and weaves rich tapestry of truths and untruths.

This is not a proper examination of such a daunting subject. It is less the anatomy of conspiracies and more a poking of the head into a mesmerizing and wonderful rabbit hole. The series is approached with curiosity. Do we not all conspire to hide our role in endeavors others might frown upon?

Abel Alejandre emigrated from Apatzingan, Mexico but considers Wilmington, California his hometown. His popular signature style is black on white, laborintensive crosshatched renderings from graphite that can take dozens of pencils and hundreds of hours to complete. He has exhibited internationally and is in the permanent collection of the Museum of Mexican Art in Chicago. This is his second solo show with Coagula Curatorial in Los Angeles.



Coagula Curatorial Website


Contact:

Coagula Curatorial
974 Chung King Road
Los Angeles, CA 90012

 


Tel: (1) 424) 226 24 85

Unidentified artist, active in South America. <EM>Saint Francis Xavier</EM>, 18th centuryCarl and Marilynn Thoma Collection.
Unidentified artist, active in South America. Saint Francis Xavier, 18th century
Carl and Marilynn Thoma Collection.
Doctrine and Devotion: Art of the Religious Orders in the Spanish Andes
CHICAGO  •  Art Institute of Chicago  •  19 March - 25 June 2016
 
 
Presenting 13 paintings by South American artists from the 17th through 19th century, this focused exhibition introduces visitors to images promoted by several Catholic orders at work in the Spanish Andes—the Dominicans, Franciscans, Mercedarians, and Jesuits—examining the politics of the distinct iconographies each group developed as they vied for devotees and dominion.

Francisco Pizarro arrived in Peru with a mandate from Charles V to impose Spanish law and order, as well as the Roman Catholic religion, upon the indigenous Inca society that he encountered. The enormous task of converting the indigenous peoples of Spain’s overseas territories to Christianity fell largely to missionaries from several religious orders rather than parish clergy. For a native population that had no written language tradition, the missionaries relied heavily on works of art to illustrate their sermons and lessons and help them gain converts.

In the wake of the Protestant Reformation, the Catholic church embraced the use of images both as pedagogical tools and instruments of devotion, and the religious orders in South America relied on them in similar ways—as didactic materials employed in the teaching of new converts, and in later years as a means of spreading devotions specific to their own interests. While their ultimate goals were the same, each religious order promoted images specific to their own histories, identities, and goals. This exhibition explores examples of the iconographies that were particular to each group.

Art Institute of Chicago Website


Contact: 111 S Michigan Avenue
Chicago, IL 60603

Tel: (1) 312 443 36 00

Ebony G. Patterson: <EM>Untitled (Boy),</EM> 2016Work in progressImage courtesy the artist and Monique Meloche Gallery
Ebony G. Patterson: Untitled (Boy), 2016
Work in progress
Image courtesy the artist and Monique Meloche Gallery
Ebony G. Patterson: ...when they grow up...
NEW YORK  •  The Studio Museum of Harlem  •  24 March - 26 June 2016
 
 

The Studio Museum's Project Space features a new site-specific, mixed-media installation by Ebony G. Patterson on the subject of violence committed against young people of color (including deadly police actions) and the fears that focus on these same young people, who in the eyes of too many people appear as threats rather than victims. In the artist’s words, “These children are often described as adults. Their blackness overrules the presumption of innocence.”

. . . when they grow up . . . presents images of black youth in hand-embellished, large-scale, photo-based wall works, juxtaposed with a variety of elements associated with childhood and race. The installation will be designed so that visitors will negotiate the space as if experiencing it from a child’s height. “I am hoping to create a moment of beauty, 'sainthood,' and humanity,” Patterson states, “and to call into question the stereotypes that are projected about black youth.

. . . when they grow up . . . is the artist's first solo exhibition at the Studio Museum. Her work was previously included in the group exhibition Caribbean: Crossroads of the World (2012). Patterson currently divides her time between Kingston, Jamaica and Lexington, Kentucky.



The Studio Museum of Harlem Website


Contact: The Studio Museum of Harlem
144 West 125th Street
New York, New York
Tel: (1) 212 864 45 00

Hidden Gold
Hidden Gold
Hidden Gold: Mining its Meaning in Asian Art
SAN FRANCISCO  •  Asian Art Museum  •  4 March - 8 May 2016
 
 

Gold. It evokes power, wealth, royalty, devotion and, above all, immortality. Spanning 1,500 years of history and diverse Asian cultures, Hidden Gold investigates the universal regard for this precious metal and the many ways it’s incorporated into art. Gold shimmers as embroidery on a Korean bridal robe, glimmers in wisp-thin leaf on a Thai manuscript and illuminates a Qing dynasty screen with inlayed images of quails and chrysanthemums. 

In many Buddhist cultures, aging artworks may be revitalized through the ritual application of gold. The Svayambhu Stupa on display in this exhibition is a model of an actual monument in Nepal that is ritually renovated by the application of gold at regular intervals. Similarly, a large Mongolian Maitreya sculpture reveals how gold was used to ritually enliven this image of the Buddha of the Future. A smaller lapis Buddha from China bears traces of gold leaf. In all of these cases, the application of gold infuses the artwork with the symbolism of gold: luminosity and eternity.

There’s also a local connection to the metal. California’s position on the world stage is inconceivable without the quest for gold. Hidden Gold boasts a large raw nugget, a nod to the Golden State and the legacy of its mining history. 

For a modern interpretation of that legacy, the Asian Art Museum will also present Extracted, a contemporary exhibition that builds on Hidden Gold’s themes through an experimental new film medium developed by local artist Ranu Mukherjee. 



Asian Art Museum Website


Contact: Asian Art Museum
200 Larkin St
San Francisco, CA 94102
Tel: (1) 415 581 35 00

Nyoman Masriadi:&nbsp; <EM>Death Clock,</EM> 2015 (detail)Acrylic on canvas 88 5/8 x 49 1/4 inches
Nyoman Masriadi:  Death Clock, 2015 (detail)
Acrylic on canvas
88 5/8 x 49 1/4 inches
Nyoman Masriadi
NEW YORK  •  Paul Kasmin Gallery  •  28 April - 18 June 2016
 
 

In  Nyoman Masriadi's second solo show at the gallery, five new paintings are accompanied by never-before-exhibited works from 2012-14. These paintings depict superhuman figures whose narratives, while rooted in Indonesian cultural history, offer witty and often biting social commentary on contemporary life and global pop culture. Many of the images, social critiques and iconography have a universality which transcends cultural boundaries.

New works like Old Master, depicting a modernized portrayal of a traditional Japanese samurai warrior, seamlessly weave together the artist's own heritage and cultural symbolism with global sensibilities and a modern, pan-cultural approach to story-telling. His works are self-reflective in their very personal motivations and character, but they are also critically looking outwards at both Masriadi's own society and the world at large.

Masriadi's art reflects the diverse and complex nature of Indonesian society. In Death Clock Asian and Western influences collide and coalesce to produce something that is greater than the sum of its parts. Masriadi's art is not simply using separate elements from more than one place and time – it is fusing them together to make something entirely new. Masriadi is a  the vibrant art scene that has emerged from Yogyakarta, and has lead his fellow Indonesian artists onto the world stage.

I Nyoman Masriadi was born 1973, in Gianyar, Bali and received his training in art at the Institut Seni Indonesia (ISI) Yogyakarta, where he lives with his wife Ana and his 3 children.



Paul Kasmin Gallery Website


Contact:

Paul Kasmin Gallery
293 Tenth Avenue
New Yor.


Tel: (1) 212 56 34 474

Still from <EM>Un Ballo in Maschera</EM>, Yinka Shonibare MBE, 2004, High definition digital videoCourtesy of James Cohan Gallery.
Still from Un Ballo in Maschera, Yinka Shonibare MBE, 2004, High definition digital video
Courtesy of James Cohan Gallery.
Senses of Time: Video and Film-Based Works of Africa
LOS ANGELES  •  Los Angeles County Museum  •  20 December 2015 - 2 January 2017
 
 

Our hearts beat to the rhythms of biological time and continents drift in geological time, while we set our watches to the precision of Naval time. Time may be easy to measure, but it is challenging to understand. Five leading contemporary artists of Africa explore temporal strategies to convey how time is experienced—and produced—by the body. Bodies climb, dance, and dissolve in six works of video and film, or “time-based” art. Characters and the actions they depict repeat, resist, and reverse any expectation that time must move relentlessly forward.

Senses of Time invites viewers to consider tensions between personal and political time, ritual and technological time, bodily and mechanical time. Through pacing, sequencing, looping, layering, and mirroring, diverse perceptions of time are both embodied and expressed.



Los Angeles County Museum of Art Website


Contact: Los Angeles County Museum
5905 Wilshire Boulevard
Los Angeles, CA 90036
Tel: (1) 323 857 60 10

<P>Alice Neel: <EM>James Hunter Black Draftee</EM>, 1965.Oil on canvasCOMMA Foundation, Belgium© The Estate of Alice Neel</P>

Alice Neel: James Hunter Black Draftee, 1965.
Oil on canvas
COMMA Foundation, Belgium
© The Estate of Alice Neel

Unfinished: Thoughts Left Visible
NEW YORK  •  The Met Breuer  •  18 March - 4 September 2016
 
 
The exhibition examines the term “unfinished” across the visual arts in the broadest possible way; it includes works left incomplete by their makers, a result that often provides insight into the artists’ creative process, as well as works that engage a non finito—intentionally unfinished—aesthetic that embraces the unresolved and open-ended. Featured artists who explored such an aesthetic include some of history’s greatest practitioners, among them Titian, Rembrandt, Turner, and Cézanne, as well as modern and contemporary artists, including Janine Antoni, Lygia Clark, Jackson Pollock, and Robert Rauschenberg, who have taken the unfinished in entirely new directions, alternately blurring the distinction between making and un-making, extending the boundaries of art into both space and time, and recruiting viewers to complete the objects they had begun.

Metropolitan Museum of Art Website


Contact:

The Met Breuer
Madison Avenue and 75th Street
New York, NY 

 

 


Tel: (1) 212 535 77 10

Events in Classical Music

Kronos Quartet
NEW YORK  •  Carnegie Hall  •  2 April 2016
 

Aleksandra Vrebalov: My Desert, My Rose (World Premiere, co-commissioned by Carnegie Hall)
Nicole Litzee: The Golden Age of the Radiophonic Workshop [Fiber-Optic Flowers] (NY Premiere)
N. Rajam: Dadra in Raga Bhairavi (arr. Reena Esmail) (NY Premiere)
Wu Man: "Ancient Echo" from Four Chinese Paintings (arr. Danny Clay) (NY Premiere, co-commissioned by Carnegie Hall)
Karin Rehnqvist: All Those Strings! (NY Premiere)
Yotam Haber: break_break_break (World Premiere, co-commissioned by Carnegie Hall)
Fode Lassana Diabate: "Bara kala ta" from Sunjata's Time (arr. Jacob Garchik) (NY Premiere, co-commissioned by Carnegie Hall)
Pete Townshend: Baba O'Riley (arr. Jacob Garchik) (NY Premiere)
Albert Behar: Lost Wax (NY Premiere)

Kronos Quartet

David Harrington, violin
John Sherba, violin
Hank Dutt, viola
Sunny Yang, cello
with Special Guest
Ritva Koistinen, kantele
Philip White, electronics



Carnegie Hall Website



Detailed schedule information:
7:30 pm

Contact: Carnegie Hall
881 7th Ave
New York, NY 10019
Tel: (1) 212 247 78 00

The Philadelphia Orchestra: Lang Lang, piano
NEW YORK  •  Carnegie Hall  •  11 May 2016
 

Rachmaninoff: Piano Concerto No. 1
Mahler: Symphony No. 10 (Deryck Cooke performing edition)


The Philadelphia Orchestra
Yannick Nézet-Séguin, Music Director and Conductor
Lang Lang, piano

 

 



Carnegie Hall Website



Detailed schedule information:
8:00 pm

Contact: Carnegie Hall
881 7th Ave
New York, NY 10019
Tel: (1) 212 247 78 00

Events in Dance

<P>Malpaso Dance Company<SPAN class=photo_credit>Photo: Cherylynn Tsushima</SPAN></P> • <P>&nbsp;</P>

Malpaso Dance Company
Photo: Cherylynn Tsushima

 

Cuba Festival: Malpaso Dance Company
NEW YORK  •  The Joyce Theater  •  10 - 12 May 2016
 
Malpaso Dance Company of Havana collaborates with top international choreographers and nurtures new voices in Cuban choreography. At The Joyce, Artistic Director Osnel Delgado presents the US premiere of Ocaso, his acclaimed 24 Hours and a Dog, and Bad Winter, a duet choreographed by Trey McIntyre. The program features live music by Grammy Award-winning Cuban-American composer Arturo O’Farrill and the Afro Latin Jazz Ensemble.

The Joyce Theater Website



Detailed schedule information:
Tuesday 7:30pm
Wednesday 7:30pm
Thursday 8pm
Friday 8pm
Saturday 8pm
Sunday 2pm

Contact: The Joyce Theater
175 Eighth Avenue (at the corner of 19th Street)
New York
Tel: (1) 212 242 08 00

São Paulo Dance Company<SPAN class=photo_credit>Photo: Arthur Wolkovier</SPAN>
São Paulo Dance Company
Photo: Arthur Wolkovier
São Paulo Dance Company
NEW YORK  •  The Joyce Theater  •  3 - 8 May 2016
 
Recognized as one of the major dance companies of Latin America, São Paulo Dance Company makes its Joyce debut with works showcasing the dynamics, versatility, and passion of Brazilian dancers. The program includes Céu Cinzento, Clébio Oliveira’s 2015 work examining impossible love; Gen, Cassi Abranches’s 2014 work highlighting the transition from dancer to choreographer; Mamihlapinatapai, Jomar Mesquita’s 2012 work exploring a look shared by two people; and Gnawa, Nacho Duato’s 2005 work using the four basic elements to address the relationship between humans and the universe.

The Joyce Theater Website



Detailed schedule information:
Tuesday 7:30pm
Wednesday 7:30pm
Thursday 8pm
Friday 8pm
Saturday 8pm
Sunday 2pm

Contact: The Joyce Theater
175 Eighth Avenue (at the corner of 19th Street)
New York
Tel: (1) 212 242 08 00

Events in Jazz

Abdullah Ibrahim and Ekaya
SEATTLE, WASHINGTON  •  Dimitriou's Jazz Alley  •  5 - 8 May 2016
 
South Africa’s most distinguished jazz pianist Abullah Ibrahim & Ekaya for four nights and six shows. Band members include: Noah Jackson (bass/cello), Will Terrill (drums), Cleave Guyton, Jr. (alto sax, flute, clarinet, piccolo), Lance Bryant (tenor sax), Andrae Murchison (trombone/trumpet) and Marshall McDonald (baritone sax)

Dimitriou's Jazz Alley Website



Detailed schedule information:
7:30 pm, 9:30 pm

Contact: Dimitriou's Jazz Alley
2033 6th Avenue
Seattle, WA 98121
Tel: (1) 206 441 97 29

Cyrus Chestnut Trio
SEATTLE, WASHINGTON  •  Dimitriou's Jazz Alley  •  10 - 11 May 2016
 
Cyrus Chestnut Trio

Dimitriou's Jazz Alley Website



Detailed schedule information:
7:30pm

Contact: Dimitriou's Jazz Alley
2033 6th Avenue
Seattle, WA 98121
Tel: (1) 206 441 97 29

<SPAN class=irc_su dir=ltr style="TEXT-ALIGN: left">Billie HolidayLibrary of Congress</SPAN>
Billie Holiday
Library of Congress
Jazz Singers
WASHINGTON, DC  •  Library of Congress  •  11 February - 23 July 2016
 
What is a jazz singer? The answer can be as varied as the practitioners of the art form. This exhibit offers perspectives on the art of vocal jazz from the 1920s to the present. Drawn largely from the Library of Congress Music Division’s collections, including the photographs of William P. Gottlieb and the papers of Max Roach, Chet Baker, and Shirley Horn, among others, it features singers and song stylists from both on-stage and off. Rare video clips, photographic portraits, candid snapshots, musical scores, personal notes, correspondence, drawings, and watercolors reveal the sometimes exuberant, sometimes painful, but always vibrant art and life of jazz singers.

Library of Congress Website


Contact: Library of Congress
101 Independence Ave SE
Washington, DC 20540
Tel: (1) 202 707 50 00

McCoy Tyner, piano
NEW YORK  •  Blue Note  •  30 May 2016
 
McCoy Tyner
FEATURING:
Gerald Cannon- Bass
Will Calhoun- Drums
Steve Slagle - Saxophone
- See more at: http://www.bluenote.net/newyork/schedule/moreinfo.cgi?id=14264#sthash.fwiIAdpU.dpuf
McCoy Tyner
FEATURING:
Gerald Cannon- Bass
Will Calhoun- Drums
Steve Slagle - Saxophone
- See more at: http://www.bluenote.net/newyork/schedule/moreinfo.cgi?id=14264#sthash.fwiIAdpU.dpuf

McCoy Tyner, piano

Featuring
Gerald Cannon, bass
Will Calhoun, drums
Steve Slagle, saxophone



Blue Note Website



Detailed schedule information:
8:00 pm, 10:30 pm

Contact: Blue Note
131 West 3rd St
NY, NY 10012
Tel: (1) 212 475 85 92

<P>Ron Carter</P>

Ron Carter

Ron Carter 79th Birthday Celebration: Nonet
NEW YORK  •  Blue Note  •  3 - 8 May 2016
 
Ron Carter 79th Birthday Celebration: Nonet

Blue Note Website



Detailed schedule information:
8:00 pm, 10:30 pm

Contact: Blue Note
131 West 3rd St
NY, NY 10012
Tel: (1) 212 475 85 92

Bill Stewart
NEW YORK  •  Village Vanguard  •  17 - 22 May 2016
 
 
Seamus Blake, tenor sax
Bill Carrothers, piano
Ben Street, bass
Bill Stewart, drums

Village Vanguard Website


Contact: Village Vanguard
78 7th Ave South
New York, NY 10014

Tel: (1) 212 255 40 37

Events in Opera

Carmen: By Georges Bizet
SAN FRANCISCO  •  San Francisco Opera  •  27 May - 3 July 2016
 
 

Georges Bizet: Carmen

Carlo Montanaro, conductor
Jordi Bernàcer, conductor
Production Calixto Bieito
Revival Director: Joan Anton Rechi
Set Designer: Alfons Flores
Costume Designer: Mercè Paloma
Chorus Director: Ian Robertson

Cast

Carmen: Irene Roberts
Carmen: Ginger Costa-Jackson
Don José: Brian Jagde
Don José: Maxim Aksenov
Micaëla: Ellie Dehn
Micaëla: Erika Grimaldi
Escamillo: Zachary Nelson
Escamillo: Michael Sumuel

 



San Francisco Opera Website



Detailed schedule information:
7:30 pm

Contact: San Francisco Opera
301 Van Ness Avenue
San Francisco, CA 94102
Tel: (1) (415) 864 33 30

Nina Stemme as Elektra
Nina Stemme as Elektra
Elektra: By Richard Strauss
NEW YORK  •  Metropolitan Opera  •  14 April - 7 May 2016
 
 

Richard Strauss: Elektra
Sung in German

Esa-Pekka Salonen, conductor

Production: Patrice Chéreau
Stage Director: Vincent Huguet
Set Designer: Richard Peduzzi
Costume Designer: Caroline de Vivaise
Lighting Designer: Dominique Bruguière

Cast

Elektra: Nina Stemme
Chrysothemis
Adrianne Pieczonka
Aegisth: Burkhard Ulrich
Klytämnestra: Waltraud Meier
Eric Ownes: Orest



Metropolitan Opera Website



Detailed schedule information:
7:30 pm

Contact: Metropolitan Opera
Lincoln Center
New York, New York  10023
Tel: (1) 212 362 60 00

Events in Pop Culture and Cinema

Del Mar National Horse Show
Del Mar National Horse Show
Del Mar National Horse Show
DEL MAR, CALIFORNIA  •  Del Mar Fairgrounds  •  23 April - 7 May 2016
 

The Del Mar National began in the mid-1940s as part of the annual San Diego County Fair, which occurs each June at the Fairgrounds. By the late 1970s, it had grown so large that it outgrew the confines of the county fair and became a separate event. Western and Hunter/Jumper competition comprised the then two-week show until the early 1990s, when the Dressage competition made its debut, adding a third week.

Each year the Del Mar National attracts more than 1,500 horses representing many breeds across three distinctly different disciplines. Spectators will see world-class performances in reining with its famous spins and sliding stops, elegant and athletic dressage moves choreographed to music, and show jumping.



Del Mar National Horse Show Website


Contact: Del Mar Fairgrounds
Del Mar, CA
Tel: (1) 858 755 11 61

Schomburg Collection reading room; Curator Lawrence Reddick at right, Schomburg staff and patrons; ca. 1930-1940s. Photographs and Prints Division, Schomburg Center for Research in Black Culture, The New York Public Library
Schomburg Collection reading room; Curator Lawrence Reddick at right, Schomburg staff and patrons; ca. 1930-1940s. Photographs and Prints Division, Schomburg Center for Research in Black Culture, The New York Public Library
Digging Up the Past: A History of the Schomburg Center
NEW YORK  •  Schomburg Center for Research in Black Culture  •  1 February - 31 May 2016
 
The exhibition marks the Schomburg Center's 90th anniversary and is organized into three sections: 1) The Founder: honoring the life and vision of Afro-Puerto Rican bibliophile, activist, and educator Arturo Schomburg, 2) The Inception: exploring the early story of the Schomburg Collection and the groundbreaking Division of Negro Literature, History and Prints at the New York Public Library’s 135th Street branch, and 3) The Evolution: following the Center’s historic journey over nearly a century. This timeline is illustrated with thirty-two letters, photographs, documents, pamphlets, publications, flyers, material culture, and other objects, dating from 1874 through 2015. Each of the items on display are gleaned from the Schomburg Center’s Manuscripts, Archives and Rare Books Division; Photographs and Prints Division; Art and Artifacts Division; and Jean Blackwell Hutson Research and Reference Division.

Schomburg Center for Research in Black Culture Website


Contact: Schomburg Center for Research in Black Culture
515 Malcolm X Boulevard
New York, NY, 10037
Tel: (1) 917 275 69 75

Lin-Manuel Miranda in <EM>Hamilton</EM>
Lin-Manuel Miranda in Hamilton
Hamilton: By Lin-Manuel Miranda
NEW YORK  •  Richard Rodgers Theatre  •  6 August 2015 - 31 December 2016
 

Hamilton is a hip hop musical with music, lyrics, and book by Lin-Manuel Miranda. The show was inspired by the 2004 biography Alexander Hamilton by historian Ron Chernow.

Directed by Thomas Kail

The cast features Lin-Manuel Miranda (Alexnder Hamilton), Leslie Odom Jr. (Aaron Burr), Drama Desk Award winner Renée Elise Goldsberry (Angelica Schuyler), Phillipa Soo (Eliza Hamilton), Jonathan Groff (King George), Daveed Diggs (Marquis De Lafayette, Thomas Jefferson), Christopher Jackson (George Washington), Anthony Ramos (John Laurens, Phillip Hamilton), Okieriete Onaodowan (Hercules Mulligan, James Madison), and Jasmine Cephas Jones (Peggy Shuyler, Maria Reynolds).



Hamilton on Broadway Website


Contact: Richard Rodgers Theatre
226 W 46th St
New York, NY 10036
Tel: (1) 212 247 78 00

The TitanosaurAmerican Museum of Natural History
The Titanosaur
American Museum of Natural History
The Titanosaur
NEW YORK  •  American Museum of Natural History  •  15 January 2016 - 1 January 2017
 

The Titanosaur

In January 2016, the Museum added another must-see exhibit to its world-famous fossil halls: a cast of a 122-foot-long dinosaur. This species is so new that it has not yet been formally named by the paleontologists who discovered it.

Paleontologists suggest this dinosaur, a giant herbivore that belongs to a group known as titanosaurs, weighed in at around 70 tons. The species lived in the forests of today’s Patagonia about 100 to 95 million years ago, during the Late Cretaceous period, and is one of the largest dinosaurs ever discovered. 

The remains were excavated in the Patagonian desert region of Argentina by a team from the Museo Paleontologico Egidio Feruglio led by José Luis Carballido and Diego Pol, who received his Ph.D. degree in a joint program between Columbia University and the American Museum of Natural History. One of the 8-foot femurs, or thigh bones, found at the site is among five original fossils on temporary view with The Titanosaur.



American Museum of Natural History Website


Contact: American Museum of Natural History
Central Park West at 79th Street
New York, NY 10024-5192
Tel: (1) 212 769 51 00

Grimes
Grimes
Grimes
WASHINGTON, DC  •  9:30 Club  •  13 May 2016
 
 
Grimes

Claire Boucher (born 17 March 1988), often known by her alias and stage name Grimes, is a Canadian artist, musician, andmusic video director. A native of Vancouver, Grimes began recording experimental music while attending college in Montreal, where she became involved with the underground electronic and industrial music scene.


9:30 Club Website



Detailed schedule information:

Doors: 6:00 pm

Contact: 9:30 Club
815 V St NW
20001 Washington, DC
US
Tel: (1) 202 265 09 30

<SPAN class=irc_su dir=ltr style="TEXT-ALIGN: left">Frank Wood and Forest Whitaker&nbsp;in Eugene O’Neill’s <EM>Hughie&nbsp;</EM></SPAN>
Frank Wood and Forest Whitaker in Eugene O'Neill's Hughie 
Hughie : By Eugene O'Neill
NEW YORK  •  Booth Theatre  •  25 February - 12 June 2016
 
 

Eugene O'Neill: Hughie
Directed by Michael Grandage

Cast

Forest Whitaker
Frank Wood

New York City. A hotel lobby. A small-time gambler and big-time drinker makes his way back to Room 492. With a new night clerk on duty, he is forced to confront his personal demons and discover the real end to his own story. Eugene O'Neill's one-act Hughie is about the loneliness and redemption of one man chasing the American Dream.



Hughie Website


Contact: Booth Theatre
222 W 45th Street
New York, NY 10036
Tel: (1) 212 239 62 00

International Spy MuseumWashington, D.C.
International Spy Museum
Washington, D.C.
International Spy Museum
WASHINGTON, D.C.  •  Ongoing
 
 
The International Spy Museum is the first public museum in the United States solely dedicated to espionage. It features the largest collection of international espionage artifacts ever placed on public display. Many of these objects seen for the first time outside of the intelligence community illustrate the work of famous spies and pivotal espionage actions as well as help bring to life the strategies and techniques of the men and women behind some of the most secretive espionage missions in world history.

International Spy Museum Web Site


Click here for a special news feature with photos of the Spy Museum

Contact: International Spy Museum
800 F St NW
Washington, DC 20004

Tel: (1) 202 393 77 98

Western Coil &amp; Electric Company, Burlington Zephyr electric train model, designed 1934, manufactured 1934–40.Cast aluminum, plastic, electrical componentsCollection of Jean S. and Frederic A. Sharf.
Western Coil & Electric Company, Burlington Zephyr electric train model, designed 1934, manufactured 1934–40.
Cast aluminum, plastic, electrical components
Collection of Jean S. and Frederic A. Sharf.
Planes, Trains, and Automobiles: Selections from the Jean S. and Frederic A. Sharf Collection
BOSTON, MASSACHUSETTS  •  Museum of Fine Arts, Boston  •  15 November 2015 - 10 May 2016
 
 
Nearly 90 works on view include scale models of planes, trains and automobiles, as well as design drawings, architectural renderings and posters—many created by major designers such as Raymond Loewy, Harley Earl and Viktor Schreckengost. These transportation design elements—including experiments with aerodynamics, streamlining and color—influenced the larger world of art, architecture and design, and can be compared with objects found throughout the MFA’s galleries.

Museum of Fine Arts, Boston Website


Contact: Museum of Fine Arts, Boston
Avenue of the Arts
465 Huntington Avenue
Boston, Massachusetts 02115
Tel: (1) 617 267 93 00

Austin Tichenor, Reed Martin, and Teddy Spencer
Austin Tichenor, Reed Martin, and Teddy Spencer
The Reduced Shakespeare Company: By Austin Tichenor and Reed Martin
WASHINGTON, DC  •  Folger Theatre  •  21 April - 8 May 2016
 
 

Austin Tichenor and Reed Martin: The Reduced Shakespeare Company

Discovered in a treasure-filled parking lot in Leicester, England, an ancient manuscript proves to be the long-lost first play by none other than the young William Shakespeare from Stratford. Using questionable scholarship and street-performer smarts, the trio of comic actors throw themselves into a fast, funny, and frenzied festival of physical finesse, witty wordplay, and plentiful (pitiful) punning.



Folger Theatre Website


Contact: 201 East Capitol Street, SE
Washington, DC 20003
Tel: (1) 202 544-4600

Microbome exhibitAmerican Museum of Natural History
Microbome exhibit
American Museum of Natural History
The Secret World Inside You
NEW YORK  •  American Museum of Natural History  •  7 November 2015 - 14 August 2016
 
 

Our bodies are home to approximately 100 trillion bacteria living inside us and on us—a vast community known as the microbiome.

The Secret World Inside You explores the rapidly evolving science that is revealing the complexities of the human microbiome and reshaping our ideas about human health, offering new perspectives on common health problems including allergies, asthma, and obesity. 



American Museum of Natural History Website


Contact: American Museum of Natural History
Central Park West at 79th Street
New York, NY 10024-5192
Tel: (1) 212 769 51 00



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