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Culturekiosque Travel Tips  •  United States: Current Listings

Events in Art and Archaeology

Kwame Brathwaite: Untitled (Ali at his camp)1974, printed 2016Selenium tone silver gelatin print, matted and framedEd. of 1012 x 18 in., 30.48 x 45.72 cm (image)15.5 x 21.5 in., 39.37 x 54.61 cm framed
Kwame Brathwaite: Untitled (Ali at his camp)
1974, printed 2016
Selenium tone silver gelatin print, matted and framed
Ed. of 10
12 x 18 in., 30.48 x 45.72 cm (image)
15.5 x 21.5 in., 39.37 x 54.61 cm framed
2732: Black is Beautiful: Empowerment Through the Lens of Kwame Brathwaite, 1962 - 1975
LOS ANGELES  •  Cherry and Martin  •  21 May - 30 July 2016
 

Inspired in part by the writings of Marcus Garvey, Kwame Brathwaite, his older brother, Elombe Brath, and the African Jazz Arts Society and Studios (AJASS) popularized the phrase “Black is Beautiful” in the late 50's and early 60’s. “Black is Beautiful” is one of the most important political and cultural ideas of the twentieth century. Brathwaite and Brath did their part to spread this idea through Brathwaite’s writings and photographs and the activities of the two organizations they helped co-found: AJASS and the Grandassa Models.

Kwame Brathwaite’s photographs were specifically intended to shape the course of American visual discourse. His photographs foreground how artistic and political vision can affect change in popular culture and how popular culture can affect change on culture at large. The subjects of Brathwaite’s carefully crafted photographs invoke the power of a range of objects, such as books, musical instruments and artworks. The dress and hairstyles of his subjects point to their sense of themselves, while the environs of his subjects direct the viewer to a community of artist activists—writers, painters, playwrights, fashion designers and musicians. Brathwaite’s work demonstrates the power of photography as an essential cultural tool in the dissemination of new political ideas, its power to stage visual rhetoric and its ability make language visible.

Kwame Brathwaite was born in Brooklyn in 1938. His parents were born in Barbados. Brathwaite and his older brother, Elombe Brath, now deceased, and his younger brother John, were raised in a politically-conscious and artistic household. By the late 1950's, shortly after graduating from high school, Brathwaite and Brath became active in the African Nationalist Pioneer Movement (ANPM) led by Carlos Cooks. They were also involved in the early struggle in Southern Africa, forming in 1961 their Bronx-based South-West Africa Relief Committee to support Sam Nujoma’s South-West Africa People’s Organization (SWAPO) and later, the People’s Liberation Army of Namibia (PLAN). Parallel to these political activities the two brothers were regularly producing concerts—a who’s-who of top Jazz figures of the time –at such venues as Club 845 in the Bronx and Small’s Paradise in Harlem.

Brathwaite’s regular reporting and pictorials for leading black publications such as The Amsterdam News, City Sun and The Daily Challenge beginning in the early 60's helped set the stage for the Black Arts Movement and the Black Power movement. By the 1970's, Brathwaite was one of the top concert photographers, shaping the images of such public figures as Stevie Wonder, Bob Marley, James Brown and Muhammad Ali. Brathwaite wrote about and photographed such landmark events as the “The Motown Revue” at the Apollo (1963); “WattStax ’72” (1972); The Jackson 5’s first trip to Africa (1974); and the “Festival in Zaire” (1974, which accompanied the famous Foreman-Ali fight, “The Rumble in the Jungle”).



Cherry and Martin Website


Contact: Cherry and Martin
2712 S. La Cienega Boulevard
Los Angeles, California 90034
Tel: (1) 310 559 0100

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

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

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

Copyright © Gordon Parks Foundation
Copyright © Gordon Parks Foundation
Invisible Man: Gordon Parks and Ralph Ellison In Harlem
CHICAGO  •  Art Institute of Chicago  •  21 May - 28 August 2016
 

The exhibition provides an in-depth look at two understudied collaborations, executed in 1948 and 1952, that aimed to bring to national consciousness the black experience in postwar America, with Harlem as its nerve center. Gordon Parks (1912-2006), a renowned photographer and filmmaker best known for his photo-essays for Life magazine, and Ralph Ellison (1913-1994), author of one of the most acclaimed novels of the 20th century, Invisible Man (1952), are both major figures in American Art and literature. The two friends, united by a shared vision of racial injustices and a belief in the communicative power of photography, sought to counter stereotypical representations of African American life that filled mainstream publications in their day.

Parks and Ellison first joined forces on the 1948 illustrated essay "Harlem Is Nowhere" for '48: The Magazine of the Year, which focused on Harlem's Lafargue Mental Hygiene Clinic as a means of highlighting the social and economic effects of racism and segregation. In 1952, shortly after the publication of Ellison's Invisible Man, they worked on a story for Life, "A Man Becomes Invisible," to introduce Ellison's novel. Through these projects, Parks and Ellison offered an alternative, meaningful representation of African American life in the hopes of reshaping attitudes about the root causes of racial inequality.

Invisible Man: Gordon Parks and Ralph Ellison In Harlem
features over 50 never-before-seen objects, including photographs, contact sheets, and manuscripts.



Art Institute of Chicago Website


Contact: Art Institute of Chicago
111 South Michigan Avenue
Chicago, Illinois 60603-6404
Tel: (1) 312 443 36 00

Jason Moran: <EM>STAGED: Savoy Ballroom 1</EM>, 2015Mixed media, sound120 x 216 x 120 inches (304.8 x 548.6 x 304.8 cm)
Jason Moran: STAGED: Savoy Ballroom 1, 2015
Mixed media, sound
120 x 216 x 120 inches (304.8 x 548.6 x 304.8 cm)
Jason Moran: STAGED
NEW YORK  •  Luhring Augustine Bushwick  •  29 April - 30 July 2016
 

STAGED is the first solo exhibition by the musician/composer/artist Jason Moran(born Houston, 1975). His work in both music and visual art mines entanglements in American cultural production.  Moran is deeply invested in complicating the relationship between music and language, exploring ideas of intelligibility and communication. In his gallery exhibition, the 2010 MacArthur Fellow continues to investigate the overlaps and intersections of jazz, art, and social history, provoking the viewer to reconsider notions of value, authenticity, and time. 

STAGED includes a range of objects and works on paper, including two large-scale sculptures featuring audio from Moran’s STAGED series that were recently exhibited in the 56th Biennale di Venezia. Based on two historic New York City jazz venues that no longer exist (the Savoy Ballroom and the Three Deuces), the sculptures are hybrids of reconstructions and imaginings. Works on paper and smaller objects will be in dialogue with the stage sculptures on many levels: citing performance and process, employing sound, and exploiting the visual history of jazz in America.



Luhring Augustine Website


Contact: Luhring Augustine
25 Knickerbocker Avenue 
Brooklyn, New York
Tel: (1) 212 570 36 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

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

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

Juan Muñoz: <EM>Thirteen Laughing at Each Other</EM>, 2001 Courtesy of Juan Muñoz Estate and Marian Goodman Gallery Photo by Cathy Carver.
Juan Muñoz: Thirteen Laughing at Each Other, 2001
Courtesy of Juan Muñoz Estate and Marian Goodman Gallery Photo by Cathy Carver.
Juan Muñoz: Thirteen Laughing at Each Other
CHICAGO  •  Art Institute of Chicago  •  1 April - 6 October 2016
 
A theatrical installation by Spanish sculptor Juan Muñoz (1953–2001) flips the experience of viewer and viewed. Many of Muñoz’s works unfold like stories in which the spectator is written into the drama. In the case of Thirteen Laughing at Each Other (2001), the viewer is thrust right into the center of the scene. By entering the installation space, one is surrounded by laughing figures seated on bleacher-like structures. From this vantage point, it quickly becomes clear that Muñoz is not merely granting the viewer unusual access to the artwork but also shifting the role of the observer to that of an unwitting subject, and potentially even an object of ridicule as the sculptural figures laugh hysterically—some toppling from their seats—at the spectacle in their midst. The work creates a tension and psychological depth that is at once unsettling and captivating. “I try to make the work engaging for the spectator,” said Muñoz. “And then unconsciously, but more interestingly, I try to make you aware that something is really wrong.”

Art Institute of Chicago Website


Contact: Art Institute of Chicago
111 South Michigan Avenue
Chicago, Illinois 60603-6404
Tel: (1) 312 443 36 00

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

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

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

Jan Lisiecki
Jan Lisiecki
San Francisco Symphony
SAN FRANCISCO  •  Louise M. Davies Symphony Hall  •  8 - 12 June 2016
 

Britten: Sinfonia da Requiem
Mozart: Piano Concerto No. 22
Dvořák: Symphony No. 8

San Francisco Symphony
James Conlon, conductor
Jan Lisiecki, piano



San Francisco Symphony Website



Detailed schedule information:
8:00 pm

Contact: Louise M. Davies Symphony Hall
201 Van Ness Avenue
San Francisco, CA
Tel: (1) 415 864 60 00

Events in Dance

Rioult Dance NY
Rioult Dance NY
Rioult Dance NY
NEW YORK  •  The Joyce Theater  •  21 - 26 June 2016
 
An established name in modern dance with a reputation for performing sensual, articulate, and exquisitely musical works, RIOULT Dance NY performs two programs. Women on the Edge, a profound and timeless anti-war statement, features the world premiere of Cassandra’s Curse set to live music. The second program is distinguished by the New York City premiere of Polymorphous, a piece exploring the subjectivity of perception through movement and technology, and a suite of magnificent duets drawn from some of Pascal Rioult’s finest works.

The Joyce Theater Website



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

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

Ballet Tech Kids Dance
Ballet Tech Kids Dance
Ballet Tech Kids Dance
NEW YORK  •  The Joyce Theater  •  9 - 12 June 2016
 
 
Ballet Tech Kids Dance
Opening Night Program: Thu Jun 9, 7pm
Quickstep, Monsieur, Panorama, Upside Dance
Program A: Fri Jun 10, 7pm; Sat Jun 11, 7pm; Sun Jun 12, 12pm
Quickstep, A Yankee Doodle, Monsieur, Upside Dance
Program B: Sat Jun 11, 2pm; Sun Jun 12, 5pm
Dotty Polkas, Panorama, Upside Dance


The Joyce Theater Website



Detailed schedule information:

 

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

Events in Jazz

Christian McBride
Christian McBride
Christian McBride Blue Note Residency: Quartet
NEW YORK  •  Blue Note  •  14 - 19 June 2016
 

Christian McBride Blue Note Residency: Quartet

Bassist extraodinaire, composer, arranger, educator, curator and administrator, Christian McBride, has been one of the most important and most omnipresent figures in the jazz world for 20 years. Sometimes hard to believe considering this man is barely in his 40’s.

In a stellar career that continues to showcase his remarkable talents as a consummate musician, bassist Christian reaches another milestone with the 2011 release of The Good Feeling, his first big band recording as a leader and newest release for Mack Avenue Records.



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

<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

Scofield / Mehldau / Guiliana
NEW YORK  •  Blue Note  •  31 May - 5 June 2016
 
Starting in the Summer of 2016, the two unmistakable modern masters; Scofield armed with a modified guitar/pedal arsenal, and Mehldau on Rhodes/Synths/Piano, will be joined by one of the most acclaimed and sought after younger drummers/programmers on the scene, Mark Guiliana. The trio, composing music specifically for this special collaboratio - See more at: http://www.bluenote.net/newyork/schedule/moreinfo.cgi?id=14063#sthash.8GAvqnid.dpuf
Starting in the Summer of 2016, the two unmistakable modern masters; Scofield armed with a modified guitar/pedal arsenal, and Mehldau on Rhodes/Synths/Piano, will be joined by one of the most acclaimed and sought after younger drummers/programmers on the scene, Mark Guiliana. The trio, composing music specifically for this special collaboratio - See more at: http://www.bluenote.net/newyork/schedule/moreinfo.cgi?id=14063#sthash.8GAvqnid.dpuf
Starting in the Summer of 2016, the two unmistakable modern masters; John Scofield armed with a modified guitar/pedal arsenal, and Brad Mehldau on Rhodes/Synths/Piano, will be joined by one of the most acclaimed and sought after younger drummers/programmers on the scene, Mark Guiliana. The trio, has composed music specifically for this special collaboration.

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

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

Events in Pop Culture and Cinema

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
BROOKLYN, NEW YORK  •  Barclays Center  •  14 - 15 June 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.


Detailed schedule information:
7:30 pm

Contact:

Barclays Center
620 Atlantic Avenue
Brooklyn, NY



<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

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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