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Events in Art and Archaeology

<P>Attributed to Nainsukh (active ca. 1735–78). <EM>Raja Balwant Singh Revering Krishna and Radha</EM>, ca. 1745–50. India (Himachal Pradesh, Jasrota)Ink, opaque watercolor, and gold on paperThe Metropolitan Museum of Art</P>

Attributed to Nainsukh (active ca. 1735–78). Raja Balwant Singh Revering Krishna and Radha, ca. 1745–50. India (Himachal Pradesh, Jasrota)
Ink, opaque watercolor, and gold on paper
The Metropolitan Museum of Art

Poetry and Devotion in Indian Painting
NEW YORK  •  Metropolitan Museum of Art  •  15 June - 4 December 2016
This small exhibition recognizes the contributions to the Department of Asian Art by Steven M. Kossak, curator in the department from 1986 to 2006. It features 22 of the dozens of Rajput and Pahari paintings that were acquired during his tenure, including a large intricately painted and printed cloth pichhwai (temple hanging).

Metropolitan Museum of Art Website

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

Danny Lyon, Tesca, Cartagena, Colombia, 1966Cibachrome, printed 2008. Image 25.7 × 25.7 cm (10 1/8 × 10 1/8 in.)Collection of the artist© Danny Lyon, courtesy Edwynn Houk Gallery, New York
Danny Lyon, Tesca, Cartagena, Colombia, 1966
Cibachrome, printed 2008. Image 25.7 × 25.7 cm (10 1/8 × 10 1/8 in.)
Collection of the artist
© Danny Lyon, courtesy Edwynn Houk Gallery, New York
Danny Lyon: Message to the Future
NEW YORK  •  Whitney Museum of American Art  •  17 June - 25 September 2016

Danny Lyon: Message to the Future is the first comprehensive retrospective of the career of Danny Lyon (b. 1942) to be presented in twenty-five years. The exhibition is organized by the Fine Arts Museums of San Francisco and premieres at the Whitney before traveling to San Francisco.

The exhibition assembles approximately 175 photographs and related films and ephemera to highlight Lyon’s concern with social and political issues and the welfare of individuals considered by many to be on the margins of society. The presentation includes many objects that have seldom or never been exhibited before and offers a rare look at works from Lyon’s archives alongside important loans from major public and private collections in the United States.

Whitney Museum of American Art Website

Contact: Whitney Museum of American Art
99 Gansevoort Street
New York, NY 10014
Tel: (1) 212 570 36 00

Diane Arbus: In the Beginning
NEW YORK  •  Metropolitan Museum of Art  •  12 July - 27 November 2016

This exhibition features more than 100 photographs that together redefine Diane Arbus (American, 1923–1971), one of the most influential and provocative artists of the 20th century. It focuses on the first seven years of her career, from 1956 to 1962, the period in which she developed the idiosyncratic style and approach for which she has been recognized praised, criticized, and copied the world over.

Arbus made most of her photographs in New York City, where she lived and died, and where she worked in locations such as Times Square, the Lower East Side, and Coney Island. Her photographs of children and eccentrics, couples and circus performers, female impersonators and Fifth Avenue pedestrians are among the most intimate and surprising images of the era.

The majority of the photographs in the exhibition have never before been seen and are part of the Museum's Diane Arbus Archive, acquired in 2007 by gift and promised gift from the artist's daughters, Doon Arbus and Amy Arbus.

Metropolitan Museum of Art Website

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

Pedro Reyes: <EM>Doomocracy</EM>Photo: Will Star/Shooting Stars Pro
Pedro Reyes: Doomocracy
Photo: Will Star/Shooting Stars Pro
BROOKLYN, NEW YORK  •  Brooklyn Army Terminal  •  7 October - 6 November 2016

Doom•oc•ra•cy (dü-ˈmä-krə-sē), n.

1. A form of government in which the supreme power is vested in a tyrant by a terrified general electorate. 2. The esoteric arithmetic that makes the electoral process malleable. 3. A corporate coup d’état in slow motion. 4. Permanent global war waged in the name of freedom. 5. A house of political horrors at the Brooklyn Army Terminal.

Exchanging political fights for political frights, Creative Time and Pedro Reyes take over the Brooklyn Army Terminal this October in an exciting new collaboration. Doomocracy, a major new immersive installation by Reyes, will mark the confluence of two events haunting the American cultural imagination: Halloween and the presidential election. 

How much surveillance are we willing to accept? How much pollution? How much corporate malfeasance? Provoking what Reyes calls “political catharsis,” this immersive artwork will distill the horrors of our political landscape into the form of a haunted house, inviting us to navigate a maze of near apocalyptic torments, from climate change to pandemic gun violence to GMOs. Visitors to Doomocracy will work their way through a labyrinth of rooms, exploring the depth and breadth of American political anxieties.

Pedro Reyes (b. 1972, Mexico City) employs sculpture, performance, video, and activism to address pressing social and political issues. His works often promote individual and collective agency by inviting viewers to engage in participation and dialogue. Steeped in notions of structure and pedagogy, Reyes explores the means by which knowledge and empowerment are shared and communicated amongst individuals. By creating spaces for encounter, the artist produces the conditions by which to drive cultural change.

Reyes trained as an architect at the Ibero-American University in Mexico City. He has had solo shows at the Hammer Museum, Los Angeles; the Whitechapel Gallery, London; the Walker Art Center, Minneapolis; and the Guggenheim Museum, New York City, among others. His works have also been featured in group exhibitions such as dOCUMENTA 13 in Kassel, Germany (2012), the Liverpool Biennial in Liverpool, England (2012), and the 50th Venice Biennale (2003). Reyes was a participant in the 2013 Creative Time Summit, “Art, Place & Dislocation in the 21st Century City,” and has twice contributed writing to Creative Time Reports. In 2015, he was a recipient of the U.S. Department of State Medal of Arts in recognition of his “outstanding commitment and contributions to the Art in Embassies program and international cultural exchange.”

Creative Time Website

Contact: Brooklyn Army Terminal
140 58th Street
Brooklyn, NY 11220

Jean Honoré Fragonard (French, 1732–1806). <EM>Rinaldo in the Enchanted Forest,</EM> ca.1763. Brown wash over very light black chalk underdrawing; 13 3/16 x 18 in. (33.5 x 45.7 cm). The Metropolitan Museum of Art, New York
Jean Honoré Fragonard (French, 1732–1806). Rinaldo in the Enchanted Forest, ca.1763.
Brown wash over very light black chalk underdrawing; 13 3/16 x 18 in. (33.5 x 45.7 cm).
The Metropolitan Museum of Art, New York
Fragonard: Drawing Triumphant—Works from New York Collections
NEW YORK  •  Metropolitan Museum of Art  •  6 October 2016 - 8 January 2017
Jean Honoré Fragonard (1732–1806) was equally skilled in painting, drawing, and etching. Unlike many old masters for whom drawing was a preparatory tool, Fragonard explored the potential of chalk, ink, and wash to create sheets that were works of art in their own right.

Among the 100 works on paper on view, nearly half are from private collections, some of which will be shown publicly for the first time.

Metropolitan Museum of Art Website

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

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

Guillermo del Toro’s Bleak HousePhoto © Josh White/
Guillermo del Toro's Bleak House
Photo © Josh White/
Guillermo del Toro: At Home with Monsters
LOS ANGELES  •  Los Angeles County Museum of Art  •  31 July - 26 November 2016

Guillermo del Toro (b. 1964) is one of the most inventive filmmakers of his generation. Beginning with Cronos (1993) and continuing through The Devil’s Backbone (2001), Hellboy (2004), Pan’s Labyrinth (2006), Pacific Rim (2013), and Crimson Peak (2015), among many other film, television, and book projects, del Toro has reinvented the genres of horror, fantasy, and science fiction. Working with a team of craftsmen, artists, and actors—and referencing a wide range of cinematic, pop-culture, and art-historical sources—del Toro recreates the lucid dreams he experienced as a child in Guadalajara, Mexico. He now works internationally, with a cherished home base he calls “Bleak House” in the suburbs of Los Angeles.

Taking inspiration from del Toro’s imagination, the exhibition reveals his creative process through his collection of paintings, drawings, maquettes, artifacts, and concept film art. Rather than a traditional chronology or filmography, the exhibition is organized thematically, beginning with visions of death and the afterlife; continuing through explorations of magic, occultism, horror, and monsters; and concluding with representations of innocence and redemption.

Original music and soundscape for this exhibition created by Gustavo Santaolalla.

LACMA - Los Angeles County Museum of Art Website

Contact: LACMA - Los Angeles County Museum of Art
Wilshire Boulevard 5905
Los Angeles, CA 90036

<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

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

Tel: (1) 312 280 26 60

<SPAN class=pie>George Osodi: <EM>Ogony Boy</EM>, from the series “Oil Rich Niger Delta,” 2007Chromogenic print, 80 x 120 cm. Courtesy the artist and Z Photographic Ltd.</SPAN>
George Osodi: Ogony Boy, from the series “Oil Rich Niger Delta,” 2007
Chromogenic print, 80 x 120 cm.
Courtesy the artist and Z Photographic Ltd.
The Expanded Subject: New Perspectives In Photographic Portraiture From Africa
NEW YORK  •  Miriam and Ira D. Wallach Art Gallery, Columbia University.  •  7 September - 10 December 2016
From 19th-century studio practice through the independence era, African photography has best been known for modes of portraiture that crystallize subjects' identities and social milieus. Even contemporary art photographs are often interpreted as windows into African lives, whether actual or theatricalized.

This exhibition reconsiders African contemporary photographic portraiture by presenting the work of four artists whose concerns range beyond depicting social identity: Sammy Baloji, Mohamed Camara, Saïdou Dicko, and George Osodi. Works by these four artists lend greater thematic and formal versatility to the practice of portraiture.

Sammy Baloji (b. 1978, DRC) transfers colonial-archival figures to alternate backdrops—the post-colonial site of an abandoned mine, landscape paintings by colonial explorers—in order to activate historical awareness and challenge photographic authority.

Mohamed Camara (b. 1985, Mali) situates his pictures ambiguously between documentary and mise en scène as a means of interrogating photographic portraiture, including its processes and potentials, pleasures and pitfalls.

Saïdou Dicko (b. 1979, Burkina Faso) captures the shadow silhouettes of individuals on sunlit streets—a strategy that references photographic processes and unsettles portrait conventions, while still conveying subjects' expressivity.

George Osodi (b.1974, Nigeria) produces pictures whose anonymous or fictional subjects reveal dissonance with their surroundings, thereby examining human consequences of broader political phenomena.

Viewed together, works by Baloji, Camara, Dicko, and Osodi complicate common understandings of portraiture from Africa. Baloji's montages dislocating the subject historically, Camara's reflexive gaze, Dicko's uncertainty with respect to the possibility of representation, and Osodi's political commentary all expand the range of portraiture and offer new ways of contemplating photographic subjectivities.

Lenders to the exhibition: Sammy Baloji (Axis Gallery, New York); Mohamed Camara (Galerie Pierre Brullé, Paris); Saïdou Dicko; George Osodi; The Walther Collection, New York; The Metropolitan Museum of Art, New York.

Miriam and Ira D. Wallach Art Gallery Website

Contact: Miriam and Ira D. Wallach Art Gallery
Columbia University
926 Schermerhorn Hall
1190 Amsterdam Ave. MC 5502
New York, NY 10027
Tel: (1) 212 854 72 88

Peter Paul Rubens: <EM>Fortuna</EM>, 1636–38Oil on canvas71 3/4 x 39 5/8 in. (182.3 x 100.5 cm)Museo Nacional del Prado, Madrid
Peter Paul Rubens: Fortuna, 1636–38
Oil on canvas
71 3/4 x 39 5/8 in. (182.3 x 100.5 cm)
Museo Nacional del Prado, Madrid
Unveiling the Nude: The Story of Splendor, Myth, and Vision: Nudes from the Prado
WILLIAMSTOWN, MASSACHUSETTS  •  The Clark Art Institute  •  11 June - 10 October 2016

Splendor, Myth, and Vision, exclusively at the Clark, features twenty-eight Old Master paintings of the nude, twenty-four of which have never been on view in the United States. The exhibition examines the collecting of sixteenth- and seventeenth-century paintings of the nude at the Spanish court, explores the histories of these works and their display in the Spanish Royal Collections, and reconsiders the significant role of the nude in European art.

Housed today in the Museo Nacional del Prado, Madrid, these collections reflect the cultural sensibilities and sophisticated artistic tastes of the rulers who assembled them—principally Philip II (reigned 1556–98) and his grandson Philip IV (reigned 1621–65). In early modern Europe, the depiction of the nude in secular and sacred paintings appealed to collectors’ taste for the sensual, but such images could also carry didactic messages.

At the time the Spanish kings were collecting, however, the depiction of the nude and its display were considered sinful and contrary to the religious and moral values promoted by the Catholic Church and the Spanish Inquisition. In response, paintings of the nude were often displayed beyond the reach of the public in salas reservadas—private or reserved spaces within the palaces of royal and elite collectors, which were open only for a select audience. These spaces enabled royal collectors to indulge in an enthusiastic taste for paintings of the nude while publicly fulfilling their roles as upholders of a strict moral code and fervent defenders of the Catholic faith. The tension that arose between these opposing values demonstrates the ambiguity inherent in the collecting and display of the nude in early modern Spain. These tensions continued to exist into the early nineteenth century and culminated in the Prado’s own sala reservada (1827–38).

Included in this sensuous exhibition are major paintings by Titian, Peter Paul Rubens, Jacopo Tintoretto, Diego Velázquez, Jan Brueghel the Elder, Guercino, Nicolas Poussin, Luca Giordano, Guido Reni, Jusepe de Ribera, and others.

The Clark Art Institute Website

Contact: The Clark Art Institute
225 South Street
Williamstown, MA 01267
Tel: (1) 413 458 23 03

Jean-Antoine Watteau (1684–1721), <EM>The Portal of Valenciennes (La Porte de Valenciennes), </EM>ca. 1710–11Oil on canvas, 12 3/4 x 16 in. The Frick Collection.Purchased with funds from the bequest of Arthemise Redpath, 1991 (91.1.173)Photo&nbsp;Michael Bodycomb
Jean-Antoine Watteau (1684–1721), The Portal of Valenciennes (La Porte de Valenciennes), ca. 1710–11
Oil on canvas, 12 3/4 x 16 in. The Frick Collection.
Purchased with funds from the bequest of Arthemise Redpath, 1991 (91.1.173)
Photo Michael Bodycomb
Watteau’s Soldiers: Scenes of Military Life in Eighteenth-Century France
NEW YORK  •  Frick Collection  •  12 July - 2 October 2016

Most know Jean-Antoine Watteau as a painter of amorous aristocrats and melancholy actors, a dreamer of exquisite parklands and impossibly refined fêtes. Few artists would seem further removed from the misery of war. And yet, early in his short career, Watteau created a number of military scenes—about a dozen paintings  and some thirty drawings. For the most part, they were executed during the War of the Spanish Succession (1701–14), which saw Louis XIV battle almost the whole of Europe in a bid to place his grandson, Philip, Duke of Anjou, on the Spanish throne. However, neither the turmoil of battle nor the suffering that ensued seems to have held much interest for Watteau. Instead, he focused on the prosaic aspects of military life—marches, halts, and encampments. The resulting works show quiet moments between the fighting, outside the regimented discipline of drills and battle, when soldiers could rest and daydream, smoke pipes and play cards. Although these themes are indebted to seventeenth -century Dutch and Flemish genre scenes, Watteau’s drawings and paintings are set apart by their focus on the common soldier. More than his predecessors, Watteau offers an intimate vision of war, one in which the human element comes to the fore. His soldiers are endowed with an inner life, with subjectivity.

On display are four of Watteau’s seven surviving military paintings and twelve red chalk studies, several of which are directly related to the paintings on view. Also included are works by Watteau’s predecessors and followers. Together, they shed light on Watteau’s unusual working method, affording the
 opportunity to probe what made his vision so distinctive.

Published by The Frick Collection in association with D Giles Ltd., the book accompanying the exhibition features an essay by the curator, Aaron Wile,and a complete catalogue of all known Watteau works related to military subjects, as well as a bibliography and an index.

Frick Collection Website


Frick Collection
1 East 70th Street
New York, NY 1002


Tel: (1) 212 288 0700

Alma Thomas: <EM>Apollo 12 "Splash Down"</EM>, 1970Acrylic and graphite on canvas50 1/4 × 50 1/4 in.Courtesy Michael Rosenfeld Gallery LLC, New York, NY
Alma Thomas: Apollo 12 "Splash Down", 1970
Acrylic and graphite on canvas
50 1/4 × 50 1/4 in.
Courtesy Michael Rosenfeld Gallery LLC, New York, NY
Alma Thomas
NEW YORK  •  The Studio Museum of Harlem  •  14 July - 30 October 2016

Alma Thomas examines the evolution of an artist who created a highly personal style that expanded upon traditional Abstract Expressionist and Washington Color School practices through experimentations with abstraction, color, line and pattern. Thomas, who focused on her artistic career after retiring as a school teacher at the age of 69, chartered her own course as an African-American woman within Washington D.C.’s largely white and male mid-20th century artistic community. She often cited natural elements as inspiration, and her signature style reflects the influences of Henri Matisse, Josef Albers, and Wassily Kandinsky—featuring loosely painted yet meticulously constructed canvases, filled with lattice works of bright color creating patterns from negative space.

The exhibition features works from every period in her career, including rarely exhibited watercolors and early abstractions, as well as her signature canvases drawn from a variety of private and public collections.

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

NEW YORK  •  The Museum of Modern Art  •  3 July - 2 October 2016
BRUCE CONNER: IT’S ALL TRUE is the first monographic museum exhibition in New York of the artist Bruce Conner, the first large survey of his work in 16 years, and the first comprehensive retrospective. The exhibition brings together over 250 objects in mediums including film and video, painting, assemblage, drawing, prints, photography, photograms, and performance.

An early practitioner of found-object assemblage and a pioneer of found-footage film, Conner was a singular member of both the underground film community and the flourishing San Francisco art world, achieving international standing early in his career. His work across a broad range of mediums touches pointedly on various themes of postwar American society, from the excesses of a burgeoning consumer culture to the dread of nuclear apocalypse.

The Museum of Modern Art Website

Contact: The Museum of Modern Art
11 West 53 Street,
between Fifth and Sixth avenues
New York, NY 10019-549
Tel: (1) 212 708 94 00

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

<P>Jon Cox and Andy Bale, <EM>Roni</EM>, 2015Mercury-developed, gold-gilded daguerreotype5 in. x 7 in. (7 in. x 9 in. framed)</P>

Jon Cox and Andy Bale, Roni, 2015
Mercury-developed, gold-gilded daguerreotype
5 in. x 7 in. (7 in. x 9 in. framed)

The Ese’Eja People of the Amazon: Connected by a Thread
NEWARK, DELAWARE  •  Old College Gallery  •  31 August - 9 December 2016
The exhibition presents the Ese’Eja, one of the world’s last remaining foraging societies, whose way of life is today threatened by mining and logging activities surrounding their lands and communities in southeastern Peru.

Through daguerreotypes and photographs by UD faculty member Jon Cox and Andrew Bale (UD MFA 2005), and a selection of artifacts for healing and everyday use that attest to the nation’s traditions, knowledge and respect for their unique – and endangered – environment, The Ese’Eja People of the Amazon brings into focus a unique and fascinating community endangered by the encroachment of the modern world.

The University Museums of the University of Delaware Website

Contact: Old College Gallery
18 East Main St.
Newark, DE 19716
Tel: (1) 302 831 80 37

<SPAN class=pie_g style="DISPLAY: block; MARGIN: 0px auto; TEXT-ALIGN: left" align="top">Jérôme Poirier: "untitled" 53in x 47 in.</SPAN>
Jérôme Poirier: "untitled" 53in x 47 in.
Jérôme Poirier: Privacy
BELLEVUE, WASHINGTON  •  Hall Spassov Gallery  •  2 - 30 September 2016
Canadian mixed-media artist Jérôme Poirier was born in Montréal in 1956, the son of a goldsmith and an artist, Poirier began painting, drawing and sculpting at a young age. He had his first solo exhibition at Toronto’s Craft Council Gallery in 1984.

Recent years have taken Poirier around the world with engagements at the National Museum of Singapore and Cirque du Soleil in London and Tokyo. During his travels the artist has found a fascination capturing people in candid moments with his camera. In his studio in Montréal, where Poirier currently resides, he draws his inspiration from these photographs, blending and transforming faces, bodies, clothing and consumer goods onto the canvas. His interest in the expression of his subjects as they respond to feelings or senses is what motivates each piece. His latest body of work, Privacy, explores these moments and how our perception of privacy augments our responses.

Hall Spassov Gallery Website

Contact: Hall Spassov Gallery
800 Bellevue Way NE, Suite 150
Bellevue, WA 98004
Tel: (1) 425 453 32 44

Mike Egan: <EM>We Said Goodbye to our Friend</EM>, 2016acrylic on panel14" h x 14" w
Mike Egan: We Said Goodbye to our Friend, 2016
acrylic on panel
14" h x 14" w
Mike Egan: I Saw You at My Funeral
CHICAGO  •  Matthew Rachman Gallery  •  10 September - 4 November 2016

As a child drawing cartoons and skateboard graphics, Mike Egan expressed an ever-present interest in skeletons and devils. Later in life, his fascination with mortality led to a career working in funeral homes, where he was constantly surrounded by death and mourning. This immersion into he most intimate and painful moments of life had a lasting influence on Egan’s acrylic paintings on panel. He started painting not only the stories of those who have passed, but the stories of those left behind after one's passing; the mourners, the lovers, the hurt and the relieved. His works are visual anecdotes; capturing sepulchral moments in time, presented to the viewer with whimsy and wit.

Hailing from the suburbs of Pittsburgh, Pennsylvania, Egan recalls a fascination with both art and with death, from a young age. A few years after receiving his B.F.A. from Edinboro University, his peculiar interests led Mike to attend the Pittsburgh Institute of Mortuary Science and to become an embalmer and funeral director. All the while continuing to paint, Mike developed a unique style that incorporated his surroundings, as well as his other influences: folk art, Day of the Dead, horror films, religion, Halloween and German Expressionism. Since 2006, Mike Egan has shown his work in galleries throughout America, Germany and the UK.

The new paintings Egan created for I Saw You at My Funeral are a look at his continued obsession with the idea of life and death. In light of recent world events and the way they are portrayed by the media, the subject matter is more important to him now than ever before. “There are so many tragic shootings and acts of violence in the world and it is constantly spoon fed to us through the media. These paintings act as a reminder to me that there are so many people to say ‘goodbye’ to, and that we must not forget them.”

Matthew Rachman Gallery Website


Matthew Rachman Gallery
1659 West Chicago Ave
Chicago, IL 60622


Tel: (1) 773 245 31 82

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

Star Montana: <EM>My Family: Marina, Louise, and Frankie</EM>, 2010,Inkjet printPhoto courtesy of the artist
Star Montana: My Family: Marina, Louise, and Frankie, 2010,
Inkjet print
Photo courtesy of the artist
Star Montana: Tear Drops and Three Dots
LOS ANGELES  •  UCLA Chicano Studies Research Center  •  22 August - 28 October 2016
Exposing states of sensitivity, loss, and salvation, Star Montana reassembles her family history through the layering of different emotions associated with poverty, the loss of her mother, and socioeconomic struggles that are not only personal but also regionally and nationally applicable. Her candid archive captures an acute sense of time and timelessness, deep heartbreak and loss. Although vulnerable and intimate, her portraits find strength in the commonality of difficult—and often unspoken—narratives.

Star Montana is a photo-based artist who lives and works in Los Angeles, CA, and Brooklyn, NY.  She was born and raised in the Boyle Heights neighborhood of East Los Angeles, which is predominantly Mexican American and serves as the backdrop to much of her work. 

Montana received her BFA from the School of Visual Arts in 2013. In 2012, she worked at the CSRC as part of the Getty Multicultural Internship Program.

UCLA Chicano Studies Research Center Website

Contact: UCLA Chicano Studies Research Center
193 Haines Hall
Los Angeles, CA 90095-1544
Tel: (1) 310 825 23 63

<SPAN class=pie_g style="DISPLAY: block; MARGIN: 0px auto; TEXT-ALIGN: left" align="top">Hank Willis Thomas: <EM>She’s all tied a poor system</EM>, 1951/2015, 2015Digital chromogenic print, dimensions variableCourtesy of the artist and Jack Shainman Gallery, New York </SPAN>
Hank Willis Thomas: She's all tied a poor system, 1951/2015, 2015
Digital chromogenic print, dimensions variable
Courtesy of the artist and Jack Shainman Gallery, New York
Unbranded: A Century of White Women, 1915–2015
GREENSBORO, NORTH CAROLINA  •  The Weatherspoon Art Museum  •  3 September - 11 December 2016
The Weatherspoon Art Museum at the University of North Carolina at Greensboro presents the exhibition Unbranded: A Century of White Women, 1915–2015. In the exhibition, Thomas reveals ways that corporate campaigns have both marketed products to white women and marketed those women as a feminine standard. By removing the texts from historic advertisements, he offers a visual chronology of the perceived social roles of white women—a history he describes as “a fascinating one step forward, two steps back.” Simultaneously, he highlights the complex ways in which popular notions of virtue and power, beauty and desire, race and gender have long been bound together.

In a previous project, Unbranded: Reflections in Black by Corporate America, 1968–2008, Thomas focused attention on media images of and for black consumers, especially black men. By expanding that project to address images of white women, he questions why our understandings of identities—male and female, black and white—are often shaped in opposition to one another.

Weatherspoon Art Museum Website

Contact: Weatherspoon Art Museum 
Located at the corner of Spring Garden and Tate Streets, Greensboro, NC
Tel: (1) 336 334 57 70

Events in Classical Music

Riccardo Muti
Riccardo Muti
Chicago Symphony Orchestra
CHICAGO  •  Symphony Center  •  29 September - 1 October 2016

Catalani: Contemplazione
Martucci: La canzone dei ricordi
Beethoven: Symphony No. 7

Chicago Symphony Orchestra
Riccardo Muti, conductor
Joyce DiDonato, mezzo-soprano

Chicago Symphony Orchestra Website

Detailed schedule information:
8:00 pm

Contact: Symphony Center
220 S. Michigan Ave.
Chicago, IL 60604
Tel: (1) 312 294 30 00

Michael Mulcahy
Michael Mulcahy
Chicago Symphony Orchestra: Michael Mulcahy, trombone
CHICAGO  •  Symphony Center  •  6 - 8 October 2016

Franck: Le chasseur maudit
Vine: Five Hallucinations for Trombone and Orchestra [CSO Co-commission, World Premiere]
Prokofiev: Selections from Cinderella

Chicago Symphony Orchestra
James Gaffigan, conductor
Michael Mulcahy, trombone

Chicago Symphony Orchestra Website

Detailed schedule information:
8:00 pm


Symphony Center
220 S. Michigan Ave.
Chicago, IL 60604

Tel: (1) 312 294 30 00

Chicago Symphony Orchestra
CHICAGO  •  Symphony Center  •  22 - 27 September 2016
Mussorgsky: A Night on Bald Mountain
R. Strauss: Don Juan
Bruckner: Symphony No. 7 

Chicago Symphony Orchestra
Riccardo Muti, conductor

Chicago Symphony Orchestra Website

Detailed schedule information:
8:00 pm

Contact: Symphony Center
220 S. Michigan Ave.
Chicago, IL 60604
Tel: (1) 312 294 30 00

Orchestra of St. Luke's : Thomas Hampson, baritone
NEW YORK  •  Carnegie Hall  •  13 October 2016

Brett Deab: Testament
Mahler: Selections from Des Knaben Wunderhorn
Beethoven: Symphony No. 7

Orchestra of St. Luke's
David Robertson, conductor
Thomas Hampson, baritone

Carnegie Hall Website

Detailed schedule information:
8:00 pm

Contact: Carnegie Hall
881 Seventh Avenue
New York, NY 10019
Tel: (1) 212 247 78 00

Gustavo Dudamel
Gustavo Dudamel
Simón Bolívar Symphony Orchestra of Venezuela: Gustavo Dudamel, conductor
NEW YORK  •  Carnegie Hall  •  6 - 8 October 2016

Stravinsky: Pétrouchka (1947 version)
Juan Carlos Nunez: Selections from Tonadas de Simón Díaz
    ·· “Mi querencia”
    ·· “Tonada del Cabestrero”
Paul Desenne: Hipnosis Mariposa
Villa-Lobos: Bachianas brasileiras No. 2

Simón Bolívar Symphony Orchestra of Venezuela
Gustavo Dudamel, conductor

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

NY Quadrille
NEW YORK  •  The Joyce Theater  •  27 September - 9 October 2016
A quadrille is an 18th century dance performed in a rectangular configuration and viewed from four sides. To kick off its 2016/17 season, The Joyce Theater will be transformed for the NY Quadrille, a two-week engagement created by choreographer Lar Lubovitch and commissioned by The Joyce featuring a specially constructed platform stage designed to create viewing from four sides. Following through with the spirit of “four,” Lubovitch has selected four choreographers —Pam Tanowitz, RoseAnne Spradlin, Tere O’Connor, and Loni Landon to create contemporary dance works on four sides.

The Joyce Theater Website

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

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

Takao Kawaguchi: <EM>About Kazuo Ohno</EM>Photo: (c) Teijiro Kamiyama
Takao Kawaguchi: About Kazuo Ohno
Photo: (c) Teijiro Kamiyama
Takao Kawaguchi: About Kazuo Ohno
LOS ANGELES  •  Roy and Edna Disney/CalArts Theater  •  7 - 9 October 2016
Takao Kawaguchi, who first came to REDCAT with the Tokyo-based collective Dumb Type, reimagines legendary works by revered Butoh master Kazuo Ohno in an original production that prompted both excitement and commotion in the Tokyo cultural scene.

REDCAT Website

Detailed schedule information:
8:30 pm

Contact: Roy and Edna Disney/CalArts Theater
631 W 2nd Street
Los Angeles, CA 90012
Tel: (1) 213 237 28 00

Events in Jazz

Henry Threadgill
Henry Threadgill
Henry Threadgill
NEW YORK  •  Village Vanguard  •  27 September - 2 October 2016
Henry Threadgill is a Pulitzer Prize winning American composer, saxophonist and flautist who came to prominence in the 1970s leading ensembles with unusual instrumentation and often incorporating a range of non-jazz genres. He has had a music career for over forty years as both a leader and as a composer. He was awarded the 2016 Pulitzer Prize in Music for his composition In for a Penny, In for a Pound.

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

Contact: Village Vanguard
78 7th Ave South
New York, NY 10014
Tel: (1) 212 255 40 37

Ravi Coltrane Quartet
NEW YORK  •  Village Vanguard  •  4 - 9 October 2016
Ravi Coltrane (tenor sax)
David Virelles (piano)
Dezron Douglas (bass)
Johnathan Blake (drums)

Village Vanguard Website

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

Contact: Village Vanguard
78 7th Ave South
New York, NY 10014
Tel: (1) 212 255 40 37

Events in Opera

Don Giovanni: By Wolfgang Amadeus Mozart
NEW YORK  •  Metropolitan Opera  •  27 September - 10 November 2016

Mozart: Don Giovanni
Libretto: Lorenzo Da Ponte
Sung in Italian with Met titles in English, German, Italian, Spanish

Fabio Luisi, conductor

Production: Michael Grandage
Set and Costume Designer:Christopher Oram
Lighting Designer: Paule Constable
Choreography: Ben Wright


Donna Anna: Hibla Gerzmava (27 September, 1,5,8,11,15,19,22 October)
Donna Anna: Malin Byström (1, 4, 10 November 2016)

Donna Elvira: Malin Byström (27 September, 1,5,8,11,15,19,22 October)
Donna Elvira: Amanda Majeski (1, 4, 10 November 2016)

Zerlina: Serena Malfi (27 September, 1,5,8,11,15,19,22 October)
Zerlina: Nadine Sierra (1, 4, 10 November 2016)

Don Ottavio: Rolando Villazón (27 September, 1,5,8,11,15,19,22 October)
Don Ottavio: Ramón Vargas (1, 4, 10 November 2016)

Don Giovanni: Simon Keenlyside (27 September, 1,5,8,11,15,19,22 October)
Don Giovanni: Ildar Abdrazakov (1, 4, 10 November 2016)

Leporello: Adam Plachetka (27 September, 1,5,8,11,15,19,22 October)
Leporello: Matthew Rose (1, 4, 10 November 2016)

Masetto: Matthew Rose (27 September, 1,5,8,11,15,19,22 October)
Masetto: Adam Plachetka (1, 4, 10 November 2016)

The Commendatore: Kwangchul Youn (27 September, 1,5,8,11,15,19,22 October, 1, 4, 10 November)

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

<EM>Tristan und Isolde</EM>
Tristan und Isolde
Tristan und Isolde: By Richard Wagner
NEW YORK  •  Metropolitan Opera  •  26 September - 27 October 2016

Richard Wagner: Tristan und Isolde (New production)Production: Mariusz Trelinsk
Sung in German with English, Spanish and German Met titles

Simon Rattle, condutor 

Set designer: Boris Kudlicka
Costume Designer: Marek Adamski
Lighting Designer:  Marc Heinz
Choreography: Tomasz Wygoda
Dramaturg: Piotr Gruszczynski, Adam Radecki


Isolde: Nina Stemme 
Tristan: Stuart Skelton
Brangane: Ekaterina Gubanova
Kurwenal: Evgeny Nikitin
King Marke: René Pape

Metropolitan Opera Website

Detailed schedule information:
6:30 pm

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

Events in Pop Culture and Cinema

Teresa Cristina
Teresa Cristina
Caetano Veloso / Teresa Cristina
CHICAGO  •  Symphony Center  •  16 October 2016
Caetano Veloso, guitar and vocals
Teresa Cristina, vocals

The legendary Caetano Veloso, Brazil's internationally-renowned pop music icon, returns to Symphony Center for one night only. The earthy and honest voice of Rio de Janeiro's samba superstar Teresa Cristinawill perfectly complement Veloso's breezy, bossa nova-tinged Tropicália.

Symphony Center Website

Detailed schedule information:
7:00 pm

Contact: Symphony Center
220 S. Michigan Ave.
Chicago, IL 60604
Tel: (1) 312 294 30 00

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

<EM>I Approve This Message: Decoding Political Ads</EM>Toledo Museum of Art
I Approve This Message: Decoding Political Ads
Toledo Museum of Art
I Approve This Message: Decoding Political Ads
TOLEDO, OHIO  •  Toledo Museum of Art  •  14 July - 8 November 2016
Using video, graphics and multimedia, this nonpartisan interactive exhibition examines how emotional triggers in political ads impact rational thinking and sway votes. Divided into theaters, the displays of advertising focus on emotions such as fear, anger, pride and hope, as well as how appeals different constituencies have changed over time.

Approximately 75 ads dating from 1952, when the first national presidential TV commercial was broadcast, through 2012 are decoded. They include such classics as the Lyndon B. Johnson 1964 “Daisy Girl” TV spot which begins gently with a little girl pulling petals from a flower and ends with nuclear annihilation, and the 1984 Ronald Reagan commercial many call “It’s Morning in America.”

A Mood Room offers visitors an immersive multisensory experience designed to demonstrate how images and sounds stir emotion. Another section contains the Change Theater and an interactive zone of hands-on opportunities.

I Approve This Message: Decoding Political Ads Website

Contact: Toledo Museum of Art
2445 Monroe Street
Toledo, Ohio
Tel: (1) 419 255 80 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

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