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Culturekiosque Travel Tips  •  United States: Current Listings

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

Circa 1970
NEW YORK  •  The Studio Museum in Harlem  •  17 November 2016 - 5 March 2017
 

Circa 1970 presents paintings, drawings, prints, photographs and sculpture from the Studio Museum’s collection. The featured works, all made between 1970 and 1979, reflect the historical, socio-political and cultural landscapes of the decade. Recent, key gifts to the Studio Museum’s permanent collection of artworks by McArthur Binion, Robert Blackburn and David Hammons conceptually and formally drive the exhibition’s examination into this rich decade.

Circa 1970 looks at a key moment in black culture and history and includes works by two dozen artists including Benny Andrews, Romare Bearden, Binion, Blackburn, Elizabeth Catlett-Mora, Barbara Chase-Riboud, Ed Clark, Beauford Delaney, Samuel Fosso, Sam Gilliam, Hammons, Senga Nengudi, Betye Saar, Malick Sidibé and Frank Stewart.



The Studio Museum in Harlem Website


Contact:

The Studio Museum in Harlem
144 West 125th Street
New York, New York 10027


Tel: (1) 212 864 45 00

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

Kemang Wa Lehulere: In All My Wildest Dreams
CHICAGO  •  Art Institute of Chicago  •  27 October 2016 - 16 January 2017
 
The focus series exhibition In All My Wildest Dreams is the first American museum show devoted to the work of Kemang Wa Lehulere (born Cape Town, 1984). Internationally recognized for his masterful conflation of personal and collective storytelling, Wa Lehulere reenacts what he calls “deleted scenes” from South African history, often animating individual narratives of exile or displacement through means that are ephemeral, found, and notational—chalk drawings on blackboard surfaces, intense but short-lived performances, salvaged wood from old school desks, sketchbook pages, letters written to friends, strangers, and public institutions—as if to suggest the gallery as a fantastical, crucially temporary classroom. “History continually disappears,” Wa Lehulere has said. “It comes and goes. It is not something fixed; it is malleable. . . . It is the elasticity of history that excites me.” At the same time, he describes his work as a “protest against forgetting”; history is constructed, and memory is fragile.

Art Institute of Chicago Website


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

Tel: (1) 312 443 36 00

Modern Heroics: 75 Years of African-American Expressionism at the Newark Museum
NEWARK, NEW JERSEY  •  Newark Museum  •  18 June 2016 - 8 January 2017
 

This exhibition presents selected works from Newark’s permanent collection of African-American art.  Taking a fresh look at heroic themes in modern and contemporary art, this unique exhibition features 34 paintings and sculptural works with an emphasis on storytelling and expressive imagery.   Mythical and universal subject matter, the bold use of color and dramatic scale, and the artists’ direct physical engagement with their materials are all themes explored in this exhibition.
 
Modern Heroics brings together rarely exhibited works by leading historical and contemporary African-American artists, placing in dialogue several generations and a range of self-taught and formally trained approaches.  This exhibition includes works by the following artists:

Charles Alston
Emma Amos
Kenseth Armstead
Romare Bearden
Chakaia Booker
Ed Clark
Emilio Cruz
Beauford Delaney
Thornton Dial, Sr.
Minnie Evans
Herbert Gentry
Sam Gilliam
Gladys Grauer
Claude Lawrence
Norman Lewis
Ronald Lockett
Nellie Mae Rowe
Kevin Sampson
Shinique Smith
Mickalene Thomas
Bob Thompson
Shoshanna Weinberger
Dmitri Wright
Purvis Young



Newark Museum Website


Contact: Newark Museum
49 Washington Street,
Newark, NJ
07102-3176
Tel: (1) 973 596 65 50

László Moholy-Nagy
László Moholy-Nagy
Moholy-Nagy: Future Present
CHICAGO  •  Art Institute of Chicago  •  30 September 2016 - 3 January 2017
 
Painting, photography, film, sculpture, advertising, product design, theater sets—László Moholy-Nagy (American, born Hungary, 1895–1946) did it all. Future Present, the first comprehensive retrospective of Moholy-Nagy’s work in the United States in nearly 50 years, brings together more than 300 works to survey the career of a multimedia artist who was always ahead of his time. Moholy, as he was known, came to prominence as a professor at the Bauhaus art school in Germany (1923–28). In 1937 he founded the New Bauhaus in Chicago, a school that continues today as the Institute of Design at the Illinois Institute of Technology. He remains the most renowned international modern artist ever to have resided in Chicago.

Art Institute of Chicago Website


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

Table Fountain, c. 1320–40. France, Paris. Gilt-silver, translucent enamel on basse-taille, and opaque enamel; 31.1 x 24.1 cm. The Cleveland Museum of Art, Gift of J. H. Wade 1924.859.
Table Fountain, c. 1320–40. France, Paris. Gilt-silver, translucent enamel on basse-taille, and opaque enamel; 31.1 x 24.1 cm. The Cleveland Museum of Art, Gift of J. H. Wade 1924.859.
Myth and Mystique: Cleveland’s Gothic Table Fountain
CLEVELAND, OHIO  •  Cleveland Museum of Art  •  9 October 2016 - 26 February 2017
 

The most complete surviving example of a Gothic table fountain is preserved in the Cleveland Museum of Art. This medieval automaton is datable to about 1320–40 and was likely produced in Paris for a person of high status, perhaps a member of the royal court. The Cleveland fountain is internationally recognized as a unique example of a genre now understood primarily through documentary sources. Such fountains existed in the 14th and 15th centuries in substantial numbers. They assumed various forms but were always made from precious metals and sometimes embellished with colorful enamels or semi-precious stones. Table fountains were probably returned to the goldsmith’s shop for conversion into vessels or coinage once they ceased to function or the fashion had passed, accounting for the scarcity of surviving examples today. 

Impressive in their sheer technical wizardry, these mechanical devices with moving parts that spouted (sometimes perfumed) water are known especially from inventories. Once thought to grace banqueting tables, they were more likely placed on pedestals in strategic locations in palaces, where they were showcased as spectacles of ingenuity by their owners to delight their guests. Such objects did not originate in the European West, but were probably introduced through the Byzantine and Islamic worlds.



Contact: Cleveland Museum of Art
11150 East Boulevard
Cleveland, Ohio
Tel: (1) 31 0440 73 00

<P>Jeffrey Gibson: <EM>Come Alive! (I Feel Love</EM>), 2016 Acrylic felt, rawhide, wood, glass beads, stone arrowheads, steel wire, assorted beads, tin and copper jingles, artificial sinew, acrylic paint, druzy quartz crystal, steel and brass studs, 66.25 x 28 x 15 in. Collection of the Newark Museum, 2016Image Courtesy Jeffrey Gibson Studio. Photograph © Peter Mauney</P>

Jeffrey Gibson: Come Alive! (I Feel Love), 2016
Acrylic felt, rawhide, wood, glass beads, stone arrowheads, steel wire, assorted beads, tin and copper jingles, artificial sinew, acrylic paint, druzy quartz crystal, steel and brass studs, 66.25 x 28 x 15 in.
Collection of the Newark Museum, 2016
Image Courtesy Jeffrey Gibson Studio. Photograph
© Peter Mauney

Native Artists of North America
NEWARK, NEW JERSEY  •  Newark Museum  •  22 October 2016 - 1 January 2018
 
This autumn, the Newark Museum unveils its newly redesigned and reinterpreted Native American galleries. Featuring more than 100 rarely exhibited objects from throughout the United States and Canada, Native Artists of North America showcases a selection of works from the permanent collection, dating from the early 19th century to the present, including many objects never before exhibited.
 
This permanent installation celebrates the great diversity of styles, media and creativity of Native artists and places them in the broader context of American art. Among the works on view are expertly woven Pomo baskets, exquisite hand-made items of dress from across the continent, and Southwestern pottery and textiles.  Other highlights include works by the Haida master carver Charles Edenshaw and Pueblo painters Fred Kabotie, Tonita Peña and Awa Tsireh. Additional works by contemporary Native American artists are installed in adjacent galleries, including recent acquisitions by Jeffrey Gibson and Preston Singletary.

Newark Museum Website


Contact: Newark Museum
49 Washington Street,
Newark, NJ
07102-3176
Tel: (1) 973 596 65 50

Reflections of Time and Cosmo
NEW YORK  •  Institute for the Study of the Ancient World  •  19 October 2016 - 23 April 2017
 

This exhibition aims to explore the ways that time was organized and kept track of in the Greco-Roman world, and how it was conceived in relation to the Cosmos. The objects displayed include artifacts illustrating the technology of ancient time-reckoning and the perception, visualization, and social role of time and cosmos, and will also highlight the contrasting formative roles of indigenous Greek and Roman cultural practices and contact with the civilizations of Mesopotamia and Egypt as well as the peoples of northwest Europe.

Time and Cosmos displays over 100 objects, including ancient sundials, calendars, jewelry, and surveying instruments, and will be organized around two themes: the Tools of Time Reckoning, exploring the material resources that gave temporal structure to the daily life of private individuals as well as the community in such public spheres as religion, commerce, and law; and Reflections of Time and Cosmos, concerning ancient representations of time, the universe, and their power to shape the environment and human destiny.



Institute for the Study of the Ancient World Website


Contact: Institute for the Study of the Ancient World
15 East 84th Street (between Madison and Fifth Avenues)
New York, NY 10028
Tel: (1) 212 992 78 00

Regeneration Series: Anselm Kiefer from the Hall Collection
FORT LAUDERDALE, FLORIDA  •  NSU Art Museum Fort Lauderdale  •  29 November 2016 - 13 August 2017
 

Drawn from the Hall and Hall Art Foundation collections, which together make up one of the world’s largest groups of works by Anselm Kiefer, the exhibition will include approximately 50 major Kiefer artist books, works on paper, paintings, and sculptures from the late 1960s to the present day.

Anselm Kiefer's work is uncompromising in its response to the disasters of World War II and other historical traumas. Born in Germany during the final month of World War II, Kiefer was among the first generation of German artists to address National Socialism, the war and the Holocaust. From the start of his career in the late 1970s to the present, he has focused on coming to terms with the past, specifically the feeling of collective guilt and the identification of historical, psychological and mythological conditions that contributed to the rise of Adolph Hitler and the Nazi Party.

Featured in the NSU Art Museum exhibition will be works such as Kiefer’s massive painting, The Fertile Crescent, 2009; his monumental landscape, Winterwald, 2010; imposing glass vitrine tableaux of organic and inorganic material such as Jakob's Traum, 2010; and important early watercolors and artist books.

Like German conceptual artist Joseph Beuys, with whom he studied at the Düsseldorf Art Academy, Kiefer confronts the past by referencing such myths as Isis and Osiris, the ancient Egyptian myth of destruction and regeneration, and the history of German philosophy and culture. He explores these subjects in large-scale, narratively complex layered paintings of oil and mixed media, enormous installations, and elaborate artist books and watercolors, into which he embeds symbolic references.

Anselm Kiefer is among the best-known German artists working today. He was born in 1945 in Donasueschingen, Germany and has lived and worked in France since 1993.



NSU Art Museum Fort Lauderdale Website


Contact: NSU Art Museum Fort Lauderdale
One East Las Olas Boulevard
Fort Lauderdale, Florida
USA
Tel: (1) 954 525 55 00

Tattoo
CHICAGO  •  The Field Museum  •  21 October 2016 - 30 April 2017
 

The exhibition explores the global phenomenon of tattooing around the world over time, shedding light on this often-misunderstood art form.

This will be the first time that the exhibition, which was initially developed by Paris’s musée du quai Branly - Jacques Chirac, will be on display in the United States. The exhibition, which will run until April 30, 2017, features 170 objects telling the story of tattooing, including historical artifacts and intricate contemporary designs tattooed onto silicone models of the human body.

Visitors to the exhibition will learn that people have been marking their skin as a means of expression for more than five thousand years—there’s evidence that the ancient Egyptians practiced tattooing, and the body of a naturally mummified man found in the Italian Alps (“Ötzi”) from 3330 BC is covered in 61 tattoos. The methods of tattooing vary widely across time and place—for instance, Thomas Edison held the first patent on a nineteenth-century “puncturing pen” that served as inspiration for the first electric tattooing machines—and the stories behind the tattoos vary even more. The exhibition features a seventeenth-century tattoo stamp for Christian pilgrims to Jerusalem to commemorate their journey; meanwhile, it tells the stories of contemporary tattooists like Whang-od Oggay, a 98-year-old Filipina artist who carries on traditional methods that are thousands of years old.



Contact: The Field Museum
1400 S. Lake Shore Drive
Chicago, IL 60605-2496
Tel: (1) 312 922 9410.

Alchemists Revealing Secrets from the Book of Seven Seals, The Ripley Scroll (detail), ca. 1700J. Paul Getty Museum
Alchemists Revealing Secrets from the Book of Seven Seals, The Ripley Scroll (detail), ca. 1700
J. Paul Getty Museum
The Art of Alchemy
LOS ANGELES  •  J. Paul Getty Museum  •  11 October 2016 - 12 February 2017
 

The Art of Alchemy features more than 100 objects, including manuscripts and rare books, prints, sculpture, and other works of art dating from the 3rd century BCE to the 20th century and coming from across Europe and Asia. The exhibition was organized in partnership with the Staatliche Museen zu Berlin, where it will be on view in 2017, and is curated by David Brafman, associate curator of rare books with assistance from Rhiannon Knol.

The Art of Alchemy approaches the subject from a global perspective, tracing how alchemy historically bonded art, science, and natural philosophy in visual cultures throughout the world. From its origins in Classical and Eurasian antiquity to the advances made and spread throughout the Islamic world and the ‘silk’ routes of Central Asia, material and intellectual exchange across cultures reached mediaeval Europe, and catalyzed alchemy’s ‘golden age’ from the Renaissance to the Enlightenment. The persistence of its spirit is still present in artistic expression and technocratic trends of the modern day, and the historical echoes of this chemical obsession with artificial reproduction also resound throughout more modern technologies of art, from chromolithography in the Industrial Age to the media that now claim artistic boasting rights as the ultimate chemical mirrors of nature: photography and the liquid crystal displays of the digital world.



J. Paul Getty Museum Website


Contact:

1200 Getty Center Drive
Los Angeles, CA 90049


Tel: (1) 31) 440 73 00

Kara Walker
Kara Walker
The Ecstasy of St. Kara: Kara Walker, New Work
CLEVELAND, OHIO  •  Cleveland Museum of Art  •  9 October - 12 December 2016
 

The Cleveland Museum of Art presents The Ecstasy of St. Kara: Kara Walker, New Work, debuting  her latest series of large-scale works on paper. The drawings stem from Walker’s influential time spent in Rome this year, marking an extensive query about the power of myths and themes of martyrdom that dominate and complicate the issue of slavery and free will. Walker’s newest series reflects upon Christianity’s complex history, globally as well as in black life—in her own words, “alternating between captor and redeemer”—rendering it as absolutely current and pressing.

Kara Walker (born 1969) is a highly regarded artist of international prominence. She has received numerous awards throughout her career including the John D. and Catherine T. MacArthur Foundation Achievement Award. Walker’s artwork has been the subject of many exhibitions and is held in the collections of prestigious institutions around the world. Her first public art project, the monumental installation A Subtlety (2014), was commissioned by Creative Time to wide acclaim.



Cleveland Museum of Art Website


Contact: Cleveland Museum of Art
11150 East Boulevard
Cleveland, Ohio
Tel: (1) 216 421 73 50

<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

The Freedom Principle: Experiments in Art and Music, 1965 to Now
PHILADELPHIA  •  Institute of Contemporary Art  •  14 September 2016 - 19 March 2017
 
The Institute of Contemporary Art (ICA) at the University of Pennsylvania presents The Freedom Principle: Experiments in Art and Music, 1965 to Now. This large-scale group exhibition links the vibrant legacy of avant-garde jazz and experimental music of the late 1960s (particularly within the African American arts scene on the South Side of Chicago) and its continuing influence on contemporary art and culture today.

The Institute of Contemporary Art (ICA) at the University of Pennsylvania Website


Contact: The Institute of Contemporary Art (ICA) at the University of Pennsylvania
118 S. 36th Street
Philadelphia, PA 19104-3289
Tel: (1) 215 898 71 08

<P>Giovanni di Paolo: <EM>The Adoration of the Magi</EM>, 1427Tempera and gold leaf on panel. Kröller-Müller Museum, Otterlo, the Netherlands</P>

Giovanni di Paolo: The Adoration of the Magi, 1427
Tempera and gold leaf on panel.
Kröller-Müller Museum, Otterlo, the Netherlands

The Shimmer of Gold: Giovanni di Paolo in Renaissance Siena
LOS ANGELES  •  J. Paul Getty Museum Website  •  11 October 2016 - 8 January 2017
 
Manuscript illuminator and panel painter Giovanni di Paolo was one of the most distinctive and imaginative artists working in Siena, Italy, during the Renaissance. This exhibition reunites several panels from one of his most important commissions—an altarpiece for the Branchini family chapel in the church of San Domenico in Siena—for the first time since its dispersal, and presents illuminated manuscripts and paintings by Giovanni and his close collaborators and contemporaries. Through recent technical findings, the exhibition reveals his creative use of gold and paint to achieve remarkable luminous effects in both media.

J. Paul Getty Museum Website


Contact: 1200 Getty Center Drive
Los Angeles, CA 90049

 


Tel: (1) 310 440 73 00

William Merritt Chase: <EM>The Young Orphan (An Idle Moment),</EM> 1884Oil on canvasNA diploma presentation, November 24, 1890National Academy Museum, New York
William Merritt Chase: The Young Orphan (An Idle Moment), 1884
Oil on canvas
NA diploma presentation, November 24, 1890
National Academy Museum, New York
William Merritt Chase: A Modern Master
BOSTON, MASSACHUSETTS  •  Museum of Fine Arts, Boston  •  9 October 2016 - 16 January 2017
 

William Merritt Chase (1849–1916) was a brilliant observer, an innovative painter, and a leader in international art circles at the turn of the last century. This exhibition brings together 80 of the American impressionist's finest works in both oil and pastel, drawn from public and private collections across the US. The traveling show is co-organized by The Phillips Collection (Washington, DC), the Museum of Fine Arts, Boston; Fondazione Musei Civici Venezia (Venice), and the Terra Foundation for American Art.

An exhibition catalogue, William Merritt Chase: A Modern Master, with five essays by prominent scholars of American art, is published by Yale University Press in association with the Phillips Collection.



Museum of Fine Arts, Boston Website


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

Ellen Gallager: <EM>Abu Simbel</EM>, 2005, photogravure, watercolor, colour pencil, varnish, pomade, plasticine, blue fur, gold leaf and crystals, 24 1/2 × 35 1/2 inches framed (62.2 × 90.2 cm), edition of 25
Ellen Gallager: Abu Simbel, 2005, photogravure, watercolor, colour pencil, varnish, pomade, plasticine, blue fur, gold leaf and crystals, 24 1/2 × 35 1/2 inches framed (62.2 × 90.2 cm), edition of 25
Black Pulp!
NEW YORK  •  International Print Center  •  1 October - 3 December 2016
 

International Print Center New York (IPCNY) presents Black Pulp!, an exhibition that examines evolving perspectives of Black identity in American culture and history from 1912 to 2016 through contemporary works of art and rare historical printed media. The exhibition includes works by artists, graphic designers, and publishers in formats ranging from little known comic books to covers for historic books and magazines, to etchings, digital prints, drawings, and media-based works by some of today’s leading artists. The exhibition is organized by artists William Villalongo and Mark Thomas Gibson, and is accompanied by an illustrated catalogue, extensive didactics, and free public programming.

The exhibition features contemporary works by an intergenerational group of 21 artists from the Black diaspora: Derrick Adams, Laylah Ali, Firelei Báez, Nayland Blake, Robert Colescott, Renee Cox, William Downs, Ellen Gallagher, Trenton Doyle Hancock, Lucia Hierro, Yashua Klos, Kerry James Marshall, Wangechi Mutu, Lamar Peterson, Pope.L, Kenny Rivero, Alexandria Smith, Felandus Thames, Hank Willis Thomas, Kara Walker, and Fred Wilson.

"Black Pulp!" situates these works in the context of rare historical books, comics, newspapers, and related ephemera, from Alain LeRoy Locke’s The New Negro (1925) and Wallace Thurman’s quarterly Fire!!: Devoted to the Younger Negro Artists (1926) to Jackie Ormes’ comic strip Torchy in Heartbeats (1953). Other historical artists and writers on view are Gwendolyn Bennett, E. Simms Campbell, Miguel Covarrubias, Charles Cullen, Countee Cullen, Sadie Iola Daniel, Aaron Douglas, Emory Douglas, W.E.B. Dubois, George J. Evans, Jr., Elton C. Fax, Billy Graham, Oliver W. Harrington, George Herriman, Alvin Hollingsworth, Langston Hughes, Zora Neal Hurston, Charles S. Johnson, James Weldon Johnson, Lois Mailou Jones, Jacob Lawrence, Gertrude McBrown, Dwayne McDuffie, Owen Middleton, Richard Bruce Nugent, Laura Wheeler Waring, Charles White and Carter G. Woodson.



International Print Center Website


Contact: International Print Center
508 West 26th Street, Room 5A
New York, NY 10001
USA
Tel: (1) 12) 989 50 90

Bruce Conner: <EM>CROSSROADS </EM>(still), 1976; San Francisco Museum of Modern Art (Accessions Committee Fund purchase) and the Museum of Modern Art, New York, with the generous support of the New Art Trust© The Conner Family Trust
Bruce Conner: CROSSROADS (still), 1976; San Francisco Museum of Modern Art (Accessions Committee Fund purchase) and the Museum of Modern Art, New York, with the generous support of the New Art Trust
© The Conner Family Trust
Bruce Conner: It’s All True
SAN FRANCISCO  •  The San Francisco Museum of Modern Art (SFMOMA)  •  29 October 2016 - 22 January 2017
 
The exhibition brings together over 250 objects in mediums including film and video, painting, assemblage, drawing, prints, photography, photograms, and performance by American Artist Bruce Conner.

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 San Francisco Museum of Modern Art (SFMOMA) Website


Contact: The San Francisco Museum of Modern Art (SFMOMA)
151 Third Street
San Francisco, CA 94103
Tel: (1) 415 35740 00

<P>Installation View, <EM>UniAddDumThs</EM>. May 25 – July 16 , 2016, Gavin Brown’s enterprise, Sant’Andrea de Scaphis, RomeImage courtesy Mark Leckey and Gavin Brown’s enterprise, New York/Rome© Mark Leckey</P>

Installation View, UniAddDumThs. May 25 – July 16 , 2016, Gavin Brown’s enterprise, Sant’Andrea de Scaphis, Rome
Image courtesy Mark Leckey and Gavin Brown’s enterprise, New York/Rome
© Mark Leckey

Mark Leckey: Containers and Their Drivers
LONG ISLAND CITY  •  MoMA PS1  •  23 October 2016 - 5 March 2017
 

MoMA PS1 will present the first comprehensive U.S. survey of the pioneering British artist Mark Leckey and the largest exhibition of his work to date. His art has addressed the radical effect of technology on popular culture, and given form to the transition from analog to digital culture, powerfully influencing younger generations of artists. The exhibition brings together major bodies of Leckey’s work, including a broad array of video works and sculptural installations alongside new pieces made specifically for the exhibition.

Among the highlights of Mark Leckey: Containers and Their Drivers is Leckey’s breakthrough film Fiorucci Made Me Hardcore (1999), which uses sampled footage to trace dance subcultures in British nightclubs from the 1970s to 1990s; a selection of the artist’s Sound System sculptures (2001–2012), functioning stacks of audio speakers that recall those used in street parties in London; his pedagogical lecture performances; GreenScreenRefrigeratorAction (2010), a video and installation that considers “smart” objects and our increasingly technological environment; and a new iteration of the installation UniAddDumThs (2014), which Leckey created as a “copy” of a touring exhibition, The Universal Addressability of Dumb Things, that he had curated the year before. The exhibition also features a newly expanded presentation of Dream English Kid 1964–1999 AD (2015), an autobiography told through what the artist calls "found memories" that have been compiled from sources like archival television clips, YouTube videos, and eBay ephemera, as well as meticulous reconstructions of specific memories using props and models.



MoMA PS1 Website


Contact: MoMA PS1
22-25 Jackson Avenue
Long Island City, NY
Tel: (1) 718 784 20 84

<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
USA
Tel: (1) 302 831 80 37

BMO Harris Bank Chicago Works: Andrew Yang
CHICAGO  •  Museum of Contemporary Art Chicago  •  26 July - 31 December 2016
 
 
In Andrew Yang’s (American, b. 1973) first solo museum exhibition, the artist and trained biologist contemplates our relation to the Milky Way, to which the majority of people have no basic visual access. Yang attempts to close this distance in a work that explores our shared elemental equivalencies; as inherent parts of the Milky Way galaxy, our corporeal bodies are, in a very real sense, celestial bodies.

Museum of Contemporary Art Chicago Website


Contact: Museum of Contemporary Art Chicago
220 E Chicago Ave
Chicago, Illinois 60611
Tel: (1) 312 280 26 60

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 2016 - 25 June 2017
 
 
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

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

The Uses of Photography: Art, Politics, and the Reinvention of a Medium
SAN DIEGO, CALIFORNIA  •  MCASD La Jolla  •  24 September 2016 - 2 January 2017
 
 
Tracing a crucial history of photoconceptual practice,The Uses of Photography focuses on an artistic community that formed in and around the University of California San Diego, founded in 1960, and its visual arts department, founded in 1967. Artists such as Eleanor Antin, Allan Kaprow, Fred Lonidier, Martha Rosler, Allan Sekula, and Carrie Mae Weems, to name a few, employed photography and its expanded forms as a means to dismantle modernist autonomy, to contest notions of photographic truth, and to engage in political critique.

MCASD La Jolla Website


Contact: MCASD La Jolla
700 Prospect Street
La Jolla, CA 92037-4291
Tel: (1) 858 454 35 41

<SPAN class=pie_g style="DISPLAY: block; MARGIN: 0px auto; TEXT-ALIGN: left" align="top">Hank Willis Thomas: <EM>She’s all tied up...in 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 up...in 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
USA
Tel: (1) 336 334 57 70

Events in Classical Music

Claudio Monteverdi
Claudio Monteverdi
Monteverdi: Vespers of 1610
NEW YORK  •  Church of Saint Jean-Baptiste  •  2 - 3 December 2016
 
 

Monteverdi: Vespers of 1610

TENET

2016 Green Mountain Project Artists
Music Director: Scott Metcalfe
Artistic Director: Jolle Greenleaf
  with Dark Horse Consort

Sopranos: Jolle Greenleaf and Molly Quinn
Mezzo soprano: Laura Pudwell
Tenors: Colin Balzer, Owen McIntosh, Jason McStoots, Aaron Sheehan, and Sumner Thompson
Basses: Mischa Bouvier, Stephen Hrycelak, and John Taylor Ward

Violins: Ingrid Matthews and Scott Metcalfe
Violas: Dongmyung Ahn and Daniel Elyar
Bass: Violin Emily Walhout
Violone: Anne Trout
Theorbos: Hank Heijink, Daniel Swenberg, and Charles Weaver
Chant Leader :Charles Weaver
Organ: Jeffrey Grossman

Dark Horse Consort
  Cornetti: Alexandra Opsahl and Kiri Tollaksen
  Trombones: Greg Ingles, Mack Ramsey, and Erik Schmalz



TENET Website



Detailed schedule information:
7:30 pm

Contact: Church of Saint Jean-Baptiste
Lexington Avenue at 76th Street
New York. NY 10021

Events in Dance

CalArts Winter Dance
LOS ANGELES  •  Walt Disney Concert Hall Complex  •  9 - 10 December 2016
 
 

The Sharon Disney Lund School of Dance at CalArts presents an evening of dance, featuring a premiere by CalArts alumnus and Artist-in-Residence Douglas Nielsen; a work by guest aritst Juel D. Lane; a re-staging of Pigs and Fishes by choreographer Elisa Monte; and a premiere by CalArts faculty member Julie Bour.



REDCAT Website



Detailed schedule information:
8:30 pm

Contact: Walt Disney Concert Hall Complex
631 W 2nd Street
Los Angeles, CA 90012
Tel: (1) 213 237 28 00

Events in Jazz

David Virelles
David Virelles
David Virelles: Antenna
NEW YORK  •  Le Poisson Rouge  •  9 December 2016
 

David Virelles: Antenna

with Marcus Gilmore, Rafiq Bhatia & special guests

The Brooklyn – based Virelles, who once became the first recipient of the Oscar Peterson award, has performed or recorded with Ravi Coltrane, Henry Threadgill, Román Díaz, Tomasz Stanko, Wadada Leo Smith, Jane Bunnett and The Spirits Of Havana, Dewey Redman, Sam Rivers, Steve Coleman, Andrew Cyrille, Hermeto Pascoal, José Luis Quintana “Changuito”, Stanley Cowell, Chucho Valdés, Paul Motian, Chris Potter, Mark Turner, Tom Harrell, Milford Graves, Alberto Lescay, among others.



Le Poisson Rouge Website



Detailed schedule information:
7:30 pm

Contact: Le Poisson Rouge
158 Bleecker Street
New York, NY 10012
Tel: (1) 212 505 34 74

Events in Opera

Berlioz: <EM>LesTroyens</EM>
Berlioz: LesTroyens
Les Troyens: By Hector Berlioz
CHICAGO  •  Lyric Opera  •  13 November - 3 December 2016
 
 

Berlioz: LesTroyens
Performed in French with projected English translations

Sir Andrew Davis, conductor

Tim Albery, director
Tobias Hoheisel, designer
David Finn, lighting designer
Michael Black, chorus master
Helen Pickett, choreographer

Cast

Christine Goerke: Cassandre
Sophie Koch: Didon
Brandon Jovanovich: Énée
Lucas Meachem: Chorèbe
Christian Van Horn: Narbal
Okka von der Damerau: Anna



Lyric Opera of Chicago Website



Detailed schedule information:
1:00 pm

Contact: Lyric Opera of Chicago
20 N Wacker Dr # 860
Chicago, IL 60606
Tel: (1) 312 332 2244

Events in Pop Culture and Cinema

El DeBarge
OAKLAND, CALIFORNIA  •  Yoshi's Jazz Club and Japanese Restaurant  •  3 - 4 December 2016
 

El DeBarge

R&B’s most distinctive and celebrated voices, El DeBarge, continues to make his personal and creative transformation. Currently in the studio working on the follow up to his Grammy nominated, Second Chance album, El DeBarge says “he’s pacing himself for longevity and taking the necessary steps to maintain it.”



Yoshi's Jazz Club and Japanese Restaurant Website



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

Contact: Yoshi's Jazz Club and Japanese Restaurant
510 Embarcadero West
Oakland, CA 9460
Tel: (1) 510 238 92 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

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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