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Events in Art and Archaeology

Circa 1970
NEW YORK  •  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.



Studio Museum in Harlem Website


Contact:

Studio Museum in Harlem
144 W 125th Street
New York, NY 10027


Tel: (1) 212 864 45 00

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

Donald Sutton: <EM>Firemen March 6 1985</EM>
Donald Sutton: Firemen March 6 1985
Donald Sultan: The Disaster Paintings
FORT WORTH, TEXAS  •  Modern Art Museum of Fort Worth  •  19 February - 23 April 2017
 
A painter, sculptor, and printmaker, Sultan is regarded for his ongoing large-scale painted still lifes featuring structural renderings of fruit, flowers, and other everyday objects, often abstracted and set against a rich, black background; but he is also noted for his significant industrial landscape series that began in the early 1980s entitled the Disaster Paintings, on which the artist worked for nearly a decade. While Sultan’s still lifes depict and strengthen fragile and ephemeral objects, the Disaster Paintings often illustrate robust, man-made structures, such as industrial plants and train cars, that exhibit a level of fragility in their propensity to be unhinged by catastrophic events. Distinguished for combining such subject matter with industrial materials, such as tar and Masonite tiles.

Painted on a large scale (the majority of the works in this series measure 8’ x 8’), The Disaster Paintings embody great physicality in their process, subject matter, and finished form. They also reify the modern experience of industrialized societies with images of fire, accidents, and industrial mishaps, daring us to forget that calamities and adversity are woven into the very fabric of our existence

Modern Art Museum of Fort Worth Website


Contact: Modern Art Museum of Fort Worth
3200 Darnell Street
Fort Worth, Texas 76107
Tel: (1) 817.738.9215

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

Julio Le Parc: <EM>Sphère rouge</EM> (Red Sphere), 2001–12. Collection of Jorge M. and Darlene Pérez. Installation view: Julio Le Parc, Palais de Tokyo, Paris, 2013. Julio Le Parc © 2016 Artists Rights Society (ARS), New York / ADAGP, Paris. Photo: André Morin.
Julio Le Parc: Sphère rouge (Red Sphere), 2001–12.
Collection of Jorge M. and Darlene Pérez.
Installation view: Julio Le Parc, Palais de Tokyo, Paris, 2013. Julio Le Parc © 2016 Artists Rights Society (ARS), New York / ADAGP, Paris.
Photo: André Morin.
Julio Le Parc: Form into Action
MIAMI  •  Pérez Art Museum Miami  •  18 November 2016 - 19 March 2017
 

Julio Le Parc (b. 1928, Mendoza, Argentina) is a central and influential figure in participatory kinetic art, who has been largely overlooked in the United States, until now. Form into Action, which is the first solo museum exhibition and only comprehensive survey of the artist’s work in North America features more than 100 works produced by Le Parc between 1958 and 2013. The exhibition explores how the artist sought to ‘demystify art’, breaking down barriers between artwork, viewer and museum.

Comprised of more than 100 works, including large-scale installations and rarely seen works on paper and archival material, the exhibition delves into the artist’s groundbreaking innovations in the fields of light, movement and perception, developed over the course of an almost sixty-year career.



Pérez Art Museum Miami Website


Contact: Pérez Art Museum Miami
1103 Biscayne Blvd
Miami, FL 33132
Tel: (1) 305 375 30 00

<P>Lee Friedlander, American, born 1934Untitled, from the series <EM>Prayer Pilgrimage for Freedom</EM>1957, printed laterGelatin silver printPhoto credit: Yale University Art Gallery© Lee Friedlander, courtesy Fraenkel Gallery, San Francisco; photo credit: Eakins Press Foundation</P>

Lee Friedlander, American, born 1934
Untitled, from the series Prayer Pilgrimage for Freedom
1957, printed later
Gelatin silver print
Photo credit: Yale University Art Gallery
© Lee Friedlander, courtesy Fraenkel Gallery, San Francisco; photo credit: Eakins Press Foundation

Let Us March On: Lee Friedlander and the Prayer Pilgrimage for Freedom
NEW HAVEN, CONNECTICUT  •  Yale University Art Gallery  •  13 January - 9 July 2017
 
This exhibition presents photographer Lee Friedlander’s images of the Prayer Pilgrimage for Freedom, a critical yet generally neglected moment in American civil rights history. On May 17, 1957—the third anniversary of the landmark Supreme Court decision Brown v. Board of Education, Topeka, which outlawed segregation in public schools—thousands of activists, including many leaders from religious, social, educational, labor, and political spheres, united in front of the Lincoln Memorial, in Washington, D.C. At this first large-scale gathering of African Americans on the National Mall, an event that was a forerunner of the 1963 March on Washington at which Martin Luther King, Jr., delivered his famed “I Have a Dream” speech, protestors called on federal authorities to enforce desegregation, support voting rights, and combat racial violence. Friedlander photographed many of the illustrious figures who attended or spoke at the march, such as Martin Luther King, Jr., Rosa Parks, Ella Baker, Mahalia Jackson, and Harry Belafonte, and he wove among the demonstrators on the ground to capture the energy and expressions of the day.

Yale University Art Gallery Website


Contact: Yale University Art Gallery
1111 Chapel Street (at York Street)
New Haven, Connecticut 
Tel: (1) 203.432.0600

<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

Yangjiang Group: <EM>Unwritten Rules Cannot Be Broken</EM>
Yangjiang Group: Unwritten Rules Cannot Be Broken
Tales of Our Time
NEW YORK  •  Solomon R. Guggenheim Museum  •  4 November 2016 - 10 March 2017
 

The artists in this exhibition challenge the conventional understanding of place. By portraying often-overlooked cultural and historical narratives, Chia-En Jao, Kan Xuan, Sun Xun, Sun Yuan & Peng Yu, Tsang Kin-Wah, Yangjiang Group, and Zhou Tao explore concepts of geography and nation-state. Their artworks address specific locations, such as their hometowns, remote borderlands, or a group of uninhabited islands, as well as abstract ideas, such as territory, boundaries, or even utopia. China, too, is presented here, not only as a country but also as a notion that is open for questioning and reinvention.

The exhibition’s title riffs on Gushi xin bian (Old Tales Retold, 1936), the name of a book by modern Chinese literary giant Lu Xun in which he recasts ancient legends to critique society, reimagine history, and illuminate problems of his era. The artists in Tales of Our Time similarly call attention to the dynamic relationship between storytelling and history writing.



Solomon R. Guggenheim Museum Website


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

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

Thomas Bayrle:<EM> Madonna Mercedes,</EM>  1989, Silkscreen. Courtesy of the artist and ICA Miami
Thomas Bayrle: Madonna Mercedes, 1989, Silkscreen. Courtesy of the artist and ICA Miami
Thomas Bayrle: One Day on Success Street
MIAMI  •  Institute of Contemporary Art, Miami  •  29 November 2016 - 26 March 2017
 
Featuring some 75 works from 1960s through the present day, the exhibition begins with German artist Thomas Bayrle’s handmade representations of highways expressively rendered as elaborate landscapes. In a related series of works, these motifs evolve into modern cities and waves of pedestrians set into interminable grids. At the center of Bayrle’s focus is the experience of the urban citizen and the artist—in works from the 1980s, landscapes and architectures unfold into surreal human figures. Bayrle’s preoccupation with figures like Carlos the Jackal, considered the world’s first terrorist, explore experiences of alienation and trauma. By contrast, works from the series “Feuer im Weizen” (Fire in the Wheat), which incorporates renderings of sexual acts, are expressions of fascination and joy, of mutation and fracture. Characteristic of Bayrle’s references to commercial icons and consumer culture, the works reflect the artist’s interest in the transformation of popular figures in a media-saturated world.

Known for his prescient depictions of mega cities and bodies consumed by machines, Thomas Bayrle (b. 1937) is a Frankfurt-based artist whose works spans mediums and movements including Pop, Op, and Conceptual art. His humorous and satirical multi-media works are characterized by “super- forms,” large images composed of repetitive smaller cell-like patterns. His work is influenced by his experience of growing up in post-Nazi Germany, where he trained and worked as an industrial weaver.

Institute of Contemporary Art, Miami


Contact:

Institute of Contemporary Art, Miami
Miami Design District
4040 NE 2nd Ave
Miami, FL 33137


Tel: (1) 305 901 52 72

<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

Senam Okudzeto: Fragment from the series <EM>All Facts Have Been Changed to Protect the Ignorant</EM>. 2000-01The Baltimore Museum of Art
Senam Okudzeto: Fragment from the series All Facts Have Been Changed to Protect the Ignorant. 2000-01
The Baltimore Museum of Art
Shifting Views: People & Politics in Contemporary African Art
BALTIMORE, MARYLAND  •  The Baltimore Museum of Art  •  18 December 2016 - 18 June 2017
 

he BMA’s first exhibition of contemporary art from Africa drawn from its own collection features photographs, prints, and drawings by David Goldblatt, Gavin Jantjes, William Kentridge, Julie Mehretu, Senam Okudzeto, Robin Rhode, and Diane Victor. Each artist offers pointedly political perspectives on the lives of Africans and their diasporic descendants.

Examples include two series of prints: Kentridge’s Industry & Idleness (1986-87), a critique of capitalism inspired by a suite of the same name by famed political satirist William Hogarth (English 1697-1764), and Mehretu’s Landscape Allegories (2003-04), etchings that mark the journeys of migrants and underscore the environmental effects of late-stage capitalism. Capitalism is more quietly confronted in a 1970 photograph of singer Margaret Singana taken by Goldblatt while on assignment for Anglo American, a major gold mining company. Okudzeto’s Fragment from the series All Facts Have Been Changed to Protect the Ignorant (2000-01) remind us of early capitalist drives that fueled the trade of Africans into slavery and Jantjes’ canonical A South African Colouring Book (1974-75) skewers apartheid-era surveillance and racist realities. In works from 2009 and 2010, Rhode’s Pan's Opticon Studies and Victor’s Smokescreen (Frailty and Failing) focus on individuals captured or lost in societies that either closely monitor movement of people deemed suspicious or blithely forget those with histories deemed too troubling.



The Baltimore Museum of Art Website


Contact: The Baltimore Museum of Art
10 Art Museum Drive
Baltimore, MD 21218-3898
Tel: (1) 443 573 17 00

Unidentified artist, active in South America. <EM>Saint Francis Xavier</EM>, 18th centuryCarl and Marilynn Thoma Collection.
Unidentified artist, active in South America. Saint Francis Xavier, 18th century
Carl and Marilynn Thoma Collection.
Doctrine and Devotion: Art of the Religious Orders in the Spanish Andes
CHICAGO  •  Art Institute of Chicago  •  19 March 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

Miljohn Ruperto: Geomancie
LOS ANGELES  •  RedCat  •  14 January - 12 March 2017
 
 
The cross-disciplinary work of Los Angeles-based Philippine artist Miljohn Ruperto includes photography, cinema, performance and digital animation. His work refers to historical and anecdotal occurrences, and speculates on the nature of assumed facts and construction of truth.

Geomancies consists of a film, a series of photographic and video works, as well as a new performance piece. Ruperto works with the concepts of possession, opposition and metamorphosis as common themes and as a background for the exhibition´s narrative. The work investigates the constant battle waged by humans to control nature. Modifications of the landscape and the economic exploitation of nature are counteracted by its unexpected force and how it affects the course of history.

Miljohn Ruperto (b. 1971 Manila, the Philippines) received his M.F.A. from Yale University in 2002 and his B.A., Studio Art from University of California, Berkeley in 1999. Recent exhibitions featuring his work include: Nervous Systems, Haus der Kulturen der Welt, Berlin; Afterwork, Para-Site, Hong Kong; The As-if Principle., Magazin4 Bregenzer Kunstverein, Austria; 2014 Whitney Biennial, Whitney Museum of American Art, New York among others.

REDCAT Website


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

Events in Jazz

Lou Donaldson
NEW YORK  •  Blue Note  •  2 March 2016 - 5 March 2017
 

Named as a NEA JAzz Masteer in 2013, Lou Donaldson has been termed a "truly unique and absolutely indispensable creative voice in modern jazz whose greatness stretches from being one of sumblime virtuosos of swinging bebop and hard bop to being the creator of his own genre of funky jazz boogaloo that has profoundly influenced contemporary American music in many ways for several decades."

Lou Donaldson played an absolutely invaluable role in the creation and building of the classic Blue Note Record Label, and the assembly and musical development of the the classic Jazz Messengers bands that originally featured Lou Donaldson, Clifford Brown, Art Blakey, Horace Silver, Gene Ramey, Hank Mobley, and many other of the greatest creative virtuosos of the this entire era of modern jazz expression.



Blue Note New York Website



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

Contact: Blue Note New York
131 West 3rd Street
New York, NY 10012
Tel: (1) 212 475 85

Donald Brown, Ray Drummond, Marvin “Smitty” Smith, and Bobby Watson
NEW YORK  •  Dizzy's Club Coca-Cola  •  3 - 5 March 2017
 
 
Pianist Donald Brown, bassist Ray Drummond, drummer Marvin “Smitty” Smith, and alto saxophonist Bobby Watson come together to remember James Williams and Mulgrew Miller.

Dizzy's Club Coca-Cola Website



Detailed schedule information:
7:30 pm

Contact: Dizzy's Club Coca-Cola
Broadway and 60th Street
5th Floor
New York, NY
Tel: (1) 212 258 95 95

Events in Pop Culture and Cinema

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 2017
 

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



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