The Whitney Biennial is the longest running survey of contemporary art in the United States, with a history of exhibiting the most promising and influential artists and provoking lively debate. The 2017 Biennial is the Museum’s seventy-eighth in a continuous series of Annual and Biennial exhibitions initiated by Gertrude Vanderbilt Whitney in 1932. It is the first to be held in the Whitney’s downtown home at 99 Gansevoort Street, and the largest ever in terms of gallery space.
An exhibition of prints by David Driskell, Renewal and Form | Selected Recent Prints presents his most recent series. Referencing African and African-American art, Driskell says, “I try to pattern my art with certain aspects of African and African-American iconography…in particular with African textiles, with costumes – especially with the Egungun costume, where the Yoruba dancers wear large costumes with strips of quilted cloth.”
In celebration of the 100th anniversary of the birth of one of this city’s most beloved artists, Jacob Lawrence, the Seattle Art Museum presents Jacob Lawrence: The Migration Series. Acclaimed as Lawrence’s masterwork, this epic series chronicles in words and pictures the exodus of African Americans from the rural South to the industrial North in the decades after the First World War.
Between the apex of Abstract Expressionism and the rise of Pop Art and Minimalism, the New York art scene was transformed by artist-run galleries. Inventing Downtown presents works from fourteen of these crucibles of experimentation, highlighting artists’ efforts to create new exhibition venues for innovative works of art—ranging from abstract and figurative painting, assemblage, sculpture, and works on paper to groundbreaking installations and performances.
Please join us on Friday, March 24 and Saturday, March 25 at 6pm for an evening of choreography and conversation in connection with the exhibition Romare Bearden: Bayou Fever and Related Works. This special event features a preview performance of a new dance based on parts of Bearden’s Bayou Fever, which he originally conceived as a collage/storyboard for a dance. Created and performed in the gallery by the acclaimed South African choreographer Dada Masilo with two other dancers, the piece was commissioned by the Center for Jazz Studies, Columbia University, in conjunction with the exhibition. The performance will be followed by a talk-back with Ms. Masilo.
Space is limited. Please RSVP to email@example.com.
Cincinnati Art Museum presents the first major museum survey of the Lexington Camera Club's artistic achievements in the new exhibition Kentucky Renaissance: The Lexington Camera Club and Its Community, 1954-1974. More than 150 photographs, books, prints and other objects made in and around Lexington, Kentucky will be on view from October 8, 2016 - January 1, 2017.
Ralph Eugene Meatyard is the most esteemed artist affiliated with this group. This exhibition sets his art with an unprecedented examination of his mentors, peers and friends in the Lexington Camera Club during the third quarter of the 20th century. In doing so, the exhibition notes the influence this club had not only on Meatyard, but on developing a modernist sensibility blended with Southern culture.
Claire Sherman will showcase six paintings at the lobby gallery at 527 Madison Avenue, a boutique office building in the Plaza District. The paintings, many of which exemplify Ms. Sherman's signature style of large-scale, tight-focus landscapes, will be on display through November 22, 2016. Located at 54th Street and Madison Avenue, the show is open to the public from 9 a.m. to 5 p.m., Monday through Friday.
Please join us at The American Art Fair
November 18 - 21, 2016 | Bohemian National Hall, 321 East 73rd Street, New York, NY 10021
Work by Romare Bearden, Charles Burchfield, Elizabeth Catlett, Stuart Davis, Robert De Niro, Sr., Beauford Delaney, Emil Ganso, Gwen Knight, Jacob Lawrence, Norman Lewis, Luigi Lucioni, John Marin, Reginald Marsh, Ben Shahn, Everett Shinn, and others.
The three artists in this exhibition–Carrie Moyer, David Reed, and John Zinsser–are prominent abstract painters who in very different but vital ways continue the tradition of abstract painting. In addition to their common concerns with color, shape, and surface texture, each creates abstract imagery that powerfully evokes a world of human feeling–and a kind of radiant humanism. They were invited to show in this exhibition because of the quality of their work and the continuity that they represent between Abstract Expressionism and contemporary abstraction. All three artists were also participants in a symposium about the legacy of Robert Motherwell at the Archives of American Art in Washington, D.C., in December 2015.
A Feast for the Eyes, guest curated by Franklin Hill Perrell, explores how cuisine has always inspired artists. The exhibition opens on July 30, 2016, and remains on view through November 6, 2016. A Feast for the Eyes, a sweeping two-floor exhibition focused on food and dining in art, features works by Isabel Bishop, Robert De Niro, Sr., Janet Fish, Robert Kushner, Duane Michals, Jane Wilson, Alexi Worth and others.
The work of internationally recognized American artist Whitfield Lovell (b. 1959, Bronx, New York) powerfully examines “the markings that the past has made—and continues to make—on who we are.” In his exquisitely crafted Kin series and related tableaux, Lovell combines freely drawn Conté crayon figures of anonymous African Americans with time worn objects from everyday life, such as a brooch, clock, or flag. Lovell’s poetic combinations “transgress cultural or racial boundaries” in their exploration of identity, heritage, memory, and our collective American past. This exhibition of 40 works features selections from the Kin series in dialogue with some of his finest related works.
Duane Michals with speak about his photographic career alongside High Museum of Art Curator of Photography, Brett Abbott and Atlanta Celebrates Photography Executive Director, Amy Miller.
An abstract painter working in acrylics, Barbara Takenaga is known for her swirling, dot-based paintings of saturated color and undulating patterns. Her simple forms, arranged into dense and detailed composition, radiate and recede in what seems to be infinite space.
Takenaga has been the Mary A. and William Wirt Warren Professor of Art at Williams College since 1985. Her first major exhibition was at the Walker Art Center, Minneapolis, in 1987, and her work has since has been exhibited at institutions including the Massachusetts Museum of Contemporary Art; the Museum of Contemporary Art, Denver; and the National Academy Museum, New York.
"I still love the idea of the Big Bang," Takenaga has said of her work. "I feel like I am on this really giant ocean liner and I've got this little tiny steering wheel, and I'm turning and turning and turning it, and I'm trying to make a different course for the ship, turning and turning the wheel, and nothing happens. Finally, the thing--me, my attitude, the history of the work, the paintings themselves--because its mass is so big, it starts moving, ever so slowly shifting."
For nearly 25 years, Eric Aho has depicted the landscape as a means to investigate and expand the boundaries of painting and personal inquiry. Since his earliest projects, Aho has brought historical research, personal relationships, and a close reading of the landscape together to reinvigorate traditional portraiture and challenge what it means to paint the landscape today, in works that are both representational and dynamically abstract.
An installation of photographs from the Museum’s permanent collection by Ralph Eugene Meatyard and Duane Michals. Meatyard and Michals are each known for creating distinctive narratives using staged photography, often pushing their image-making toward other genres, including film, theater, and literature.
Project Gallery: Romare Bearden features a series of photostat Projections produced by the artist in 1964. Bearden created 21 small collages, which he subsequently converted into large black-and-white photographic images. The imagery comprises some of the first artistic representations of black traditional and popular culture from an African American perspective. Project Gallery: Romare Bearden features a series of photostat Projections produced by the artist in 1964. Bearden created 21 small collages, which he subsequently converted into large black-and-white photographic images. The imagery comprises some of the first artistic representations of black traditional and popular culture from an African American perspective.
Recorded in New York City
Episode Length: 42:00
Air Date: June 15, 2016
Produced by: Jordan Weitzman & Michelle Macklem, Edited by: Cristal Duhaime
In this episode, photographer Duane Michals talks to Jordan Weitzman about his early days in photography to the work he is doing today. Michals is best known for his Sequences, which he first started to develop in the mid sixties. He has had an eclectic career, from that early work being exhibited at the Museum of Modern Art in New York to doing commercial work for Vogue and Esquire. He is a self-taught photographer and his work broke away from the established styles of the sixties, from his portraits to his iconoclastic combinations of image and text to his very personal approach to bookmaking. Duane has been with his partner Fred Gorey for over 55 years and they live together in New York City. He is 84 and still working, still feeling inspired, still playful in his philosophical and thoughtful approaches to photography.
Barbara Takenaga has created a new work of an unprecedented scale for a 100 foot wall in the Hunter Center lobby at MASS MoCA.The mural features a new image from her series, Nebraska Paintings, a body of work that moves closer to the representational imagery only implied in earlier pieces, but which captures the wide open spaces and big sky of the artist’s native state. The work will be on view at MASS MoCA beginning July 12, 2015.
First exhibited at MASS MoCA in 2013, in the installation Filthy Lucre, Darren Waterston reimagines James McNeill Whistler’s famed Peacock Room—an icon of American art—as a decadent ruin collapsing under the weight of its own creative excess. Forging a link between inventive and destructive forces, Filthy Lucre forms the centerpiece of an unprecedented exhibition that highlights the complicated tensions between art and money, ego and patronage, and acts of creative expression in the nineteenth century and today.
Women, Art, AIDS, and Activism: Here Then, Here Now
June 4, 6:00pm
From 1991 to 2004, DC Moore artist Carrie Moyer collaborated with photographer Sue Schaffner as "Dyke Action Machine!"(DAM!), one of few long-standing public art projects. DAM! inserted lesbian imagery into mainstream commercial contexts, challenging how lesbians are (and are not) depicted in American culture. Today Moyer continues her activist work, channeling it into writing and teaching.
Catch Moyer and other women artist-activists this Saturday, June 4th at 6:00pm at Brooklyn Museum on the panel "Women, Art, AIDS, and Activism: Here Then, Here Now," hosted by Visual AIDS!
Duane Michals: Talking Pictures
Special Screening of 12 Short Films by Duane Michals
Friday, May 13, 7:30pm
School of Visual Arts' Beatrice Theatre (333 W 23rd Street)
Please join us at the SVA's Beatrice Theatre for a full screening of Duane Micha's 12 "mini-movies"
Tickets at the door: $10 public, $5 students, cash only
Sea of Stars: The Astral and the Oceanic in Contemporary Art
DC Moore Gallery
Friday, April 29 at 6:30pm. Reception to follow.
Please join us at DC Moore Gallery for a gallery talk featuring artcritical Editor David Cohen in conversation with artists Katherine Bradford and Barbara Takenaga.
Pattern & Decoration and Femmage: Then and Now
National Academy Museum & School, Assembly Hall
Wednesday, April 20, 2016
6:30 - 8:00 p.m.
Panelists: Melissa Meyer, Robert Kushner, Gaby Collins-Fernandez
Moderator: Maura Reilly
Art Talk: Robert O'Meally on Romare Bearden
Perez Art Museum Miami
April 14, 2016
Distinguished Columbia University Professor Robert O’Meally will discuss the work of Romare Bearden and his series of photostat projections which were produced in 1964 and are currently on view at PAMM. O’Meally has written extensively on Bearden and organized the Smithsonian traveling exhibition Romare Bearden: A Black Odyssey, which toured the country through early 2015.
Eric Aho: Ice Cuts
Hood Museum of Art, Hanover, NH
January 9 - March 13, 2016
Aho began the Ice Cut series nine years ago, making one painting a year of the dark void created by the act of sawing into the thick ice. The central abstract form in these compositions provides the structure for Aho's experimentation with paint texture, surface, and subtly nuanced color, giving these frozen scenes a sense of both austere beauty and vibrant life.
MoMA PS1 presents the fourth iteration of its landmark exhibition series, begun as a collaboration with The Museum of Modern Art in 2000. Recurring every five years, the exhibition has traditionally showcased the work of emerging artists living and working in the New York metropolitan area. Greater New York arrives in a city and art community that has changed significantly since the first version of the survey. With the rise of a robust commercial art market and the proliferation of art fairs, opportunities for younger artists in the city have grown alongside a burgeoning interest in artists who may have been overlooked in the art histories of their time. Concurrently, the city itself is being reshaped by a voracious real estate market that poses particular challenges to local artists. The speed of this change in recent years has stoked a nostalgia for earlier periods in New York—notably the 1970s and 1980s, and the experimental practices and attitudes that flourished in the city during those decades. Against this backdrop, Greater New York departs from the show’s traditional focus on youth, instead examining points of connection and tension between our desire for the new and nostalgia for that which it displaces.
Bringing together emerging and more established artists, the exhibition occupies MoMA PS1’s entire building with over 400 works by 157 artists, including programs of film and performance. Greater New York is co-organized by a team led by Peter Eleey, Curator and Associate Director of Exhibitions and Programs, MoMA PS1; and including art historian Douglas Crimp, University of Rochester; Thomas J. Lax, Associate Curator, Department of Media and Performance Art, MoMA; and Mia Locks, Assistant Curator, MoMA PS1.
Considering the “greater” aspect of its title in terms of both geography and time, Greater New York begins roughly with the moment when MoMA PS1 was founded in 1976 as an alternative venue that took advantage of disused real estate, reaching back to artists who engaged the margins of the city. Together, the works in the exhibition employ a heterogeneous range of aesthetic strategies, often emphatically representing the city’s inhabitants through forms of bold figuration, and foregrounding New York itself as a location of conflict and possibility.
Alexi Worth's current exhibition States will be the subject of The Review Panel, presented by the National Academy Museum in association with artcritical.com.
Friday, June 7 at 6:30 pm
National Academy Museum
1083 Fifth Avenue at 89th St.
Eva Diaz, Ken Johnson, Chloe Rossetti, and moderator David Cohen will discuss:
Lorna Williams: Appositions: Still / Birth / Shit at DODGE gallery
Wolfgang Tillmans: From Neue Welt at Andrea Rosen
Alexi Worth: States at DC Moore Gallery
Brock Enright: Verdigris at Kate Werble Gallery