On view are Chinese textiles from the Qing Dynasty (1644-1911), circa late nineteenth century-early twentieth century, and includes a range of silk objects: robes, rank badges, clothing, panels, and children’s apparel.
Each year in Nevada’s Black Rock Desert, a city of more than 70,000 people rises out of the dust for a single week. During that time, enormous experimental art installations are erected and many are ritually burned to the ground. The thriving temporary metropolis known as Burning Man is a hotbed of artistic ingenuity, driving innovation through its principles of radical self-expression, decommodification, communal participation, and reverence for the handmade. Both a cultural movement and an annual event, Burning Man remains one of the most influential phenomenons in contemporary American art and culture.
No Spectators: The Art of Burning Man brings the large-scale, participatory work from this desert gathering to the nation’s capital for the first time. The exhibition takes over the entire Renwick Gallery building and surrounding Golden Triangle neighborhood, bringing alive the maker culture and creative spirit of this cultural movement.
Trevor Paglen: Sites Unseen is a mid-career survey, the first exhibition to present Paglen’s early photographic series alongside his recent sculptural objects and new work with AI. It carries on the long history of programs by the Smithsonian American Art Museum examining America’s changing relationship to the landscape. With this presentation, SAAM is contributing to the important and ongoing conversation about privacy and surveillance in contemporary society.
Since Christopher Newport’s expedition planted a cross on the banks of the James River in 1607, Richmonders have marked the landscape to reflect their collective values. Monumental will look at the historical context of public monuments in Richmond, and the Valentine is excited to build on its role as a space to engage in meaningful, sometimes uncomfortable discussions about what we have chosen to commemorate and what we have chosen to forget.
Drawn from the National Gallery of Art’s collection of prints and drawings, Sense of Humor celebrates this incredibly rich though easily overlooked tradition through works including Renaissance caricatures, biting English satires, and 20th-century comics. The exhibition includes major works by Pieter Breughel the Elder, Jacques Callot, William Hogarth, James Gillray, Francisco de Goya, and Honoré Daumier, as well as later examples by Alexander Calder, Red Grooms, Saul Steinberg, Art Spiegelman, and the Guerrilla Girls.
Ezra Wube: Tales of Home presents a group of five stop-motion animation videos of New York-based, Ethiopian artist Ezra Wube. The shorts feature vignettes about urban life in Addis Ababa, Ethiopia and visual depictions of Ethiopian oral folktales. The artist uses a range of material, including paint, paper cut-outs, seeds, plants, and photography, to create intriguing films highlighting daily life in Ethiopia’s largest city and fantastical, oral folk tales from the artist’s youth.
The prints and drawings in this exhibition examine different perspectives of the concept of masculinity, as defined by society and history and as depicted in visual culture. These images build upon and challenge art historical traditions of portraiture and figure studies of men, who are often shown as heroic, patriarchal, aggressive, and occasionally, as objects of beauty. Included are works that question a range of stereotypical experiences and identities, such as the strong-silent type, the man-child, the chivalrous adventurer, the creative genius, and the dandy.
The exhibition presents more than 120 photographs by Edward Weston (American, 1886-1958). Ranging in date from 1903 to 1946, the exhibition includes his earliest photographs with later works from his career, demonstrating similarities as well as refinement in subject matter, style, and aesthetic exploration. Comparing Weston’s photographs created when he was a teenager through his early 20s with his later masterworks, it demonstrates the evolution of his singular vision, finding essential forms in his subjects and perfecting his hallmark sense of composition.
Infinite Choices: Abstract Drawings by Al Held is on view August 22, 2018, through July 7, 2019, in the Harnett Museum of Art, Modlin Center Booth Lobby. American artist Al Held (1928-2005) came to prominence in the 1950s as an Abstract Expressionist. In the 1960s, his gestural painting moved towards a more geometrical and hard-edged approach in his abstraction. The India ink drawings in the exhibition are from this transitional period, still very calligraphic and expressive. His paintings at this time became more concrete, including a series referred to as his “alphabet paintings” where the space and forms explode beyond the canvas edge, hardly recognizable as letterforms. These works led to his well-known geometric abstract paintings that defy their flatness through large-scale compositions with complex cubical perspectives.
The work of groundbreaking, multidisciplinary artist Howardena Pindell opens this August in VMFA’s Evans Court and 21st-Century Galleries. For nearly five decades, Howardena Pindell has explored the intersection of art and activism. This exhibition looks at the arc of this artist’s career through the presentation of early and recent paintings, video art, as well as works on paper that celebrate her singular vision and its imprint on contemporary art since the 1960s.
This exhibition is the first major survey of the New York-based artist. It features early figurative paintings, her explorations into abstraction and conceptual practices, as well as personal and political art that emerged in the aftermath of a life-threatening car accident in 1979. Sub-themes in the exhibition—such as pre-1979, memoirist, traveler, activist, and scientist—help trace themes and visual experiments that run throughout Pindell’s work up to the present.
Organized by Highpoint Center for Printmaking
Excavations: The Prints of Julie Mehretu is a spectacular collection of Mehretu’s work in the medium of printmaking. Best known for her large-scale paintings and drawings, Mehretu layers maps, urban planning grids and architectural renderings with whorls of abstract markings and bright, colorful shapes. In her catalog essay, Siri Engberg traces this visual vocabulary back to Mehretu’s graduate studies at Rhode Island School of Design, where she first worked with intaglio printmaking and was inspired by the necessity of breaking imagery down into its component layers. Since that time, the artist has experimented with many processes including chine collé, screenprinting and lithography. Mehretu has completed collaborative projects at professional printmaking studios across the country, among them Highpoint Editions, where she produced Entropia (review) and Entropia: Construction.
OPENING RECEPTION: Friday, September 7, 6:00 - 9:00 PM
Etherpaint features figurative paintings that explore the solarization and inversion effect of Liquid Crystal Display (LCD) monitor technology that occurs with a malfunctioning or tilted screen. This image distortion that is furthered in the painting process becomes a metaphor for the overexposure and colonization of black female bodies that persists in popular culture, music, and pornography.
OPENING RECEPTION: Thursday, September 6, 6:00 - 8:00 PM
ARTIST TALK: Saturday, October 6, 11:00 AM
1708 Gallery opens its 40th Anniversary season with Yo Bruce: Gerald Donato and Bruce Wilhelm. Curated by Bruce Wilhelm, Yo Bruce features drawings, sketches, and works on paper by Gerald Donato, one of 1708’s founding artists. This exhibition glimpses the irreverence, humor and pathos, as well as the iconography, for which Donato was known. The roguish characteristics present in these works are reminiscent of the defiant spirit that inspired these artists to form 1708 Gallery.
Also featuring works by Wilhelm, one of Donato’s cherished students, Yo Bruce also celebrates the relationships between teacher and student and highlights the significant role that arts educators and mentors have played across 1708’s history.
New York City-based artist Elissa Levy showcases her experimentation with a variety of materials and techniques that blur mediums and genres. Levy presents prints, collages and sculpture using materials ranging from fabric and leather to aluminum.
This solo exhibition, guest curated by Lauren Ross, marks the culmination of a Quirk+VisArts Artist-In-Residence Program undertaken over the course of spring and summer 2018. New work is being made by the artist in collaboration with Richmond teaching artists and fabricators, including local laser engraving studio, BIG SECRET.
OPENING RECEPTION AND ARTIST TALKS: Thursday, September 6, 7-9pm
Candela Gallery presents CHANNELS, featuring photographs and mixed media works by Courtney Johnson, Lisa Kokin, and Willie Anne Wright. The exhibition features three artists whose work evokes a transformative experience; each imbued with elements of salt, filament, or flora to create new forms.
OPENING RECEPTION: Friday, September 7, 6 - 9 PM
ARTIST TALK: Saturday, September 8, 2 PM
Ian C. Hess’s first solo exhibition invites you to reinterpret faces of ages past by expressing the philosophies of Wabi Sabi and Kintsugi in portraiture referenced from Grecko – Roman busts adorned in modern day textures and idioms.
OPENING RECEPTION: Friday, September 7th, 7-9pm
Developed through archival research by Sarah Kleinman, Art History PhD candidate at VCU, The Wonder of Life provides an unprecedented look at Pollak’s career, highlighting the artist’s groundbreaking efforts to establish a world-class art school and to transcend barriers in the art world. The timeline exhibition traces the evolution of Pollak’s art alongside the growth of Richmond’s art scene, using archival materials and ephemera to contextualize her innumerable contributions to the fine arts, academia, and Richmond’s cultural life.
As the founding faculty member of the Art Department at VCU, Pollak served as its first faculty chairperson from 1942 to 1950. After teaching for forty-one years, she retired from VCU and in 1968 and in 1971, the VCU School of the Arts building was named the Theresa Pollak Building in her honor. She exhibited in major venues across the nation, including the Corcoran Gallery of Art in Washington, D.C.; the Whitney Museum of American Art and Rockefeller Center in New York; and the Museum of Fine Arts in Boston. She received fellowships for her work from the Tiffany Foundation in Oyster Bay, Long Island; the Carnegie Fellowship for study at the Fogg Museum, Harvard University; and the Hans Hofmann School of Fine Arts in Provincetown, Massachusetts.
OPENING RECEPTION: Friday, September 7th, 7-9pm
In Distorted Horizons, Johnson presents a new series of plexiglass paintings which he covers with layers of pigmented polyurethane to create boldly colored and loosely geometric compositions. His intuitive paint application transforms the thick sheets of Plexiglas, implicating colors as light and shapes as landscapes.
Johnson was born in Columbus, Ohio where he later received his BFA from Ohio State University. He now lives in Richmond and works as an Associate Professor of Painting and Printmaking at VCUarts, where he received his MFA in Painting and Printmaking (2003). He is the recipient of the Pollock-Krasner Award, the Ucross Foundation Residency, Clearmont, Wyoming, and the Cite International des Arts Paris, France residency.
OPENING RECEPTION: Friday, September 7th, 7-9pm
Esther Ruiz presents mixed media and neon sculptures and objects in Unearthed, her first solo exhibition at Reynolds Gallery. The Brooklyn-based sculptor reimagines futuristic landscapes through reflective, pulsating works which create a unique connection between neon tubing, cement, Plexiglas, and paint. These materials engage minimalist elements and transform their surroundings; her sci-fi-like set engages the viewer, challenging our imagination as to what could be.
Ruiz received her BFA in Studio Art from Rhodes College in Memphis, TN (2011). She is the recipient of the 2016 Artist Grant and Williamsburg Studio Lottery from SpaceWorks, and the 2014 ArtBridge Urban Modulations Public Art Installation and Award. Her work has been reviewed in publications including The Washington Post, Art News, VICE, The Wall Street Journal, The American Ceramic Society, Hyperallergic, The New York Times, and on National Public Radio (NPR).
A major highlight of the 56th Venice Biennale, Sean Scully’s acclaimed Landline series makes its U.S. debut at the Hirshhorn Museum and Sculpture Garden. Featuring never-before-seen artworks from the renowned series, Sean Scully: Landline presents a dramatic shift in the work of one of today’s most influential artists. With thick, gestural brushstrokes and loose bands of color, the Landline paintings show Scully’s transition away from his earlier hard-edged minimalism to his current, more expressive style, a style that no doubt elicits the beauty and brilliance of the natural world.
Isabel Bishop (American, 1902-1988) arrived in New York in 1918 hoping to become an illustrator, but the energy and spirit of the city inspired her to create art based on her experience there. As part of the Fourteenth Street School, she continued the earlier Ashcan School tradition of realistically portraying everyday life. Over the course of her career, Bishop’s interest shifted from workday social interactions to more abstracted scenes of New Yorkers moving about on the streets and in the subways. The prints and drawings in this exhibition, selected from the permanent collection of the Harnett Print Study Center, represent different stages of the artist’s creative career.
As the first comprehensive survey of the work of British sculptor Rachel Whiteread (b. 1963), this exhibition brings together some 100 objects from the course of the artist’s 30 year career, including drawings, photographs, architecture-scaled sculptures, archival materials, documentary materials on public projects, and several new works on view for the first time. The exhibition also features the wide range of materials utilized by the artist from plaster to rubber, concrete, resin, and paper. Ranging in scale and effect from the monumental to the modest, Whiteread’s sculptures memorialize everyday objects, domestic interiors, and public spaces. Throughout her celebrated career, Whiteread has effectively recast the memories of these locations and objects to chart the seismic changes in how we live, from the late 20th century and into the 21st. Co-organized with Tate Britain, the exhibition is accompanied by a catalog with contributions by the exhibition’s curators, an interview with the artist, and additional scholarly essays.
For more than 25,000 years, humans have shaped, decorated, and fired clay, and vessels are a universal theme in ceramic traditions. Looking across time, global locations, and cultures, the exhibition features a selection of more than forty objects from the collection of the museum to highlight the remarkable universality of ceramic vessels, ranging from an ancient Greek vase made circa 550 B.C.E. to sculptural vases made by a contemporary Japanese artist, from Native American and pre-Columbian bowls to nineteenth-century British and American pitchers and vases, from Oceanic vessels to late Qing Dynasty Chinese porcelains.
Adams’ stunning black and white photographs of the Yosemite Valley and other dramatic Western sites are renowned for their unprecedented luminosity and tonal range, refinements Adams perfected through cutting edge photographic techniques and materials.The landscapes that commanded Adams’ interest have also inspired a new generation of artists, and the show will explore Adams’ legacy by including works by contemporary photographers who investigate his photographic ideals, including Abelardo Morell, Matthew Brandt, and David Benjamin Sherry.
Julie Heffernan’s recent paintings create alternative habitats in response to environmental disaster and planetary excess. With rising waters, she imagines worlds in trees or on rafts in which undulating mattresses, tree boughs, and road signs guide the journey. Construction cones interrupt the landscape signaling places to stop, enter tiny interior worlds, and reflect on the human condition—its feckless activity, violence, failure, and redemption. Heffernan tends these alternative environments to safeguard bounties we cannot live without. In other moments, she names names and points fingers to those people and activities implicated in recent calamities of both the physical and socio-political environment. Intricately wrought, Heffernan’s paintings evoke the fantastical allegory of Hieronymus Bosch and the sublime of Thomas Cole and Albert Bierstadt.
Julie Heffernan received her MFA in Painting from Yale and a BFA from the University of California, Santa Cruz. Heffernan has received numerous grants including an NEA, NYFA, and Fullbright Fellowship and is in the collection of major museums including the Brooklyn Museum of Art and the Virginia Museum of Fine Arts. She is represented by P.P.O.W in New York and Catharine Clark in San Francisco. Heffernan is a Professor of Fine Arts at Montclair State University.
Between Worlds: The Art of Bill Traylorsituates Traylor as the only known artist enslaved at birth to make a significant body of drawn and painted work. His compelling imagery charts the crossroads of radically different worlds—rural and urban, black and white, old and new—and reveals how one man’s visual record of African American life gives larger meaning to the story of his nation.
Pet Friendly Opening Reception: Friday, September 28, 2018 - 6-9 pm
Pet Friendly Closing Reception: Saturday, October 20, 2018 - 6-9 pm
Elisabeth Flynn-Chapman is a long-time friend of the arts and the SPCA. Her framed photographs will be on display at Plant Zero Project Space Galleries and available for purchase through an online auction between September 28 and October 20, 2018 to benefit artspace and the Richmond SPCA.
OPENING RECEPTION: Friday, September 28th, 7-9pm
Impressions of the American Landscape by Jennifer Basile will include large-scale relief exclusive prints and ballpoint pen drawings, including new work created by the artist as a fellowship winner at the Kala Art Institute, California over the summer of 2018. Often driven by personal research throughout the United States National and State parks, Basile’s practice offers a reflective escape into the natural environment and inspires viewers to preserve their surrounding landscapes in the face of overdevelopment and climate change. Printed by hand, Basile’s immersive and detailed works envelop the viewer and often focus on a specific attribute of her chosen landscape. Blurring the line between representation and abstraction, her works can be characterized by loose, gestural, and emotive marks of astonishing depth and perspective.
Celebrating the Freer|Sackler’s recent acquisition of a major Japanese photography collection, this exhibition features a selection of works by groundbreaking twentieth-century photographers. Whether capturing evocative landscapes or the gritty realities of postwar Japan, this presentation focuses on Japanese artists’ search for a sense of place in a rapidly changing country. The images highlight destinations both rural and urban, in styles ranging from powerful social documentary to intensely personal. A selection of photobooks and experimental films adds to this multifaceted exploration.
Brittany Nelson’s work appropriates and distorts processes from nineteenth-century photography to question representation as photographic ideal. In chemically manipulating traditional mordançage and tintype techniques, she causes unprecedented reactions in the materials which result in abstract imagery. In her most recent practice, Nelson (American, born 1984) borrows from found material such as NASA photographs of the surface of Mars. By applying techniques such as the pictorial bromoil method to these images, she translates between analog and digital media, resulting in prints that warp not only the surface and constitutive photographic features but also question the content on view. In this exhibition, she collaborates with the musician, sound artist, and vocalist Danishta Rivero (American, born 1978) on a live performance calling to mind messages sent back to Earth from outer space, resonating with the works on view.
OPENING RECEPTION: Friday, October 5 from 6 to 8PM
Page Bond Gallery presents Fields and Folds: new paintings by Dragana Crnjak. Crnjak approaches the painting process as diagramming, indexing the operations between memory and anticipation. “The painting is always a map of its own place and time,” she says, “and has to operate by itself.”
Dragana Crnjak received her BFA in Painting from Myers School of Art at the University of Akron, Ohio in 2002 and her MFA in Painting and Printmaking from Virginia Commonwealth University in Richmond, Virginia in 2004. She is recipient of Virginia Museum of Fine Art Professional Fellowship in drawing and Individual Excellence Awards from Ohio Arts Council. Crnjak is Associate Professor of painting and drawing at Youngstown State University in Youngstown, Ohio.
OPENING RECEPTION: Friday, October 5 from 6 to 8PM
Page Bond Gallery presents Text Me, a group exhibition featuring work by Mel Bochner, Richard Carlyon, Mark Fox, Mat Gasparek, John Giorno, Harris Johnson, Todd McKie, Holly Morrison, Adam Pendleton, Ed Ruscha, Cy Twombly and Fiona Watson. The exhibitions is on view through October 27, 2018.
OPENING RECEPTION: Friday, October 5th, 6-8pm
The studio is the place where artists manipulate materials and boil down ideas. Richmond artist Matt Lively uses tar to depict these settings. The tar used on roads and rooftops is made through a process called Destructive Distillation. When coal, wood, petroleum or peat is heated in the presence of little to no oxygen, tar is the sludgy substance that remains after all of the molecular bonds have been broken down. Its molecular structure is different from the material it once was, yet it came from that very material.
For his solo show, Unspoken, Sean Donlon continues his manipulation of a familiar object. "What started as an obsession...turned into an opportunity to make sense of the world," Donlon explains. "The teapot became a symbol in my eyes; one that could be recognized by all people. [It's] a powerful symbol...[it] can connect everyone by providing a moment to wind down, interact, tell stories, or internally reflect."
After graduating from VCU's Craft and Material Studies program, Donlon traveled to Italy and Germany to study lost techniques (crafting glass eyes and other prosthetics) from international glass artists. He has since settled in Richmond and is one of the co-founders of Mule Barn Craft Studio, a collective of young artists working in multiple disciplines. Donlon has served as a fellow of the Virginia Museum of Fine Arts and he was awarded Best in Show at Craft + Design as a first-year exhibitor. He has previously shown work at Virginia Museum of Contemporary Art, Houston Center for Contemporary Craft, and the Chrysler Museum. Earlier this year, Donlon was featured in American Craft Magazine.
Exhibition of new paintings by John Borden Evans.
“These paintings grow out of the painting process. When I begin, I have no idea what the finished painting will look like. Lately my paintings have transformed themselves into imaginary views of the world around our house in North Garden, Virginia. These paintings are like memories that I have uncovered hidden in the many layers of acrylic paint.”
Nordic Impressions: Art from Åland, Denmark, the Faroe Islands, Finland, Greenland, Iceland, Norway, and Sweden, 1821–2018
Nordic Impressions is a major survey of Nordic art spanning nearly 200 years and presenting 53 artists from Denmark, Iceland, Finland, Norway, and Sweden, as well as the self-governing islands of Åland, Faroe, and Greenland. The exhibition celebrates the incredible artistic diversity of Nordic art, from idealized paintings of the distinctive Nordic light and untouched landscape to melancholic portraits in quiet interiors and mesmerizing video works that explore the human condition. While the question of what constitutes a distinctively Nordic art has been a constant debate, the art in the exhibition retains a certain mystique and focus on themes that have held a special place in Nordic culture for centuries: light and darkness, inner life and exterior space, the coalescence of nature and folklore, and women’s rights and social liberalism.
OPENING RECEPTION: Friday, October 19, 7 to 9pm
With his newest group of paintings, Harriss takes machine-aided abstraction to an extreme level. His interest in the Hockney-Falco thesis regarding the use of lenses to create optical distortion has long been at the root of a desire to create contemporary paintings. He references the history of painting, changing known works into something new using current technology. His intent is to celebrate the painterly traditions, rich colors and textures of the past, while unabashedly warping the imagery to the point of abstraction.
Hedges, Edges, Dirt presents new and recent work by Abbas Akhavan, Jonathas de Andrade, David Hartt, Julianne Swartz, and Pascale Marthine Tayou. Each artist will show a single project or body of work that explores how we relate to our surroundings and to each other, when rooted in place or in transition. Through a range of aesthetic approaches and global perspectives, these artists pose pointed questions, including: What does it mean to perceive ourselves and others as native or non-native, as welcome guests or invasive species? How do we navigate tangible and intangible boundaries? How do expressions of power, dominance, and vulnerability permeate our experience of place, self, and others? This international group of artists deploy play, beauty, and poetry to complicate and reimagine relationships among nature and culture, bodies and spaces.
To launch the ICA’s annual commission series, Provocations, artist Rashid Johnson (b. 1977) will create a new, large-scale work that responds to the soaring, light-filled expanse of the ICA’s top-floor exhibition space, the True Farr Luck Gallery.
Known for conceptual multimedia work that re-envisions African American intellectual and cultural history, Johnson’s site-specific installation for the ICA will center on a pyramid-like tower. Continuing motifs from recent projects, Johnson will fill a custom-built steel structure with a selection of plants, artifacts, shea-butter sculptures, books, textiles, and video. The work will encourage both exploration and contemplation—visitors will be able to walk through the piece, immersing themselves in details or lingering within seating areas designed as part of the work. Zones within the sculpture will be activated by the ICA through a regular series of intimate, live performances in which musicians, poets, and others will respond to Johnson’s work.
Ubuhle Women: Beadwork and the Art of Independence features the ndwango (“cloth”), a new form of bead art that has been developed by a community of women living and working together in rural KwaZulu-Natal, South Africa. The artists use colored Czech glass beads to transform the flat black cloth into a contemporary art form of remarkable visual depth. Using skills handed down through generations and working in their own unique style “directly from the soul,” the Ubuhle Women create abstract as well as figurative subjects for their ndwangos. Twenty individual ndwangos and one monumental artwork will be on view, as well as photographs of the Ubuhle artists taken by renowned South African photographer Zanele Muholi.
OPENING RECEPTION: Thursday, October 15th, 5-7pm
Join Quirk Gallery for its exhibition in The Pink Gallery featuring the newest work from Richmond artist, Diego Sanchez. In this body of work, Sanchez plays with the idea of how a viewer is 'reading' or deciphering the visual information presented in his panels, how colors and patterns manipulate his / her perception. While working on this group of paintings he hope that his whimsical desire to play with the materials or to develop new surfaces comes through in the work. Sanchez is inspired by Picasso's statement about painting, 'Painting is a blind man's profession. He paints not what he sees, but what he feels, what he tells himself about what he has seen' and, at this point in his life, continues to approach painting as an act of faith that brings him joy.
This exhibitions features works from the collection of Heywood and Cynthia Fralin, major collectors of 19th- and early 20th-century American art, donated to the University of Virginia is 2012. The collection includes works by John Singer Sargent, Mary Cassatt, Robert Henri, Reginald Marsh and many other notable artists of the period. The couple initially responded to the work by the artists of the Ashcan School, who sought to capture gritty urban scenes to document modern times, but their collection expanded to incorporate a range of artists with diverse stories to tell about the American experience. This installation of highlights from The Fralin family’s collection will round out an exhibition season celebrating American art, a particular strength of the Museum.
This rare exhibition explores Georgia O’Keeffe’s watercolor studies produced during her time at the University of Virginia (UVA) in the summers from 1912 to 1916, and will include several key sketches and paintings as well as other works demonstrating her developing style. This is the first time the watercolors have been on view outside the Georgia O’Keeffe Museum in Santa Fe, New Mexico.
Lauren Woods is a conceptual artist whose hybrid media projects engage history as a lens by which to view the socio-politics of the present. Challenging the tradition of documentary/ethnography as objective, she creates ethno-fictive documents that investigate invisible dynamics in society, remixing memory and imagining other possibilities. She also explores how traditional monument-making can be translated into new contemporary models of commemoration, substituting the traditional marble and granite for new media.
The Virginia Museum of History & Culture has commissioned Virginia artists to paint murals inspired by the museum’s nine-million-item collection. The walls inside the Virginia Sargeant Reynolds Gallery will be transformed with fresh paint and expressive reflections on Virginia’s past. Artists Mickael Broth, Nico Cathcart, Christina Wing Chow, Hamilton Glass, Chris Milk Hulburt, Amelia Langford, Austin Miles, Toobz Muir, Noah Scalin, and Ed Trask have chosen artifacts for inspiration that include a painting of Natural Bridge, a WWI uniform, a hat worn at the 2017 Women’s March, a 1921 photograph of social reformer Janie Porter Barrett, James J. Audubon’s “The Viviparous Quadrupeds of North America,” a rare early automobile made in Virginia, and a sword recovered from a Civil War battlefield near Petersburg.
With over 100 murals, Richmond’s vibrant street art scene is a visual reminder of the city’s history, modernity, and diversity of cultures. This unprecedented exhibition explores the power of murals to encourage reflection on Virginia’s past by inviting artists to produce works inspired by one or more historical items from the museum’s collection, and in so doing examine our present and inspire us to think about ways we can shape the future.
The ICA’s largest fundraiser of the year, UNTAMED will attract prominent community members, supporters, and art lovers from around the region and is timed to coincide with the opening of two new exhibitions, Hedges, Edges, Dirt, and Provocations: Rashid Johnson. The wild and organic nature of these two exhibitions will inspire a magical evening filled with enchanting cuisine, décor, and entertainment.
Proceeds support the ICA’s mission to present the art of our time, offer free admission and programming, and provide an open forum for dialogue and collaboration across the region and throughout the world.
Sedrick Chisom (b. 1989, Philadelphia, PA) is a painter and writer who lives and works in New York. His paintings reference the racialized idioms of Victorian Fantasy illustration, and use the romantic landscape as a site where the apocalyptic narratives of white supremacy, Christianity, and climate change intersect — a scenario in which most of the built environment has been obliterated and transformed into a toxic, hallucinatory wasteland.
In the Hirshhorn’s largest interactive technology exhibition to date, three major installations from Rafael Lozano-Hemmer’s Pulse series will come together for the artist’s DC debut. A Mexican Canadian artist known for straddling the line between art, technology, and design, Lozano-Hemmer will fill the Museum’s entire Second Level with immersive environments that use heart-rate sensors to create kinetic and audiovisual experiences from visitors’ own biometric data. Over the course of six months, Pulse will animate the vital signs of hundreds of thousands of participants.
During the 1940s American photographer Gordon Parks (1912–2006) grew from a self-taught photographer making portraits and documenting everyday life in Saint Paul and Chicago to a visionary professional shooting for Ebony, Vogue, Fortune, and Life. For the first time, the formative decade of Parks’s 60-year career is the focus of an exhibition, which brings together 150 photographs and ephemera—including magazines, books, letters, and family pictures. The exhibition will illustrate how Parks’s early experiences at the Farm Security Administration, Office of War Information, and Standard Oil (New Jersey) as well as his close relationships with Roy Stryker, Langston Hughes, Richard Wright, and Ralph Ellison, helped shape his groundbreaking style.
Drawing primarily from the National Portrait Gallery’s vast collection of self-portraits, this exhibition will explore how American artists have chosen to portray themselves since the beginning of the last century. As people are confronted each day with “selfies” via social media and as they continue to examine the fluidity of contemporary identity, this is an opportune time to reassess the significance of self-portraiture in relation to the country’s history and culture. The exhibition will feature more than 75 works by artists such as Josef Albers, Patricia Cronin, Imogen Cunningham, Elaine de Kooning, Edward Hopper, Joan Jonas, Jacob Lawrence, Alice Neel, Louise Nevelson, Diego Rivera, Lucas Samaras, Fritz Scholder, Roger Shimomura, Shahzia Sikander and Martin Wong. “Eye to I: Self-Portraits from 1900 to Today” is curated by Brandon Brame Fortune, chief curator, National Portrait Gallery.
Join Dr. David Binkley, art historian, for a talk that explores the importance of initiation rites and masks for the Southern Kuba from three perspectives: the significance of the forest as the place where male initiation rites take place; the importance of male authority; and the acquisition of secret knowledge, including mask making.
This innovative and visually compelling exhibition presents nearly 140 masks from the vast Congo region of Africa (known today as the Democratic Republic of the Congo). Drawn from the finest and most comprehensive private collection, these masks from the 18th, 19th and 20th centuries are combined with film footage, field photographs, maps and musical instruments to highlight the performative aspect of these extraordinary works of art.
Organized by 1708 Gallery, InLight Richmond is a FREE, public exhibition of light-based art and performances. Each year, InLight Richmond features performances, sculpture, video, and interactive projects that illuminate pathways, walls, sidewalks, green spaces, and kicks off with the Community Lantern Parade.
InLight 2018 will take place on Friday, November 16, 2018 from 7PM to Midnight AND on Saturday, November 17, 2018, from 7pm to 10PM, at the Virginia Museum of Fine Arts. And in recognition of 1708 Gallery's 40th Anniversary, InLight 2018 will focus on ideas of Community.
The film Double Take: The Art of Elizabeth King illuminates the aesthetic and engineering questions sculptor Elizabeth King grapples with maintaining an acute sensitivity to both life and the life-like. King is a quiet iconoclast in the art world who has created her own genre. King particularly inspired a generation of younger women artists during her nearly 40 passionate years teaching and nurturing her students in Virginia Commonwealth University’s renowned Sculpture Department.
Elizabeth King will be at the screening in conversation with VMFA Associate Curator of Modern and Contemporary Art Sarah Eckhardt, and the film’s maker Olympia Stone.
Join Valerie Cassel Oliver and Chioke I’Anson for a discussion on the groundbreaking, multidisciplinary artist Howardena Pindell. The conversation will explore how Pindell has moved between figurative and abstract painting in an effort to assert her place as an African American woman in the field of contemporary art. The conversation will also explore Pindell's work as a curator, educator, and activist, who has sought to challenge traditions of the art world and its barriers to artists of color.
Join 1708 Gallery for a talk with artist and exhibition curator, Bruce Wilhelm. Yo Bruce features drawings, sketches, and works on paper by Gerald Donato, one of 1708’s founding artists. This exhibition glimpses the irreverence, humor and pathos, as well as the iconography, for which Donato was known. The roguish characteristics present in these works are reminiscent of the defiant spirit that inspired these artists to form 1708 Gallery. Also featuring works by Wilhelm, one of Donato’s cherished students, Yo Bruce also celebrates the relationships between teacher and student and highlights the significant role that arts educators and mentors have played across 1708’s history.
VisArts welcomes all to it's 4th annual Art Junction Chili Throwdown on Friday, October 5 from 6 to 9 p.m. Participating restaurants contribute their best chili, which is taste-tested by both a blind jury and the event’s attendees. After guests have voted, they’re welcome to go back for a full bowl of their favorite chili. At the end of the evening, VisArts presents two restaurants with awards—an overall award, selected by the judges, and a people’s choice award. Tickets are $20 for VisArts members and $25 for the general public. Kids under age 12 eat for $5 and kids under age 3 eat free. Adult admission includes a handmade ceramic bowl—made by a VisArts clay artist—and a drink ticket. Additional ceramic bowls are available for purchase.
Stanya Kahn is an interdisciplinary artist working primarily in video with a practice that includes drawing, sound, writing, performance and sculpture/installation. Humor, pathos and the uncanny emerge as central modes in a hybrid media practice that seeks to re-work relationships between fiction and document, the real and the hyper-real, narrative time and the synchronic time of impulse. In a long-term investigation of how rhetoric gains and loses power, Kahn’s projects often situate language in the foreground of works that are dialectically driven by the demands and of the body.
ARTIST TALK: Thursday, September 27, 12:00-1:30 PM
Caitlin Cherry was born in Chicago in 1987; she now lives and works in Brooklyn. In a practice that combines painting, sculpture, and installation with reference to history and present-day politics, she connects diverse categories and methods. Caitlin will serve as a Visiting Faculty member in the VCUarts Painting + Printmaking Department for the Fall 2018 semester. Her exhibition, Etherpaint, features figurative paintings that explore the solarization and inversion effect of Liquid Crystal Display (LCD) monitor technology that occurs with a malfunctioning or tilted screen. This image distortion that is furthered in the painting process becomes a metaphor for the overexposure and colonization of black female bodies that persists in popular culture, music, and pornography.
Join artists, Lisa Miller and Emily Wicks for a special trunk show event featuring handcrafted jewelry and locally made ceramic pieces. This one-day event will take place at Quirk Gallery on Saturday, September 22 from 10:00 am to 5:00 pm.
Join Studio Two Three's annual auction (and party of the year) on September 21, 2018! Warhol's got nothing' on Studio Two Three! Awesome party, amazing art made by local rockstars, local drinks and eats!
Your presence, purchases and support help give Richmonders the tools, space and classes to find that thing they love and make it! See you at The Factory!
OPEN HOUSE & ARTIST RECEPTION: Friday, September 21, 6:00 - 9:00 PM
Join Crossroads Art Center for their September Artist Reception + Open House on September 21. In addition to great art, there will be food trucks, music, and magic! Free and open to the public.
Nonprofit Sponsor: Henrico Casa
OPENING RECEPTION: Friday, September 21st, 6-9pm
ARTIST TALK: Sunday, September 30th, 4pm
House Hold, the culmination and book release celebration of a six year conversation and collaboration between Richmond artists Joan Gaustad and Michael Lease. The show includes a varied selection of Gastaud's paintings, Lease's photographs from the book, as well as objects from both of artist's homes (Jung's Red Book, birth announcements, death masks, etc).
VCU Photo Film Professor and Declaration Artist Jon-Phillip Sheridan presents Art + Science, a conversation about adapting to climate change on a local level. How can we make our community healthier? How can we rectify social environmental injustice? What changes can be made to zoning to prevent food deserts, hotter areas, and air pollution concentration? Urban farm activist Duron Chavis, bioengineer Stephen Fong, forest ecologist Chris Gough, and sustainability manager Alicia Zatcoff join Jon to explore green urbanism and grassroots strategies. Audience members will receive native plant seed packets courtesy of Enrichmond Foundation. Free snacks and cash bar at Ellwood Thompson's Cafe at the ICA!
Lecture by Kamrooz Aram (b. 1978, Shiraz, Iran), an artist living and working in Brooklyn, NY. Aram received a BFA from Maryland Institute, College of Art, Baltimore, MD, in 2001, and an MFA from Columbia University, New York, NY, in 2003. His work has been the subject of recent solo exhibitions including: FOCUS: Kamrooz Aram, Modern Art Museum of Fort Worth, TX (2018); Ancient Blue Ornament, The Atlanta Contemporary, Atlanta, GA (2018); Ornament for Indifferent Architecture, Museum Dhondt-Dhaenens, Deurle, Belgium (2017); Recollections for a Room, Green Art Gallery, Dubai, United Arab Emirates (2016).
Freshwater Saltwater Weave is a series of glass works by contemporary urban-based Arrernte artist Jenni Kemarre Martiniello. Her works in hot blown glass, coldworked glass and canes are inspired by the aesthetics of Aboriginal woven forms, such as dilly bags, eel traps, fish traps and fish scoops.
Coalesce began from a place of intense grief. Having suddenly lost his father, Carter-Fisher needed to find a way to continue to draw and paint. Not having the capacity to plan out more complex compositions, he decided to invite individuals--some models, some friends, some both--to come and pose with little direction from him. This became a liberating exercise in empathy, resulting in figures that still retain the qualities of portraiture.
Coalesce is a documentation of becoming. It is not the result of conclusions drawn, but an intimate act of creation. It is not a static conceptual framework, but an exploration at the borders of self knowledge. Think of this exhibition not as a noun, but as a verb.
A lecture by Raque Ford (b. 1986, Columbia, Maryland). She lives and works in New York. She received her BFA from Pratt Institute (2010) and her MFA from Mason Gross School of Arts at Rutgers University (2013) . Recently awarded the 2017 The Louis Comfort Tiffany Foundation Biennial Award. Recent solo exhibition include Your Biggest Fan at CAPITAL in San Francisco. Con•fi•dence at Williamson and Knight in Portland Oregon, Carolyn at Shoot the Lobster in New York and It's All About Me, Forget About You at Species in Atlanta, Georgia. Her work has been included in group shows at Sculpture Center (NY) 321 Gallery (NY) Galerie Division (Montreal) AALA Gallery (LA) and the Mcdonalds in Chinatown (NY).
Garry Winogrand: All Things are Photographable is the first documentary film on the life and work of photographer Garry Winogrand – the epic storyteller in pictures of America across three turbulent decades of the 20th century. Celebrated in his lifetime and quickly forgotten after his death, Garry Winogrand is nonetheless your visionary ancestor – even if you have never published an image in a magazine or hung a print on the wall of a museum. His “snapshot aesthetic,” once derided by the critics, is the universal language of contemporary image making.
The film’s maker, Sasha Waters Freyer, Chair, VCU Department of Photography + Film, will speak.
OPENING RECEPTION: Friday, September 7, 6:00 - 8:00PM
1708 Gallery is pleased to present Heads or Tails: Portraits of American Presidents, inspired by the Barack and Michelle Obama portraits, by Kehinde Wiley and Amy Sherald respectively.
Since the debut of the Obama portraits, they have faced the scrutiny of art critics, political pundits, pop culture aficionados and the social media masses. The surrounding dialog from people of all walks of life was unexpected and compelling; bringing a renewed interest to the subject of portraiture, its meaning, purpose, and outcome.
The artists in Heads or Tails: Portraits of American Presidents were invited to create a portrait inspired by any American president. Portraiture often captures more than the subject of the portrait alone. It can encompass the hopes, dreams and folly of the era. The rhetoric of portraiture becomes a secondary theme when our constitutional rights are thwarted by fake news and current events influence the studio practice of every artist and citizen today. Perhaps this exhibition can be considered a portrait of America.
David Douglas creates large-scale landscapes using a combination of photography, drawing, and painting. Pieces read as unified photographic images, but upon closer inspection, it becomes clear in the details that there’s a lot more at play. Douglas often layers dozens of photographs in each piece, blending all the different elements together by working and re-working areas with paints, varnishes, and drawing tools to create dream-like landscapes. It’s possible to get lost in the details of each piece, but take a step back and the landscape itself will transport you.
A native of Northern Virginia, David Douglas has works in numerous public, private, and corporate collections, including the Virginia Museum of Fine Arts, the Chrysler Museum, Cedar Rapids Museum of Art, and the Academy Art Museum. His work has been shown in various solo and group exhibitions in Virginia and beyond.
Mary Page Evans paints her landscapes en plein air, observing and capturing not only the physical aspects of a place but the energy and atmosphere as well. She brings skies and fields alive with generous, painterly strokes of oil on canvas or gestural inks and pastels on paper. Inspired by Cezanne and Hans Hoffman, Evans “lets color determine the structure and create the space” in her works. The joy Evans experiences in the painting process and the natural world is evident in her expressionistic landscapes.
Since the early 1970s, Mary Page Evans’s work has been the focus of numerous solo and group exhibitions in galleries, art museums, and universities as well as in United States Embassies around the world. Her work is in the collections of several public and corporate collections such as the DuPont Company, MBNA, the National Museum of Women in the Arts, the State Museum of Pennsylvania, the Delaware Art Museum, and the Kennedy Center in Washington, DC.
A conversation with Cassils, a trans visual artist who has achieved international recognition for a rigorous engagement with the body as a form of social sculpture. Drawing on the histories of conceptualism, feminism, body art, and gay male aesthetics, Cassils undergoes strict physical training regimes to create a powerfully trained body for performative purposes. Cassils received their BFA from Nova Scotia College of Art and Design in Halifax, Canada and an MFA in Art and Integrated Media from California Institute of the Arts in Los Angeles.
Join Declaration artist Peter Burr as he charts a trajectory from the comix/zine culture of the late ’90s to his independent animation practices of that same era, connecting to a larger discussion about alternative methods of media presentation. Peter will be showing examples of his performance work, installation practice, and a computer virus.
Join artist Paul Rucker for a conversation about the long term impact of second wave of Ku Klux Klan, and the origin, organization, and ideology of this institution in the 1920s. Rucker looks at his work Storm in the Time of Shelter and others in Declaration.
ARTIST RECEPTION: Thursday, September 6, 5:00 - 8:00 PM
Richmond-based artist, Kendra Dawn Wadsworth will exhibit her newest work in an upcoming solo exhibition at Quirk Gallery opening August 30. Extension includes recent sculpture and raku ceramics as well as recent captivating paintings. The physicality of engagement with material stimulates her process. Throwing, pouring, scraping, slapping, deconstructing, and reconstructing excites and energizes me, and propels experimentation and the search for meaning in mark and form.
Throw on a leather jacket, rip holes in your denim and skip class with a cool crowd of young Richmond art lovers. The Visual Arts Creative Ambassadors (VACA) present Young + Artful 2018: Rock + Roll High School.
Inspired by punk rock from the 1970s and 80s, the event includes: a bar stocked with local drink selections, a silent art auction of pieces by emerging and established Virginia artists with competitive pricing for young collectors, live art demos, a spread of tasty food from Richmond restaurants (not your average cafeteria fare), tunes from Ramones tribute band Good Cretins, and vinyl spun by DJ Devolved (Vinyl Conflict Record Store)
Tickets are $60 and include food and beverages. Become a VisArts member and buy tickets for $50! This is the only version of summer school you’d invite your friends to, and it’s all for a good cause. Young + Artful proceeds support VisArts’ education programs.