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.
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 - 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.
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.
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.
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.
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.
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.
artspace is pleased to present the 2018 Members' Biennial celebrating artspace's 30th Anniversary. Current members will exhibit work in all media in the galleries at 0 East 4th Street. Past members will exhibit work in all media at the Hill Gallery, 708 North Robinson Street.