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.
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.
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.
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.
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.
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.
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.
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.
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.
1708 Gallery, in partnership with For Freedoms – 50 State Initiative, presents a billboard by Sable Elyse Smith. This multi-site project with Smith is part of an imperative that elaborates on Richmond’s relevance in discourses between art and politics. The billboard is located in the historic neighborhood of Jackson Ward, at the intersection of W. Jackson St. and Chamberlayne Avenue. This prominent location calls attention to the profound history of the resident community and neighborhood as well as the continued, catastrophic racial inequality, abuse, and erasure both locally and nationally. At the turn of the 20th century Jackson Ward was the most financially successful black neighborhood in the country. Smith’s work stands directly in front of the home of W. W. Browne, the founder of the first ever chartered black owned and operated bank in the United Sates. The Savings Bank of the True Reformers was also originally located in Browne’s home.
While these three artists live in different cities (Detroit, Kansas City and Richmond), they have remained in close dialogue since first meeting at a residency in 2009. Over the past few years, they forged a distinctive model of discourse to explore the overlaps and gaps between their artwork. Meeting regularly—in person and virtually—they talk, share work, discuss readings and assign one another prompts and exercises. Through this mode of working in tandem, they explore the similarities and differences between their practices, nudge each other out of established comfort zones, develop new ideas, combat isolationism and explore the possibilities that arise from working independently, yet within a trio. Each artist’s style is unique, and they differ in preferred media. However, they share concerns around emotions, relationships and the literal and metaphorical spaces in between beings and objects.
Guest curated by Lauren Ross
OPENING RECEPTION: Friday, December 7, 2018 6-9PM
ARTIST TALK: Saturday, December 8, 2018 2-3:30PM
Shockoe Artspace is excited to present SHAPE SHIFTING, the first major solo exhibition in Richmond from Virginia-based artist Nikki Painter. Through a depth and breadth of mixed media works spanning the last five years we are able to take in the total vision of a delightfully masterful maker. Painter is a kind of “Visual-Seismologist, deftly creating works that bring to bear unusually-scaled visually-dynamic works, imaging tectonic comings and goings at various rates of intensity. Moreover the vast array of works converge into intricate patterns splintering off and shifting in strange and vivid manners thereby creating visual states saturated in radiant color with forms that both come together in one sense while falling away in another. These states produce effects in and around the pressure points of the compositions thereby charging the space with a kind of electricity that supersedes the organic-structure, in-organic grounding and representational imagery
Candela Gallery is pleased to open 2019 with #InHonor, a solo exhibition by Ervin A. Johnson. Spurred by personal experiences as a queer black man and the killing of black people across America, #InHonor is a series of photographic mixed media portraits that stand as a visceral response to racism and police brutality done to the black body.
Created out of a need for social practice and in a way to honor Blackness, Johnson began #InHonor around the time of the Trayvon Martin and Eric Garner protests. Influenced by the abstract expressionist movement, Johnson forcibly and fervently removes pigment from the original photographs and meticulously reconstructs the canvas with various layers of skin-toned colorant. The resulting, distressed portraits are arresting, mirroring physical and symbolic gestures of trauma and renegotiation.
Ada presents “The Ghost of White Presidents Yet to Come,” a new exhibition of works by Sedrick Chisom, a New York-based painter and writer.
Sedrick Chisom was born in Philadelphia and received a full scholarship to study at Cooper Union. Fascinated with thermal imagery and preoccupied by Christian iconography, Chisom conjures images that are both warm and chilling, akin to a pietà surveilled by a U.S. Army drone. Much of his work examines the ways in which Whiteness and Christianity have colonized the lives and sublimated the suffering of People of Color.
As its title indicates, “The Ghost of White Presidents Yet to Come” continues these themes. In these paintings, Chisom composes a sci-fi epic in which PoC have abandoned a dying Earth to explore the universe. As some of the remaining “wypipo” begin to develop darker pigmentation, their governments declare a state of emergency and send an expedition to the polar ice caps and Monument Valley in search of “Aryanness in other places.” Chisom’s ghostly figures float through a world of melting ice and societal decay that viewers may find hauntingly familiar. If the spectral landscapes and desperate faces – or postures, where there are no faces – don’t make it clear enough, Chisom has noted that these scenes are from “the final year of the Christian era.” It’s the end of the world, or at least the end of the world as “yts” know it.
Anne Blackwell Thompson’s Main Gallery exhibit, "Bespoke Botanicals" will feature brand new pieces including rare plant specimens from Longwood Gardens. Lily pad, flower, seaweed, leaf – each specimen connects us to the bountiful and extraordinary world of botany. As a naturalist with a particular interest in horticulture, Thompson strives to embrace nature’s rich palette through harvesting plant material from country roads, private gardens and historical locations. Her mission is to connect the viewer with nature through pressing and preserving plants.
OPENING RECEPTION: Friday, January 11, 5:00 - 8:00 PM
Emily Herr is a Richmond native who creates custom hand-painted murals at home and on the road under the name HerrSuite. She specializes in careful context-based design with bright and playful imagery. Painting murals is an excuse to explore new settings for visual art, work closely with an ever-changing variety of people, and push her physical and creative limits.
"'Who Is She?' is a collection of the process work and finished pieces that make up the 'Girls! Girls! Girls!' Mural Series. This series is a celebration of strip club signage taken at face value. Designed to sell the idea of women as a product, the leering words become jubilant when reframed by the people they describe. These drawings became monuments to the everyday array of all female-identifying people.
OPENING RECEPTION: Friday, January 11, 7-9 PM
The internet opened a floodgate of data that illuminated the history of queer peoples more than ever before. The movement of this community from of the local gay bar into an online world, spawned deeper understandings around sexuality and gender. Recent legislation has created the beginnings of broad-based censorship across the web that threaten this evolutionary queer resource sharing. It is in this context that Avery Shaffer uses ancient glass traditions, digital photography, and his virtual avatar Abel Valerie to explore ever evolving perceptions of queer identity. Over the past five years Shaffer has created work searching for our mythic truths and working with the sacred traditions of glass to derive permanence. It is through our sempiternal memory that we see ourselves and understand lasting value.
Transparency and the male form through historical art, religious context and social media is the heart of his research. He creates virtual windows with vitreous enamels that allow alter ego online guises to peer out. In his studio practice, he employs ancient craft techniques of stained glass filtered through modern modes of communication to create a new iconography.
Avery Shaffer, an artist, designer, and instructor working in glass and social media, received his BFA from East Carolina University with a concentration in painting. His glass studio, Ellenburg and Shaffer creates nationally prominent commercial work. Shaffer is also an instructor at The Chrysler Museum Glass Studio in Norfolk, VA.
Sally Bowring's sixth solo show with the gallery, entitled "New Year - New Work" presents twelve acrylic paintings on panel which boast highly saturated colors and intersecting planes of natural and geometric shapes.
In her first solo exhibition with Reynolds Gallery, Corydon Cowansage combines graphic abstraction with trompe l’oeil figurative realism, creating paintings that play with our perceptions of perspective, scale, and space. The body of work in "Curvy" continues her exploration of the psychology of space and connections between architecture, nature, the body, art history, and abstraction.
Both exhibitions open Friday, January 11 and continue through February 15, 2019.
OPENING RECEPTION: Thursday, January 16th, 7-8pm
Growing Up in Civil Rights Richmond: A Community Remembers, a new exhibition organized by University of Richmond Museums, pairs oral histories with photographic portraits of 30 Richmond residents whose lives were altered by their experiences as children and youth during the civil rights movement.
In “Linking Park,” Amado presents a series of experimental, long-form URL “billboards.” In these large scale works, Amado–best known for his eye-catching poster designs–playfully subverts expectations of immediacy and legibility in public and commercial signage, disrupting the ease and speed of use associated with contemporary hypertext. The exhibition runs January 18–March 1 with an opening reception on January 18 from 6–9 pm.
About the Artist: Bráulio Amado is a Portuguese graphic designer, illustrator and visual artist, currently living in NY. He worked at Pentagram, Bloomberg Businessweek and Wieden+Kennedy, and is now running BAD Studio (Braulio Amado Design Studio). He has designed covers for Frank Ocean, Roisin Murphy, Beck and Washed Out. His illustrations have been published by The New York Times, Wired and The New Yorker. His work has been exhibited in Japan, Australia, US, Portugal, Germany and France.
OPENING RECEPTION: Friday, January 18, 6 to 8PM
In his new exhibition The Edge of Space, the artist William Wylie explores the embellishment of space through architecture across a tightly edited selection of photographs spanning the past ten years. Using light to illuminate volume, he transforms buildings from Germany, Italy, and the United States into highly evocative representations of what he calls “spatial practice,” meditations on how people organize and order the place within which they exist and move.
OPENING RECEPTION: Friday, January 18, 6 to 8PM
View Find 8 is Page Bond Gallery’s annual group photography exhibition featuring work by local, national, and international artists including Penny Ashford, Mary Ellen Bartley, David Douglas, Jeri Eisenberg, Pam Fox, Elijah Gowin, David Halliday, Cynthia Henebry, Robert Llewellyn, Amanda Means, Wael Sabour, Lee Saloutos, Ginevra Shay, and Jon-Phillip Sheridan.
There are many ways to convey the meaning of freedom. This exhibition explores freedom through the eyes of Virginia-born and Virginia-based artists. And as you will see, these works of art evoke sentiments of joy, sadness, hope, anticipation, and much more. “The Art of Freedom” offers original perspectives, intellectual stimulation, and personal enjoyment. The artists communicate their message of freedom through various mediums including sculpture, acrylics, pastels, photographs, fabrics, jewelry, and pottery.