Following Monumental: Richmond’s Monuments (1607-2018), the Valentine hosts a follow-up exhibition entitled Monument Avenue: General Demotion/General Devotion. The Storefront for Community Design and the mObstudiO at Virginia Commonwealth University School of the Arts invited teams of planners, architects, designers, artists and individuals to participate in a national design competition to conceptually re-imagine Monument Avenue and contribute to this important dialogue about race, memory, the urban landscape and public art.
When Richmond Mayor Levar Stoney’s Monument Avenue Commission submitted its recommendations for the future of the city’s Confederate statues, it noted a program initiated by the VCUarts mObstudiO and Storefront for Community Design. The community partners received a grant from the National Endowment for the Arts to imagine possibilities for the 5.4-mile street, and are currently hosting an international competition, Monument Avenue: General Demotion/General Devotion, to generate ideas from architects, planners, designers, independent artists and individuals.
Visit the Virginia Museum of Fine Arts for an exhibition of works by photographer Carl Chiarenza, on view in the Photography Gallery May 17–Nov. 12, 2019. Born to Italian immigrant parents and raised in Rochester, New York, Chiarenza’s interest in photography developed early in his childhood. His black and white photographs, which often contain elements of collage, have continued to challenge notions of landscape, abstraction, visitor perspective, and the very medium of photography itself.
Guided by the personal vision of its founders, Glenstone assembles post-World War II artworks of the highest quality that trace the greatest historical shifts in the way people experience and understand art of the 20th and 21st centuries. These works are presented in a series of refined indoor and outdoor spaces designed to facilitate meaningful encounters for visitors.
As embodiments of the African American experience and cultural legacies, the works of art featured in Cosmologies from the Tree of Life: Art from the African American South are rooted in African aesthetic legacies, familial tradition, and communal ethos. Previously marginalized as “folk or self-taught” art, they now take their rightful place as significant contributors to the canon of American Modernism. As artists, they imbued their works with a sense of individualistic style, yet they often embraced shared narratives that spoke to cultural, familial, and communal preoccupations. Employing an impressive breadth of media, the works in Cosmologies from the Tree of Life celebrate their imprint in sculpture, quilting, painting, and works on paper. This exhibition’s works of art were acquired by VMFA from the Atlanta-based Souls Grown Deep Foundation an organization whose mission it is to showcase works by African American artists from the South. Artists featured in VMFA’s exhibition include Jessie Aaron, Louisiana Bendolph, Thornton Dial, Lonnie B. Holley, Ronald Lockett, Rita Mae Pettway, Jimmy Lee Sudduth, James “Son” Thomas, Mose Tolliver, Purvis Young, and others. An impressive selection of quilts display the unique artistry of the famed multigenerational group of quilt-making women in Gee’s Bend, Alabama.
The Warmth of Other Suns: Stories of Global Displacement presents 75 historical and contemporary artists—from the United States as well as Algeria, Bangladesh, Belgium, Brazil, Egypt, Ghana, Iraq, Lebanon, Mexico, Morocco, Syria, Turkey, UK, Vietnam, and more—whose work poses urgent questions around the experiences and perceptions of migration and the current global refugee crisis.
Through installations, videos, paintings, and documentary images, The Warmth of Other Suns explores both real and imaginary geographies, reconstructing personal and collective tales of migration. Overlaying historical experiences of migration to and within the United States with the current plight of refugees around the world, the exhibition brings together a multitude of voices and exposes the universality of migration as an experience shared by many. The exhibition also focuses on how artists bear witness to both historical events and more subtle shifts in cultural landscapes.
Borrowing a line from author Richard Wright (1908–1960), and sharing its title with Isabel Wilkerson’s award-winning book on the Great Migration, The Warmth of Other Suns is anchored by an important reference to the decades-long exodus of over six million African Americans from the brutality and discrimination that ruled the American South. Selections from Jacob Lawrence’s powerful Migration Series (1940-41), a cornerstone of The Phillips Collection, will be among the historical works featured in the show.
Donald Moffett’s sound installation, IMPEACH (2006), is a recording of Rep. John Lewis’s impassioned speech from the floor of the US House of Representatives during President William Clinton’s impeachment hearings in 1998. Speaking metaphorically, the legendary civil rights icon argued against the impeachment of President Clinton and issued a plea for the American family to “stay together” as “one house and as one family.” Rep. Lewis’s speech slowed the congressional proceedings for approximately one minute before the vote was called and the matter was lost. The installation consists of speakers and an audio player and required no physical alteration to the Confederate Memorial Chapel, which was built in the aftermath of the Civil War—with funding from the North and South—and served as a nondenominational place of worship for the R. E. Lee Camp Confederate Soldiers’ Home. In the context of this space, Moffett’s immersive sound work speaks to the long history of divisive politics in America and the power of reconciliation.
The period around 1960 was one of great artistic evolution in the United States. The long-standing influence exerted by Abstract Expressionism, a gestural type of painting and sculpture that emerged after World War II, was dwindling. Artists coming of age at this time perceived the style as mannered and academic and sought to distance themselves from its pervasive legacy. This resulted in a gradual shift in artistic approaches and philosophical attitudes. The works in this installation demonstrate both the lingering hallmarks of Abstract Expressionism and the precursors to these new artistic directions.
Everything Imagined is Real (After Dante) is a set of nine sculptures by American artist Robert Taplin inspired by the 14th-century classic, Dante’s Inferno. Taplin spent six months re-reading the Inferno, drawing, taking notes and planning. Taplin creates his own versions of the story by infusing contemporary nuances, situations, and personal references into his art works.
Visit artspace for five new gallery shows, featuring a mixed media installation by Beverly Ryan, original comic ink drawings by Bizhan Khodabandeh, mixed media on canvas by Cindy Mehr, encaustic paintings by Mitzi Humphrey, and a group show of various media by artspace Artist Members.
Join artspace for the opening reception of this exhibition on Friday, August 23, 2019 at 6:00pm. The closing reception will be held on Sunday, September 22nd, 2019 at 2:00pm.
Sanda Iliescu’s practice spans the media of painting, drawing, and collage. Outside the studio, she makes murals and installations, some with students at the University of Virginia, where she is Associate Professor of Art and Design.
Born in Romania, Iliescu received her BSE in Civil Engineering and M.Arch in Architecture, both from Princeton University. Her professional awards include The Rome Prize, a McDowell fellowship in painting and The Distinguished Artist Award of the New Jersey State Council of the Arts. Scholarly writing on Iliescu’s artwork include essays by Carmen Bambach, Curator of Drawings and Prints at the Metropolitan Museum of Art in New York, and Paul Barolsky, Commonwealth Professor of Art History at the University of Virginia.
Simulation proposes human experience in a fictitious future. Noon City is an installation comprised of sculpture, photographs and drawing as provisional space for post-Earth human existence. It is a place many of us have heard of and may hold nostalgia for, yet very few have ever been. This new body of work by Kelcy Chase Folsom poses questions regarding empathy, the inescapable past, and systems of belief.
Milk Relics is a narrative painting series by D.C. artist, Tom Kim.
The works in this solo exhibition reflect his experience both working professionally in illustration and animation, as well as exhibiting as a Korean American painter. The style and composition of the series are inspired by classical Western oil painting, traditional Eastern imagery, and contemporary illustration.
The overarching Milk Relics narrative tells the post-apocalyptic story of our society at the precipice of environmental collapse.
1708 Gallery announces Deepwater Horizon, an exhibition of sculpture, video, and appropriated objects by Belgian artist Xavier Mary. Deepwater Horizon borrows its name from an ultra-deepwater offshore oil rig that, while one of the deepest rigs ever drilled, culminated in the most catastrophic explosion and oil spill in U.S. history. Sculptures arduously drag from dilapidated industrial material–truck beds, insulation, soot, wheels– a retrospective capture of automotive dysfunction and material memory. These objects become small structures to consider the near future of the fossil fuel industry and societal upheaval underway. Deepwater Horizon is a suspended explosion and a quiet collision of geological time, anthropocentric ecological questioning, and quasi-transcendental images of the oil and gas industry. At its core, Deepwater Horizon reformats how we analyze specific aspects of current and future realities; the exhibition challenges the very activity of thinking about the Petrol Age in order to explicate multiple understandings and positions. Instead of prioritizing one extremism over another, the exhibition examines the system itself –the images, conditions, and materials in which extreme situations come to be. Deepwater Horizon proposes an auto(matic)-apocalypse already underway yet dumbed down by the platforms by which it is currently understood and registered.
ARTIST TALK AND RECEPTION: Friday, September 6, 5:30-8pm
“Color Cargo” examines the role of wood in historical and contemporary commercial transport—from the mid-Atlantic slave trade to e-commerce—and the subjective power of color as a tool for assigning value, in order to create a deceptively appealing space for confronting bias and dehumanization in contemporary society.
Damien Davis is a New York-based artist who explores historical representations of blackness by unpacking the visual language of various cultures and to question how these societies code and decode representations of race.
Frank Phillips work uses a flat plane to convey the visual ideas of construction, mass, and volume. The formally arranged imagery is all invented, but takes cues from architecture and engineering (materials and the structures themselves), as well as the erosion and the decay of perceived ruin. The display of process is an integral component to the work; it tracks the time, mistakes, revisions, and the experience used to arrive to a resolved composition. The end results are pieces that embrace surface and relate the ideas of: the used, the weathered, the discarded, and the beaten.
The fluid compositions in Alison Cooley’s new body of work, Your Nature Somewhere Else, explore the relationship between humans and the ever-changing, dissolving natural world. Cooley comments on the impermanence of places and scenes so familiar to us, as they are indubitably subjected to factors both organic and man-made change. In these works, phenomena such as the development, erosion and weathering of land over time are implicated through the juxtaposition of natural pigments and fluid inks over a synthetic surface. Her compositions exhibit a certain tension of harmonious dissonance through mark making, symbols and text-like passages that wash, bloom and reach in gestural abstraction.
This exhibition is on view at Page Bond Gallery from September 6th through September 28th, 2019.
An Inventory of Traces: Roberto Jamora is on view at Page Bond Gallery from September 6th, 2019 through September 30th, 2019.
Each work in exists as a vignette of a specific experience, place or person in his life. Striving to commit impactful instances to memory, Jamora uses cold wax and oil paint to simultaneously “conceal extraneous possibilities and limit sentimentality”. Through his choices of color, form and process, Jamora suggests how slivers or traces of memory are removed from experience and become recollections in our minds.
The opening reception is on Friday, September 6th from 6 to 8pm.
In her series, Parts and Labor, photographer Angela Franks Wells details the lives and work of blue collar American culture. The indexical weight of these wrought and industrial forms catalogues lifetimes of dedication to learning, developing skills and struggling to produce a service of labor through the love of craft. Daughter of a machinist and mechanic, Wells was raised in this atmosphere of steel-toed boots, singe marks and tired smiles. Thus, her ethnographic approach to this subject matter comes naturally, as she explains, “I engage the individuals, the space, the tools, and the objects looking for the quintessence of this way of life that lingers as activity continues.” The intensive copper plate photogravure process Wells uses to produce her images bolsters the values of patience, hard work and commitment so prized in this distinct subculture.
This exhibition is on view at Page Bond Gallery from September 6th through September 30th, 2019.
Born in 1935 in Ferrum, Virginia, Bernard Martin received his BFA from Richmond Professional Institute (now Virginia Commonwealth University) in 1959, and his MFA from Hunter College in New York City in 1962. He’s been a professor emeritus of art at VCU since 1992, where he was the first chair of the Department of Painting and Printmaking from 1966-1999. Martin has had numerous solo exhibitions throughout his decades long career, including three separate traveling exhibitions with the Virginia Museum of Fine Arts. Since 1965, Martin has exhibited in over 200 national and international group exhibitions. He has been the recipient of two Fellowships with the Virginia Museum of Fine Arts and a National Endowment for the Arts Visual Arts Fellowship, as well as the Pollak Lifetime Achievement Award. Martin’s work is part of several major public collections including – The Smithsonian American Art Museum in Washington, D.C., the Chrysler Museum, Norfolk, VA, and the Virginia Museum of Fine Arts, Richmond, VA. Martrin created two novel covers of esteemed writer, Tom Robbins and is part of many private collections.
Candela Gallery is excited to announce POWER, a solo exhibition by Arizona based photographer, David Emitt Adams. For the last ten years, Adams has been documenting the contemporary American landscape using the wet plate collodion process. By applying this early 19th century process onto discarded steel ephemera such as cans and scrap metals, Adams’ photographs are inherently transformed into one of a kind, three dimensional objects with a new gravitas and actualized tension between time and place.
In POWER, practicably realized on large scale 55-gallon steel drum lids, Adams’ conceptually orbits the moorings of the petroleum industry in the American Southwest. Fascinated by the multifaceted weight of power, Adams has spent the last three years traveling cross country, photographing oil refineries and the industrial landscape.
Candela Gallery is delighted to present HALLUCINATIONS, the first feature solo exhibition at Candela for Richmond, Virginia based artist, Justin James Reed. For the last three years, Reed has been forging a new body of photographic and video work on the environs of a potentially active volcano in northern California. Comprised of images that utilize a highly representational visual language, HALLUCINATIONS provides the viewer the possibility of seeing something other than what is being shown. Through a haze of lush landscapes and sounds, Reed highlights the potential of lens-based imagery to become more focused on sharing, rather than showing.
Joan Elliott’s fourth solo show with Reynolds Gallery presents a series of individual works as well as diptychs on panel. Within her diptychs, Elliott pairs lush scenes of nature alongside panels covered from edge-to-edge with geometric patterns, inspired by architectural details the artist observed during recent travels in Europe. These seemingly disparate styles of painting merge within the single-panel works, where landscape imagery serves as underdrawings for the multiple layers of intricate patterns Elliott paints overtop.
Alison Hall’s exhibition features new paintings of oil and graphite on panel, ranging in size from 13 x 11 to 40 x 32.5 inches, alongside several works on paper. Marking Hall’s second solo exhibition with Reynolds Gallery, the show will be anchored by a large floor- based installation of wood tiles painted white, designed to mimic the floor of the iconic Scrovegni Chapel in Padua, Italy.
In his first solo exhibition with Reynolds Gallery, Matt Kleberg presents a new series of monumental abstract paintings created with oil stick on canvas. The works display architecturally inspired forms alongside looser, more organic shapes. Rendered primarily in earth tones situated among pops of intensely saturated colors, this series of paintings ranges in size from 20 x 16 to 84 x 60 inches.
TIDEWATER includes a collection of fiber and mixed media pieces inspired by the effects of the Chesapeake Bay impact crater that shaped the landscape and history of Virginia. Arsenovic utilizes color palettes and textures inspired by childhood (Disney, The Muppets) to make some of these hidden histories more accessible. The radiating pattern of the meteor strike is superimposed onto contemporary road maps and atlas pages. Nautical knots are replicated from old textbooks or charts belonging to John Smith using brightly colored faux fur. Arsenovic's pieces offer something familiar, recognizable, maybe even comforting---but are they also masking a more complicated version of events?
Join VMFA for an evening of music, art and film with visual and musical artist Lonnie Holley. The program will open with a short film, also Holley’s directorial debut, titled I Snuck Off the Slave Ship (19 min.), which premiered at Sundance Film Festival in 2018. Afterwards, Holley will discuss his life, work and inspiration for the film through conversation and live performance with his band. This program is inspired by the special exhibition, Cosmologies from the Tree of Life: Art from the African American South, which features two of Holley’s sculptural works.
Alma's featured artist, Kiara Pelissier will be giving an artist talk on Thursday, September 26 from 6-8 pm. Please join this fun and casual evening! Snacks and drinks provided.
Kiara Pelissier is the youngest in a family of four consecutive generations of artists. She earned a Bachelors degree from the Cleveland Institute of Art and her Masters from VCUarts. She has taught glassblowing at VCU, Penland School of Crafts in North Carolina, and Haystack Mountain School of Crafts in Maine. In addition to numerous public and private collections, Kiara's work is in the collection of the Museum of American Glass, in New Jersey.