Saif Azzuz: Keet Hegehlpa’ (the water is rising) solo exhibition at Blaffer Museum of Art at the University of Houston, Houston, TX.

All This Soft Wild Buzzing considers the relationship between artists and the natural landscape through a lens of collaboration, of listening, and of reciprocity. Nature is often viewed as a neutral space, but landscape—with its connotations of ownership and control—is fraught. The sweeping vistas of early American landscape painting and photography promoted and perpetuated Manifest Destiny, and artists replicated a prevailing desire to conquer the land. In direct contrast to this earlier narrative, the contemporary artists in this exhibition hone in on details, incorporate organic materials into their process, and allow nature to exist. Artists included: Saif Azzuz, Teresa Baker, Christopher Robin Duncan, Nicki Green, Bessma Khalaf, Dionne Lee, Young Suh, Stephanie Syjuco.

All eight of the artists in the exhibition live, or have lived, in northern California, and their work resonates with the specificity of the Bay Area terrain and the people who inhabit it. The title of the exhibition is drawn from the final line of a poem by Camille Dungy that draws parallels between the soft, protected soul of her partner and the untouched, pre-colonial coastline of California. The artists in the show engage with the effects of forest fires, the Land Back movement, the carceral system, belonging, climate change, and the resiliency of Indigenous life, among other topics. Landscape is exposed as a historical construct that is interrogated by a new generation of artists grappling with the relationship between humans and nature. In these works, the artists invite viewers to also consider site, place, and the land beneath and around them. All This Soft Wild Buzzing inaugurates the Wattis galleries on the newly expanded CCA campus.

All This Soft Wild Buzzing is curated by Jeanne Gerrity and organized by Diego Villalobos.

Makeshift Memorials, Small Revolutions is an exhibition in two parts with programming examining the shifts in dilated time, ritual, memory-keeping, and community-building in artistic practices in the years 2020-2024. Makeshift Memorials, Small Revolutions traces the cyclical nature of improvised, responsive yet sustained systems of mutual aid, information sharing, and embodied knowledge and their intersectional, intimate, and enduring effects, as magnified by the COVID-19 global pandemic. 

The exhibition considers artists as prognosticators and traces their evolving practices and approaches, informed by activism and the creation of mutual aid networks spurred from lived experiences such as the still ongoing HIV/AIDS epidemic and Black and Brown grief. The artists assume the role of narrators for memetic memory, muffled silences, and informal archiving against power structures sanctioning conditions of personal isolation, cultural amnesia, and planetary extinction. 

Amplifying the concurrent exhibitions presented in Houston and San Francisco, public programs are activations and timely engagements of the current moment, during the final months of the 2024 U.S. presidential election cycle. Makeshift Memorials, Small Revolutions is a diary of experiences, encompassing not only what happened but also the possibility of what never happened in the ongoing process of remembering and recollection, as a form of ‘protest against forgetting.’ 

The years 2020-2024 began with the onset of the COVID-19 global pandemic, which continues to expose systemic inequities disproportionately affecting historically marginalized communities. In the 2022 book What World Is This?: A Pandemic Phenomenology, Judith Butler advocates for intertwinement as a ‘“collective effort to find or forge the best form of ‘interdependency’ as one that most clearly embodies the ideals of radical equality.”’ The concurrent exhibitions in Houston and San Francisco and their related public programs are guided by entangled ethics in order to untangle forms of sustained solidarities inching toward liberation.

Landmarks and the Department of Art and Art History welcome artist Janine Antoni for a public lecture. Antoni’s visit coincides with the screening of her work Touch (2002), presented this October as part of Landmarks Video.

Known for her unusual artistic processes, Antoni uses her body as both a tool and a source of meaning within the framework of her practice. Her early methods involved transforming materials such as chocolate and soap through everyday processes like bathing, eating and sleeping to create sculptural works and installations.

The lecture will be held in the Art Building Atrium; Room 1.102 and is free and open to all. Visitors may park in the San Jacinto Garage or in paid spots on the streets nearby.

The exhibition, How to Carry Water, brings together contemporary visual artists and humanities scholars in shared observations and questions about watersheds. In this expanded conversation, the term “watershed” refers not only to ecological structures, but also to the spatial, temporal and cultural entities that catalyze collectivity and life alongside bodies of water. The exhibition considers how the lenses of history, philosophy and creative practice allow for alternative methods of witnessing the human relationship to water.

Curators: Ashley Stull Meyers, Mary Jones and Thomas Hart Horning Chief Curator of Art, Science, and Technology and Kelly Bosworth, Mary Jones and Thomas Hart Horning Assistant Professor of Public History and Ethnomusicology.

Artists: Indira Allegra, Saif Azuz, Michael Boonstra, Carolina Caycedo, Dan Coe, Rasheena Fountain, Sky Hopinka, Garrick Imatani, Colin Ives, Sean McFarland, Susan Murrell, Jefferson Pinder and Margo Woloweic.

Part of Getty’s region-wide initiative PST ART: Art and Science Collide, the Hammer presents Breath(e): Toward Climate and Social Justice, organized by guest co-curators Glenn Kaino and Mika Yoshitake. The exhibition considers environmental art practices that address the climate crisis and anthropogenic disasters and their inescapable intersection with issues of equity and social justice. Breath(e) features works by more than 20 artists, including works by Mel Chin, Ron Finley, Cannupa Hanska Luger, Garnett Puett, and Lan Tuazon, commissioned specially for this exhibition.

Breath(e) was conceived during the height of the global COVID-19 pandemic and America’s racial reckoning in 2020, and as such explores pressing issues related to the ethics of climate justice, while proposing pragmatic and philosophical approaches to spur discussion and resolution. The exhibition strives to challenge and deconstruct polarized political attitudes surrounding climate justice in America and offers new perspectives around land and indigenous rights of nature.

Artists

Brandon Ballengée
Mel Chin
Tiffany Chung
Ron Finley
LaToya Ruby Frazier
Cannupa Hanska Luger
Ryoji Ikeda
ikkibawiKrrr
Michael Joo
Danil Krivoruchko
Xin Liu
Yoshitomo Nara
Otobong Nkanga

Roxy Paine
Garnett Puett
Rob Reynolds
Sandy Rodriguez
Sarah Rosalena
Bently Spang
Mika Tajima
Clarissa Tossin
Lan Tuazon
Yangkura
Jin-me Yoon
Zheng Mahler

Reshaping the Narrative: California Perspectives surveys the myriad ways artists represent and reflect our local communities. The featured artists offer unique and local perspectives on themes that resonate during this presidential election year, such as immigration, civil rights, labor activism, feminism, and cultural identity.

Part of Getty’s region-wide initiative PST ART: Art and Science Collide, the Hammer presents Breath(e): Toward Climate and Social Justice, organized by guest co-curators Glenn Kaino and Mika Yoshitake. The exhibition considers environmental art practices that address the climate crisis and anthropogenic disasters and their inescapable intersection with issues of equity and social justice. Breath(e) features works by more than 20 artists, including works by Mel Chin, Ron Finley, Cannupa Hanska Luger, Garnett Puett, and Lan Tuazon, commissioned specially for this exhibition.

Breath(e) was conceived during the height of the global COVID-19 pandemic and America’s racial reckoning in 2020, and as such explores pressing issues related to the ethics of climate justice, while proposing pragmatic and philosophical approaches to spur discussion and resolution. The exhibition strives to challenge and deconstruct polarized political attitudes surrounding climate justice in America and offers new perspectives around land and indigenous rights of nature.

ARTISTS

Brandon Ballengée
Mel Chin
Tiffany Chung
Ron Finley
LaToya Ruby Frazier
Cannupa Hanska Luger
Ryoji Ikeda
ikkibawiKrrr
Michael Joo
Danil Krivoruchko
Xin Liu
Yoshitomo Nara
Otobong Nkanga

Roxy Paine
Garnett Puett
Rob Reynolds
Sandy Rodriguez
Sarah Rosalena
Bently Spang
Mika Tajima
Clarissa Tossin
Lan Tuazon
Yangkura
Jin-me Yoon
Zheng Mahler

The Spotlight series includes a new or never-before-exhibited artwork paired with a commissioned piece of writing, creating focused and thoughtful conversations between the visual arts and authors, critics, poets, scholars, and beyond. In this iteration, the Spotlight features Sarah Cain’s Path of Totality, 2024. A text by curator and writer Jamillah James accompanies the presentation.

From Where You Stand: On Sarah Cain’s Path of Totality
By Jamillah James

One of many things that comes to mind when thinking of Los Angeles, where artist Sarah Cain has called home for years, is the manner in which the sky envelopes the landscape—at dusk, when the horizon melts into strains of warm pinks and golds as the day transitions into night; the searing whiteness of the midday sun—its warmth, its bite, and tenacity; and the canopy of violets that slowly recede to blues of different temperatures when another day begins, in a place where seasons are indiscernible from one to the next.

In recent years, Cain’s work has become increasingly monumental, forging its own landscape. Major works, like her remarkably complex projects in stained glass or her massive painting-installations that encompass seemingly infinite expanses of wall and floor with exploded color and line, show the artist taking up space—holding ground against and atop received, outmoded histories, or just plain boring mythologies of painting as a practice. Taking up space is radical—it is how you are seen, felt, and heard. At their very core, Cain’s abstract paintings are radical and disorienting in the best possible way. Her attack and command of both physical and pictorial space is incisive yet wildly generous, leaving the viewer with no singular place to stand or look. There is no one history from which her paintings pull; her wellspring of influence is a panoply of styles and gestures that intersect in unexpected ways. There is the specter of abstract expressionism, which quickly gets pushed to the margins in favor of other, more discursive trajectories within the historical and emerging canons of painting or artmaking more generally. What immediately comes to mind is the boisterous spirit of Pattern and Decoration, the organic sensibilities of the Feminist Art Movement, and the inherently defiant posture of graffiti. Cain’s work is inventively fearless as it establishes its own vernacular at this very point in time, as painting remains both central yet ever contested. Cain is gleefully and thankfully part of its contestation.

Path of Totality (2024) is a new work by Cain which finds the artist indexing familiar gestures in an exciting direction. She continues to embrace materials that have become intrinsic to her work—spray paint, glitter, stringed beads, and rope. The painting contains a host of tensions that are inherent to Cain’s paintings of the past decade: patterns beginning and terminating unexpectedly, shapes that announce themselves boldly in saturated hues yet dissipate into thin streams and drips of diluted paint, hard edges giving way to soft, organic forms and vice versa. The tactility of Cain’s surfaces are an extension of her insistence on having the viewer not just see what is in front of them, but to embrace it with full engagement. There is no wrong way or place to look.

At the painting’s furthest reach is a rectangle in its upper left corner, a discrete painting within the painting. Its edges are framed by two scalloped lines in a complementary orange and blue. These lines abut, propping each other up, but do not complete the perimeter. It is somewhat unclear whether this is the painting’s starting point or if it is the end, placed additively after the rest of the work took shape. Contained within this section are assertive, chunky pink and blue forms fenced in by sprayed squiggle marks that reach beyond the scalloped frame. Try as it might, the rectangle’s geometry cannot hold everything.

Another framing device is the braided rope that cuts through the center of the painting, camouflaged by radiating bands of color, yet clearly demarcating one side from the other. The braid defects from matching its surroundings at its ends—where it starts, with a knot resting on the top of the painting, as if this were the point where it is held up to the wall, and at the bottom, where it is dipped in day-glo orange paint and rests against four contiguous circular forms. It is these moments where the surface reveals its expansive intentions, something as slight as a braid asserting itself into real space.

The title of the work is a term relating to the space in which a solar eclipse is fully visible, that is when the moon completely covers the sun. At the right of the painting is a sphere cloaked in silver leaf, its shimmer recalling the cool glow of the moon, while the wavering lines coming from its center evoke the bathing darkness of an eclipse. However, Cain’s eclipse is in marvelous color. This introduction of a metallic breaks the picture plane which is dominated by intensely saturated color in all directions. While a comparatively small gesture within this large format canvas, it is a grounding force, the most sharply defined form within the painting. As Cain’s emanating lines ease their way toward the viewer, they sometimes take a moment to rest. The lower half of the painting has rainbow-like arches that crest and then relax at the edge of the painting. This, as well as the soft scratchiness of the muted gray, white, and pink anchoring a slightly skewed center, is yet another departure from expectation within the painting. While there are moments of pause in Path of Totality, the viewer does have their work cut out for them while viewing. Cain is a generous painter whose dynamic work is always full of surprises. Painting is not always the friendliest form. It is enshrined, calcified even, in its idiosyncrasies, secrets, and exclusions. Though, in the case of Path of Totality and Cain’s work more broadly, we stand in the path of her brilliant gestures and dexterous exchange of ideas. Expectations are defied, tradition is yesterday’s concern, and with each new day, there is a new horizon to see and feel.

This exhibition is the second in a series highlighting contemporary Bay Area artists in our collection. The installation explores how artists relate to their environments through place: place as the physical land, place as heritage, place as the imaginary, and place as belonging.

Several artists examine climate change and its local impact. In Saif Azzuz’s Lo’op’ (It burns) (2021), he draws the color palette from maps of the 2021 droughts and fires in California. Other artists use found materials not only to address ecological issues but also to add layers of meaning, such as in Guillermo Galindo’s Ready to Go (2015), made from a broken bicycle and chair he found along the US-Mexico border. And others play with figure and ground: Clare Rojas’s Walking in Rainbow Rain (2021) is a meditation on disappearing into one’s environment. The drab cityscape is brightened by the rain’s rainbow palette, which also alludes to the history of the LGBTQ+ movement in San Francisco. The works on display, exploring themes of belonging, ecological stewardship, and social justice, are drawn from the 2022 Svane Family Foundation gift of 42 works by more than 30 local artists.

Fortes D’Aloia & Gabriel is pleased to collaborate with Nara Roesler for the fourth edition of the summer exhibition at Comporta, Portugal. Throughout July and August, the former rice barn and once cinema Casa da Cultura da Comporta hosts a group show curated by art historian Nancy Dantas featuring works by five contemporary artists from different parts of the globe, whose practices trace pathways through Brazil, South Africa, and the United States. 

Through works by Alberto Pitta (Salvador, Brasil 1961), Efrain Almeida (Boa Viagem, Brasil, 1964), Igshaan Adams (Cape Town, South Africa, 1982), Leonardo Drew (Tallahassee, USA, 1961) and Marina Rheingantz (Araraquara, Brasil, 1983), the curator, herself a scholar working between Johannesburg, Cape Town and Almada, poses a reflection on the paths and knowledge systems that accompany the rice crop, a dietary staple in countless cultures and a common plantation in the fields surrounding Comporta. An ancestral and contemporary summoning, Stirring the Pot, conceived as cooking, disrupting, and celebrating, takes place when work is over and tools are stored away, opening a circle for dance, liberation, and communication across realms and times. While the sculptures of Igshaan Adams and Leonardo Drew embody historical contexts in South Africa and the United States in sculptural objects, the wildlife sculptures of Efrain Almeida and Alberto Pitta’s textile prints reference specific Brazilian cultures and rituals, and Marina Rheingantz’s painting translates an outdoor sensory experience in abstract materiality. 

“Stirring the Pot temporarily transforms the Casa da Cultura, a former rice barn and once cinema, into a staging of scenes and entwinements between the material and the ethereal, the overt and latent, inside and outside, past and present, the historically distant and poetically close”, writes the curator. 

Developed in 2021 by Fortes D’Aloia & Gabriel, the Comporta summer show originated from a desire to establish alternative models and collaborative projects. It has previously featured exhibitions in partnership with kurimanzutto (2023), Clearing and Madragoa (2022), and Galeria Luisa Strina and Sé Galeria (2021). Initially conceived as a response to the pandemic-related restrictions that disrupted the global art calendar, the exhibition has become a permanent fixture. As Comporta has gradually emerged as a cultural  destination, the show has firmly established itself as an annual highlight.

Caragh Thuring has been elected as a Royal Academician in the category of Painting by The Royal Academy of Arts.

Thuring works with painting, drawing, weaving and photography. She builds and arranges layered imagery in opposition to traditional visual and logical hierarchies. Painting the overlooked and the out of sight, Thuring is curious to what lies beneath the surface. Filtering landscape, people, places, boundaries and territories, she interweaves the technological and human: volcanoes, submarines and bricks appear viscerally or bodily whilst emphasising the clash between the natural and the manufactured.

For over 250 years, the Royal Academy of Arts has existed to champion art and artists. The academy is run by the Royal Academicians, artists and architects elected by their peers in recognition of their exceptional work. The Royal Academy is home to Britain's longest established art school, the RA Schools. Every year since 1768 they have held an annual Summer Exhibition, the largest open-submission art exhibition in the world. The Royal Academy presents their collection of art and architecture in free displays throughout their home on Piccadilly and put on world-class exhibitions of art from around the world, welcoming hundreds of thousands of people to their galleries each year.

SITE SANTA FE, in collaboration with Teresita Fernández and Holt/Smithson Foundation, is pleased to present Teresita Fernández / Robert Smithson. This major exhibition marks the first time Robert Smithson’s work has been placed in conversation with an artist working today. Artist-led and conceptually driven, Teresita Fernández / Robert Smithson is a subjective, intergenerational conversation between two practices. The exhibition critically considers entanglements between place, site, seeing, and deep time through the artists’ mutual engagement with material intelligence, geological agency, and cartographic fictions.

Presenting both iconic and rarely-seen works by Fernández and Smithson, the exhibition organizes their artistic dialogue around a shared desire to recontextualize the complexities of art addressing the land. Teresita Fernández / Robert Smithson is initiated by Fernández’s long-term engagement with challenging socially-constructed ideas about place and landscape, as well as her deep research on the art and ideas of Smithson. The exhibition is curated by Lisa Le Feuvre, Executive Director of Holt/Smithson Foundation, and Teresita Fernández, and is organized by SITE SANTA FE.

Teresita Fernández / Robert Smithson is an artist-driven model of exhibition-making that pulls the past productively into the present. Both Fernández’s and Smithson’s artistic research is rooted in conceptual questions that engage matter, materiality, land, and place. Fernández’s insistence on situating site and landscape in relation to human beings opens a reexamination of Smithson’s work that considers the urgencies of the present. As a whole, Teresita Fernández / Robert Smithson operates as a platform to question how we define place, land, and landscape— as well as who has agency in such places. In doing so, the exhibition seeks to radically shift the art historical perspectives that have sidelined voices of women artists, Indigenous artists, and artists of color.

Fortes D’Aloia & Gabriel and HOA Present RAW!: An Intersectional Art Exhibition in Barra Funda.

Fortes D’Aloia & Gabriel and HOA proudly announce RAW!, a concurrent and intersectional group exhibition showcasing the works of artists from both galleries, set across two warehouses in Barra Funda.

In a shared effort to foster exchanges and explore horizontal organizational models, Fortes D’Aloia & Gabriel and HOA unite artists from different generations, blending their diverse approaches, languages, and media into a singular exhibition spanning both gallery spaces. Opening on June 22, RAW! serves as a platform for converging dialogues between emerging and established artists, expressed through a range of media from video to sculpture. The exhibition features diverse practices encompassing installation, audiovisual, and pictorial categories.

This exhibition features works by eleven contemporary artists from around the globe to explore how these individuals engage with topics such as resilience, strength, labor, women’s rights, and queer aesthetics through athletic imagery. It also queries preconceived notions of femininity through a range of conceptual approaches, be they celebratory, humorous, or critical.

Artists featured in this exhibition are Bianca Argimón, Libby Black, Zoë Buckman, Monica Kim Garza, Riikka Hyvonen, Sophie Kirchner, Eddie Lanieri, Hazel Meyer, Fay Sanders, Sheena Rose, and Kawita Vatanajyankur.

She’s a Knockout was guest curated by Caitlin Swindell, Chief Curator, Vero Beach Museum of Art.

Phoenix Art Museum is pleased to present Larry Bell: Improvisations, a career survey of Bell’s work. The survey explores the progression of Bell’s process from the 1960s through the present day, featuring a wide range of glass cubes, sculptures, large-scale standing walls, and mixed-media collages the artist created using the cutting-edge vacuum deposition technique. The exhibition debuts a selection of Light Knot sculptures that suspend from the ceiling and appear to dance as they absorb and reflect the surrounding light. It also premieres one newly commissioned large-scale work—a cubic form representing the mercurial sun, surrounded by clouded glass evocative of the fog of Venice Beach, California. Improvisations additionally features rarely exhibited collage works from the Phoenix Art Museum Collection, including examples from Bell’s Vapor Drawings (1978-present), Mirage series (1980s-present), and Fraction series (1996-2001).

Curated by Kyla McDonald, this group exhibition takes as its starting point cultural theorist Lauren Berlant’s call to rethink intimacy as part of a broader social context, where the inwardness of the intimate is “met by a corresponding publicness.” The exhibition brings together five artists whose examinations of intimacy align with Berlant’s perceptions—each demonstrating it to be full of complexity, underscored by ambivalences and vulnerabilities that give space to non-normative perspectives.

In Thuring’s work, the artist observes our external contexts: the spaces outside our personal worlds that have a significant bearing on how our lives are shaped. Her paintings explore what lies beyond, out of sight, or beneath the surface of the structures that surround and govern us, and the intimate, often unspoken, interconnections between people and their social, economic, or geographic environments.

Also featuring work by Lenz Geerk, France-Lise McGurn, Joanna Piotrowska and Cathy Wilkes.

Larry Bell's largest site specific commission, Reds and Whites (2024), is now on view at North Carolina State University's Centennial Campus grounds. Consisting of four main elements that explode the traditional cube form and breaks it into its component parts of right-angle corners in an ever-increasing complexity of color and form, Reds and Whites is installed outside of the Snøhetta-designed Hunt Library where it is now a fixture of the NC State University campus and encompasses a total area of approximately 40 x 40 feet. The site-specific installation was unveiled in a ribbon cutting ceremony on May 1, 2024.

Photography by Matthew Millman, San Francisco.

Galerie Lelong & Co., New York is pleased to share that Leonardo Drew will be in conversation with Nari Ward at the Norton Museum of Art, West Palm Beach, Florida, on the evening of Friday, March 1, 2024. This dynamic program celebrates the recent acquisitions of artworks by the artists into the Norton's Contemporary Collection.

Leonardo Drew is a contemporary American artist based in Brooklyn, New York. He creates sculptures from natural materials and through processes of oxidation, burning, and decay, Drew transforms these objects into massive sculptures that critique social injustices and the cyclical nature of existence.

Nari Ward is a Jamaican-American artist based in New York City and is known for his sculptural installations composed of discarded found material collected throughout his Harlem neighborhood. Ward re-contextualizes these found objects in thought provoking sculpture that create complex conversations around social and political realities of race, migration, democracy, and community.

For his first institutional solo exhibition, Bay Area artist Saif Azzuz will construct a mixed-media installation of readymade sculptures, large-scale wood assemblage, found objects, and paintings. Titled "Cost of Living", the exhibition establishes current realities of gentrification and histories of settler colonialism as tandem forces to be examined and unsettled. The cost of living is both an indicator and a complaint, a framework and unequal reality that deals out unrelenting change.

In "Cost of Living", Azzuz utilizes the materials of gentrification, such as construction fencing, semi-private mesh, and barbed wire to mirror the physical reality that corporate development has on humans and nonhumans. Movement, sight, and memory are restricted as land is taken and soiled. With this installation, the artist creates a space in which viewers navigate through objects and artworks. With sightlines and physical pathways obscured, the viewer’s experience mirrors the shifting reality of the Bay Area.

Azzuz roots his practice in looking to the land and its histories as a prism for understanding the dread and beauty of contemporary life, guided by the signs and teachings of Indigenous resilience, learned from both plants and people.

Milwauke Art Museum is pleased to present "Winter Series: Larry Bell's Iceberg". 

The Winter Series is a new annual exhibition series that brings color and joy to the coldest, dreariest months of the year. Each year between December and March, the light-filled, 90-foot-high Windhover Hall will showcase a large-scale installation by a renowned or up-and-coming artist whose work reflects a profound meditation on nature. Open to all with free admission, this series invites visitors to experience an intriguing and often colorful alternative to the winter beyond the windows and affords artists an opportunity to reflect upon nature within this one-of-a-kind space.

This unique series commences with the installation of Iceberg (2020) by Larry Bell (b. 1939), a leading artist of the California Light and Space Movement. Comprised of four zig-zagged, free-standing panels of laminated glass, each seven feet tall at its pinnacle, Iceberg sits in the prow-like space of the magnificent hall, set against the backdrop of Lake Michigan. It connects the architectural wonder that is Windhover Hall to its natural, seasonal surroundings by evoking the shape and shifting tones of floating ice forms and, incidentally, the effects of a changing climate.

Bell is known for his innovative sculptural experiments with light and perception, primarily using glass. He explores the medium’s ability to simultaneously reflect, absorb, and transmit light and utilizes alternative, often industrial materials—here, commercially available color film sandwiched between sheets of clear glass—to create complex spatial ambiguities. A see-through object one moment becomes mirrored the next; shadows turn into windows. Iceberg, with its many surfaces, amplifies these subtle effects and offers a polychromatic contrast to the wintery expanse beyond the soaring windows.

An exceptionally gifted educator, Hung Liu (1948-2021) was a vibrant and vital part of the artist community in the Bay Area and beyond. Just before her untimely death in 2021, Liu began conversations with MCAM to organize an exhibition showcasing the work of an amazing group of women artists that she taught and mentored during her tenure as a professor in the Mills College Art Department.

Look Up to the Sky, Hung Liu's Legacy of Mentoring Women Artists is the realization of that idea and features the work of Hung Liu alongside former students Rosana Castrillo Díaz, Nicole Fein, Danielle Lawrence, Monica Lundy, Nancy Mintz, Sandra Ono, Susan Preston, Mel Prest, Rachelle Reichert, Yoshiko Shimano, Gina Tuzzi, Lien Truong, and Bambi Waterman.

Pioneer Works and Headlands Center for the Arts are pleased to co-present "Climate Futurism", an exhibition featuring new commissions by Artists Erica Deeman, Denice Frohman, and Olalekan Jeyifous presented at Pioneer Works in Brooklyn, NY. 

Curated by ecologist and climate policy expert Dr. Ayana Elizabeth Johnson, the exhibition represents the culmination of Headlands’s inaugural Threshold Fellowship, a two-year program which highlights the power and efficacy of artists’ methods and processes to imagine a more equitable future. Taking inspiration from Johnson’s forthcoming book, What If We Get It Right?, the Artists have created works that explore topics such as creating new traditions, transforming our food system, reconnecting with nature, strengthening our diasporas, and proceeding with justice and love.

"Climate Futurism" is curated by Dr. Ayana Elizabeth Johnson, and is made possible by generous funding from the Joe & Clara Tsai Foundation’s Social Justice Fund. It is also supported in part by public funds from the New York City Department of Cultural Affairs in Partnership with the City Council, as well as the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.

Headlands’ Threshold Fellowship is supported in part by Christine & Curtis Gardner, Gruber Family Foundation, and The Hayabusa Charitable Foundation.

Image: Olalekan Jeyifous, PFC – Seneca SunCraft Orchards, 2022. Courtesy of the artist and Pioneer Works.

Including works by: Saif Azzuz, Matthew Kirk, and G. Peter Jemison.

New York-based artist Jessie Henson will make her Broadway debut with "See What the Sun Thinks", an exhibition of new works in Broadway Gallery's Project Room. 

Working with an industrial sewing machine and gold leaf on paper, Henson approaches her abstractions with as much muscle as grace.  As the tightly nestled and brightly colored thread accretes across the surface in clusters, the paper buckles and contorts adding a sculptural dimension that is echoed by the reflectivity of the metallic leafing. 

Henson is a subtly clever colorist as well, at times situating slight tonal variances side by side or leaving considerable swaths of the paper unsewn. A group of works using primarily black thread on black paper reinforce this disciplined aspect of her work, encouraging a totalizing, topographical effect. 

Taken together, this body of work serves as a concise introduction to Henson’s practice and her particular inversion of painterly abstraction—one that is refracted through a prism of both craft and industrial manufacture. 

Jack Barrett presents "Plant a Weed", a group exhibition that brings together new and existing works by sixteen artists, from New York City, Los Angeles, Pacifica and Mexico City. On view from June 17 to July 22, 2023, the exhibition is curated by Francesca Altamura, an independent curator and organizer based in New York, NY. The exhibition will mark the debut of new works by over sixteen participating artists.

The artists in "Plant a Weed" offer a counterpoint to what is understood as natural, offering an expansion of systems, of publics, and a glimpse into the lives lived and loved within the urban ecosystem. Street detritus, both natural and human-made, maps out a cosmos of the non-desirable. Paper towels, Windex, egg shells, cigarettes, mummified rats, scorpions, lollipops, hard-shell tacos, fabric, paper, plastic, leather, and other mixed debris coagulate to form a new ecology.

The scurrying of critters acts as a score for the de facto co-habitual relationship New Yorkers, human and non-human, share. While pizza rats embark on a quest for a slice and a subway seat, the Adams administration appoints a ‘Rat Czar,’ a Sisyphean display of control over the non-human taking place during a generation-defining housing and medical crisis.

Amidst meticulously manicured astroturf and glistening corporate lawns, a weed resolutely disrupts the imposed order of the grid, of who belongs here, and of authority. In this whimsical interplay of urban encounters, resilience emerges, dismantling the hedgerows between the imaginary borders that demarcate the natural and human worlds.

Several artists in the exhibition including Michael Assiff and Salome Asega have undergone extensive fieldwork to shed light on their artworks. In Assiff’s new paintings from 2023, he trucked cross country with a childhood friend, observing the infrastructure and plant life that grows alongside truck stops, highways and spaces frequented by long-haul truckers. The 3D-printed monster truck model, Asega’s RATs, literally printed in the shape of a rat, which first debuted in the 2022 iterations of Nuit Blanche and Munchmuseet’s Munch Triennale, delves into Risk Assessment Tools, or AI technological systems, that are used by city agencies to make biased decisions about bail, prison sentencing, welfare, medical benefits and housing services. Saif Azzuz excavates the colonial history of Collect Pond Park in Lower Manhattan. In We don’t want your kind here (No’-oh) from 2022, the steel fence acts as a physical symbol of relentless colonial campaigns to privatize and monetize land and natural resources once stewarded by the Lenape.

Both Antonia Kuo and Ragini Bhow are inspired by the mercurial and moody rhythms of New York City. Kuo combines the photography taken around her home and studio, with industrial processes she learned growing up in her family’s casting foundry to create two new photographs, Aftermath and Phosphor, both from 2023. The densely layered compositions are so far abstracted from their original meaning, yet portray an emotive story about the urban landscape. Bhow enters into a transcendental state to create Wood Entity from 2023. As a means of digesting the sights and sounds of the city, she articulates amoebic forms by pressing on the blank aluminum sheets bought from an industrial metal supply store. Similar to Kuo, Justin Cloud grew up in a family of farmers, mechanics, and engineers. He uses an ancient technique called “repoussé and chasing” to create Mood Graft and Knight Kitchen from 2023, an art form used around the world to ornate metal from chalices to armor. The artist uses a hammer and chisel to shape the metal into realistic depictions of flowers.

Aryana Minai presents View and Embodied & Embedded IV from 2022, as emblems of architectural design elements. Minai creates a liquid pulp from recycled paper, then presses objects like bricks and stones, salvaged from the street, textile woodblocks and other urban artifacts, to create fossil-like imprints of the cities which she calls home, Tehran and Los Angeles. Tamara Santibañez creates new work from 2023 that exposes and interweaves meaning assigned to industrial materials, architecture and objects used for mass socio-political and symbolic actions. The artist renders two flowers, commonly used symbols of peace and resistance, in glazed porcelain that delicately hold a chain of keys and a heart-shaped lock at the center. For Santibañez, these objects represent the ‘lock bridge,’ where couples inscribe their names on padlocks, lock it on the bridge and throw the keys into the river. These gestures of eternal love are cut short due to ongoing maintenance costs and the structural integrity of the bridge being endangered by the added weight. Rodrigo Red Sandoval’s handmade manholes, constructed in Amsterdam and clogged with urban detritus from New York City, activate the gallery floor. In Sandoval’s new molds from 2023, cigarette butts and various debris clog the mouth-like openings, truncating the possibility of waste disposal. Sandoval lays bear the entanglements of global environmental degradation, breaking down the boundaries between the here vs. there of waste offsets. Within a series of three new small-scale works from 2023, Emma Safir fabricates portals between the inside and outside worlds. She first takes iPhone images from the streets, which are obscured through digital manipulation. These abstract backgrounds are printed on silk, then further distorted through traditional methods of fiber manipulation.

On view at Jack Barrett for only two weeks before the pandemic, Molly Soda presents for the second time, two vinyl windows, which incorporate “invasive” weeds that were grown in her apartment. These sculptures act as windows into the artist’s private space, as reminders that no matter how disorganized and chaotic her life becomes, the surrounding environs will always continue to flourish. Sydney Shen revives a sculpture from 2015, Please Don’t Eat Me, that consists of a dustpan and scorpions sourced from Etsy, a reminder of the life that exists between floorboards, in the walls, in the alleyways between apartments and on online marketplaces. Christine Egaña Navin questions utility and value, especially of objects, structures and processes made by humans and organically. In Botiquín 1.22 from 2018, she encases a mummified two-toed adult female Ring Tailed Cat, 22 two-dollar bills, a Blow Pop, two dehydrated Taco Bell hard-shelled tacos, and a mummified adolescent male Brown Rat, among many other objects, in epoxy taxidermy putty.

In Hamlet from 2022, Justin Chance uses a number of techniques to create his quilts, with wet and felt needle that is arranged, collaged, and sewn together with fibers and wool that are then encased in silk organza. His title refers to human settlements that are not legal entities and have no local government or official boundaries. Chance’s work represents an idealized version of rural life, where manicured lawns are within close commuting distance of a city. Em Rooney is also inspired by nature and creates botanical forms with large-scale industrial processes and materials. In trouble every day from 2022, a blue cocoon is made from steel, indigo-dyed rice paper, rhinestones, and synthetic whale boning, among other materials. In stark contrast, Monsieur Zohore’s material of choice is paper towels, an artistic practice that has been honed in for over ten years. In a new work from 2023, he presents a relic of old New York City, a plastic takeaway bag emblazoned with the former two-dimensional I ❤ NY logo. In another new work from 2023, Zohore depicts an iconic image of Mierle Laderman Ukeles performing Touch Sanitation Performance: “Handshake and Thanking Ritual” with Sanitation Workers of the New York City Department of Sanitation from 1979–80. Over the course of 11 months, Ukeles shook the hands of all 8,500 sanitation workers, thanking them for their service. Zohore re-writes this iconic image from performance history by adding the world's most expensive handbag ($450,000), designed by former Louis Vuitton Creative Director Marc Jacobs.

In this whimsical interplay of encounters, the resilience of artists thriving in the city is evident, as they subvert the borders between the haves and the have-nots, the locals and the interlopers, the perfect specimens and the riff-raff. The weed will always prevail.

Leonardo Drew (b. 1961), Number 235T, 2023, currently on view at Amon Carter Museum of American Art, Fort Worth, Texas through June 2024.

Sculptor Leonardo Drew is the next contemporary artist to transform the Museum’s first floor galleries with a new site-specific commission. Known for his large-scale, multi-dimensional installations, Drew employs organic materials to create topographies that are at once looming in size and stunning in their intricacies. For Number 235T, Drew will anchor sculptural pieces that he refers to as “planets” and surround them with hundreds of smaller objects as he works to identify the interconnectedness of them all.

This commission is the latest in a series initiated by the Carter in 2015 to respond to works in the Museum’s collection through the perspective of American artists working today.

Gagosian is pleased to announce "To Bend the Ear of the Outer World: Conversations on contemporary abstract painting", an exhibition of new and recent works by more than forty artists from the Americas, United Kingdom, and Germany. The exhibition has been organized by guest curator Gary Garrels, who, in collaboration with the artists, has selected a single painting by each, with most works presented here for the first time. This is Gagosian’s first exhibition to be sited across its two galleries in Mayfair, at Grosvenor Hill and Davies Street.

The exhibition in London examines the significance of abstract painting today, from Garrels’s perspective. Juxtaposing a diverse range of approaches to contemporary abstraction, the exhibition brings together works by three generations of artists, including some never before shown by Gagosian.

Participating artists include Tomma Abts, Richard Aldrich, Tauba Auerbach, Frank Bowling, Mark Bradford, Cecily Brown, Vija Celmins, Matt Connors, Tomm El-Saieh, Jadé Fadojutimi, Suzan Frecon, Katharina Grosse, Mark Grotjahn, Wade Guyton, David Hammons, Mary Heilmann, Thilo Heinzmann, Richard Hoblock, Jacqueline Humphries, Suzanne Jackson, Jennie C. Jones, Brice Marden, Helen Marden, Julie Mehretu, Oscar Murillo, Albert Oehlen, Laura Owens, Nathlie Provosty, David Reed, Gerhard Richter, Amy Sillman, Pat Steir, Ryan Sullivan, Lesley Vance, Charline von Heyl, Mary Weatherford, Stanley Whitney, Pamela Helena Wilson, Terry Winters, Christopher Wool, and John Zurier.

Caragh Thuring: The Foothills of Pleasure

This exhibition of eight artists: Saif Azzuz, Chelsea Culprit, Brian DeGraw, Brittni Ann Harvey, Erin O'Keefe, Eddie Martinez, Sarah Peters and Derek Weisberg showcases work that in some way engages with the triumphs and fallacies of the modern project. As the lines in the verse above state, "Doin' things I used to do/ They think are new," artists are filled with enthusiasm and excitement that belong to those who feel they are in the process of original invention, like children at play. Yet, as time goes by, we realize that this feeling of newness will be discovered and reclaimed by the next generation.
Examining this framework, images and motifs from the past become replete with additional meaning, celebrating the movement and repetition in many of the works which speak to this cyclical framework and create a vibrancy and mode of activity that is in communication between the various artworks.

​

Sarah Cain: Day after day on this beautiful stage

Known for her exuberant abstractions, Sarah Cain (b. 1979, Albany, NY) often extends her practice beyond the canvas into installation, site-specific painting, stained glass, and furniture. Her work draws from sources as disparate as Abstract Expressionism, graffiti, and pop music, and incorporates materials as diverse as sand, feathers, jewelry, crystals, and fabric. At the Henry, the artist has created an immersive architectural intervention in dialogue with the double-height architecture of the museum’s East Gallery.

Cain’s muscular, gestural painting embraces a strategically intuitive power that both undermines and expands our expectations of what has been historically considered “serious” abstract painting. Her color-soaked palette often mixes with a wide range of found objects that in turn complement her titles, which range in reference from the sweet to the erotic, from the mystical to the political. Cain redefines abstraction in feminist terms as an architecture for transformative, embodied, emotive experience. Her work emphatically insists on the value of feminine, queer, and other “othered” aesthetics, intentionally subverting male-dominated art historical traditions.

At the beginning of her career, Cain made dozens of site-specific paintings in abandoned buildings; by nature, these were ephemeral works. As her practice evolved, she has continued to create massive on-site works and preserved the impulse to treat painting seriously, but not preciously. For this exhibition, Cain transforms the gallery into a single monumental painting that wraps the floor and walls, created entirely on-site. Extending the full height of the walls, the work connects the two floors, creating different vantage points and experiences on each level. On the mezzanine level, viewers first encounter the artist’s suspended stained glass piece placed in the window, where it interacts with the exterior environment in constant flux depending on conditions of light and shadow. In the lower gallery, the work creates an immersive and surprisingly intimate, energizing space for the viewer. The audience becomes physically a part of the work as they enter, and can directly engage with the couch sculptures. Enhancing this direct intimacy are a suite of the artist’s $ Talismans, which transform the everyday item into a magical object of power.

Often referencing lyrics from popular or particularly resonant songs in her titles, Cain has chosen Day after day on this beautiful stage, a line from the 1998 Silver Jews song “We Are Real,” for this exhibition. In it, musician/poet David Berman captures the painful yet transformative experience of creative life (or perhaps just life itself), and embraces how we retain meaning over time despite its darkness and our inevitable mortality.

Living and working in Brooklyn, New York, Leonardo Drew’s abstract works, made from an outpouring of chaotic elements, create installations that express immense tension and turbulence. The artist’s new work, Number 360 (2023), commissioned for YSP’s 18th-century Chapel, is a powerful reflection on the weight of collective experience, memory, and the cycles of life and death, decay and regeneration. This resonates within a historic building where many lives have been played out for centuries – unknown to us, yet somehow conveyed by the atmosphere of the space.

Drew joins several artists in responding to the Chapel, which was built in 1740 and is a singular, contemplative place. Projects here set out to connect emotionally with a wide humanity and to be welcoming to everyone. Previous artists include Ai Weiwei, James Lee Byars, Kimsooja, Rachel Kneebone, Shirin Neshat, Yinka Shonibare, Chiharu Shiota and Bill Viola.

The basic material of Number 360 is plywood, either blackened or covered with textured coloured paint, which has been ripped apart and splintered to form the building blocks of a conical monolith that surges to over five metres in height. Unusually for Drew, Number 360 is a vertical installation, responding to the height and width of the chapel nave.

Like an explosion held in time, Number 360 conveys ferocious energy as well as trauma and rupture. Drew’s fractured surfaces create their own language, embodying the laboured process of writing the artist’s experience into history. An African American artist born in Tallahassee in 1961 and raised in public housing in Bridgeport, Connecticut, Drew has often alluded to socio-political issues in his work, using such symbolically charged materials as cotton, rope, rags and rust that relate to the antebellum South, the African American experience, and America’s industrial past. He is, however, adamant in his resistance to impose explicit meaning, and chooses to title his pieces only with numbers in order, “to give the viewer enough room to find themselves in the work”.

One of the typical measures of success for artists is the ability to quit their day jobs and focus full time on making art. Yet these roles are not always an impediment to an artist’s career. This exhibition illuminates how day jobs can spur creative growth by providing artists with unexpected new materials and methods, working knowledge of a specific industry that becomes an area of artistic interest or critique, or a predictable structure that opens space for unpredictable ideas. As artist and lawyer Ragen Moss states:

Typologies of thought are more interrelated than bulky categories like ‘lawyer’ or ‘artist’ allow. . . Creativity is not displaced by other manners of thinking; but rather, creativity runs alongside, with, into, and sometimes from other manners of thinking.

"Day Jobs", the first major exhibition to examine the overlooked impact of day jobs on the visual arts, is dedicated to demystifying artistic production and upending the stubborn myth of the artist sequestered in their studio, waiting for inspiration to strike. The exhibition will make clear that much of what has determined the course of modern and contemporary art history are unexpected moments spurred by pragmatic choices rather than dramatic epiphanies. Conceived as a corrective to the field of art history, the exhibition also encourages us to more openly acknowledge the precarious and generative ways that economic and creative pursuits are intertwined.

The exhibition will feature work produced in the United States after World War II by artists who have been employed in a host of part- and full-time roles: dishwasher, furniture maker, graphic designer, hairstylist, ICU nurse, lawyer, and nanny–and in several cases, as employees of large companies such as Ford Motors, H-E-B Grocery, and IKEA. The exhibition will include approximately 75 works in a broad range of media by emerging and established artists such as Emma Amos, Genesis Belanger, Larry Bell, Mark Bradford, Lenka Clayton, Marsha Cottrell, Jeffrey Gibson, Jay Lynn Gomez, Tishan Hsu, VLM (Virginia Lee Montgomery), Ragen Moss, Howardena Pindell, Chuck Ramirez, Robert Ryman, and Fred Wilson, among many others.

Organized by Veronica Roberts, Former Curator of Modern and Contemporary Art, with Lynne Maphies, Former Curatorial Assistant, Blanton Museum of Art

One of the typical measures of success for artists is the ability to quit their day jobs and focus full time on making art. Yet these roles are not always an impediment to an artist’s career. This exhibition illuminates how day jobs can spur creative growth by providing artists with unexpected new materials and methods, working knowledge of a specific industry that becomes an area of artistic interest or critique, or a predictable structure that opens space for unpredictable ideas. As artist and lawyer Ragen Moss states:

Typologies of thought are more interrelated than bulky categories like ‘lawyer’ or ‘artist’ allow. . . Creativity is not displaced by other manners of thinking; but rather, creativity runs alongside, with, into, and sometimes from other manners of thinking.

"Day Jobs", the first major exhibition to examine the overlooked impact of day jobs on the visual arts, is dedicated to demystifying artistic production and upending the stubborn myth of the artist sequestered in their studio, waiting for inspiration to strike. The exhibition will make clear that much of what has determined the course of modern and contemporary art history are unexpected moments spurred by pragmatic choices rather than dramatic epiphanies. Conceived as a corrective to the field of art history, the exhibition also encourages us to more openly acknowledge the precarious and generative ways that economic and creative pursuits are intertwined.

The exhibition will feature work produced in the United States after World War II by artists who have been employed in a host of part- and full-time roles: dishwasher, furniture maker, graphic designer, hairstylist, ICU nurse, lawyer, and nanny–and in several cases, as employees of large companies such as Ford Motors, H-E-B Grocery, and IKEA. The exhibition will include approximately 75 works in a broad range of media by emerging and established artists such as Emma Amos, Genesis Belanger, Larry Bell, Mark Bradford, Lenka Clayton, Jeffrey Gibson, Jay Lynn Gomez, Tishan Hsu, VLM (Virginia Lee Montgomery), Ragen Moss, Howardena Pindell, Chuck Ramirez, Robert Ryman, and Fred Wilson, among many others.

Organized by Veronica Roberts, Former Curator of Modern and Contemporary Art, with Lynne Maphies, Former Curatorial Assistant, Blanton Museum of Art

In Autumn 2022, Hastings Contemporary will present the first major survey show of the work of Caragh Thuring
(b. Brussels, 1972) – her first UK exhibition in six years.

Spanning the last 15 years with more than 20 works, it will include paintings, drawings and monotypes. All works are on loan from the artist and public and private UK collections, in order to avoid the environmental impact of international shipping.

Thuring’s nuanced compositions juxtapose signs and imagery from her recurring iconography of volcanoes, bricks, flora, tartan, human silhouettes, and submarines, to explore where natural and manufactured worlds collide. 

Thuring grew up in Scotland near to the majestic Holy Loch, the site of the renowned Cold War US nuclear submarine base and next to the construction site for the first concrete North Sea oil rigs. This clash of nature and industry has continued throughout her practice: looming submarine silhouettes, vast industrial structures and striking landscapes frequently appearing across different series. Similarly, Thuring incorporates a recurrent brick motif in her work, which for her perfectly represents the natural and the manufactured in a single object.

Volcanoes and submarines lurk beneath, intermittently breaking through to the surface, obliquely referencing Thuring’s curiosity about what lies out of sight. Brick walls obstruct our view and untreated or woven canvas draw our attention to the surface of the painting itself and what might lie beyond. What is not obscured is often fragmented, disrupting the viewer’s familiarity of what they are looking at.

For more recent works, Thuring has collaborated with silk weavers in Suffolk to create bespoke cloth for use as her canvas. The fabric is woven on a loom, sewn together, and stretched onto a wood frame before being painted onto. These fabrics are digital renderings of previous paintings, photographs she has taken or found images. As she describes it: “I want to build the work into the surface, to continue the work I’ve already begun.” Both the labour and the depiction are worked into the surface and the painting becomes a continuation upon this ground.

The paintings also illustrate Thuring’s fascination with boundary lines and liminal spaces, perfectly reflected by the gallery’s own position on the foreshore – surrounded by the town’s historic beach, net huts and working structures of the fishing fleet. Massacre of the Innocents (after Breughel), 2010, almost echoes the towering architecture of local fishermen’s huts on Hastings’ beach, while the language of maritime and landscape permeate throughout.

Caragh Thuring was born in Brussels in 1972 and has lived in the United Kingdom since 1973, moving first to Argyll, Scotland and later to West Sussex. Receiving a BA Hons in Fine Art from Nottingham Trent University in 1995, she moved to London the same year and currently divides her time between London and Argyll in Scotland. 

Recent solo exhibitions include: Caragh Thuring, Luisa Strina Gallery, São Paulo, Brazil (2019); Builder, Corbett vs. Dempsey, Chicago IL (2019); Caragh Thuring, Thomas Dane Gallery, Naples, Italy (2019); Selected group exhibitions include: Mixing it Up; Painting Today,Hayward Gallery, London, England (2021); Masterpieces in Miniature: The 2021 Model Art Gallery, Pallant House Gallery, Chichester, England (2021); Vesuvio Quotidiano Vesuvio Universale, Museo di San Martino, Naples, Italy (2019), Slow Painting, England (2018/2019); Virginia Woolf, An exhibition inspired by her writings, Tate St Ives, Cornwall, England (2018).

Curated by the museum’s CEO and Director Heidi Zuckerman, 13 Women marks the museum’s 60th anniversary, paying homage to the 13 women who founded the Balboa Pavilion Gallery, the earliest iteration of OCMA, which was opened in 1962. Presented with multiple rotations over the course of almost a full year, 13 Women presents work from the 1960s to the present by artists central to the museum’s collection. Centered on the work of 13 pioneering female artists, each of whom share the visionary qualities of the museum founders, the multigenerational group exhibition celebrates OCMA’s rich history—one distinguished by innovative and groundbreaking exhibitions, thoughtful programming, and a deep commitment to artists. The 13 women included in the exhibition’s first rotation, on view October 8, are Alice Aycock, Joan Brown, Lee Bul, Lucy Bull, Sarah Cain, Vija Celmins, Mary Corse, Mary Heilmann, Barbara Kruger, Cady Noland, Catherine Opie, Hilary Pecis and Agnes Pelton. From timely and prescient works to iconic pieces, 13 Women looks back to look forward, exemplifying the museum’s commitment to sharing outward through objects and storytelling. Additional highlights include Charles Ray’s work Ink Box (1986) and Self Portrait (1990), both acquired from OCMA’s presentation of Ray’s first solo museum exhibition, alongside a new site-specific painting by Sarah Cain in the Avenue of the Arts Gallery. 13 Women is supported by Bank of America.

The Chinese word for “walk” also means “to get things done” and “to move.” By walking/doing/moving, people have woven together the complex fabric of cities, history and culture. We often talk about “entering/exiting history” or “going into/coming out of a dream state.” Walking involves reality, fantasy and dreams. We also often talk about “finding a path” or “seeking the way,” using the everyday act of walking as a metaphor for the search for a goal in life. When human beings (or civilizations) encounter a heavy blow, “walking” becomes a rite to set things in motion and an act of healing. “Crack” not only refers to the spatial experience of walking, but also signifies that people always move “between” one event and the next, implying that moving “between” events always calls for strategy. This exhibition takes “Walking the Crack” as a metaphor for the contemporary state of existence, bringing together the works and writings of artists of different generations since the 1960s, from both Taiwan and abroad, and opening a conversation among them. On the second floor of Taipei Fine Arts Museum, the corridors ambiguously signify pathways, forming two crosses. The exhibition combines artworks in a wide variety of media with a spectrum of research perspectives, attempting to integrate viewing and reading into a single experience of “Walking the Crack.”

Walking creates paths, which may be shortcuts or perhaps detours. A path may start from tracking others or following in their footsteps. Sometimes people march in line. Sometimes they pace back and forth. Sometimes they walk a perilous road (for instance, we speak of risky affairs as “walking a tightrope”). These many different walking paths form lines, some running parallel to each other, others intersecting, all of them ultimately interweaving into a surface and forming a network. This is also how the exhibition connects art with daily life, artists with viewers, artworks with spaces. The viewing and reading of the exhibition are drawn together into a cycle, which implies the cycle of birth and perishing that encompasses the universe and all things.

Curator: Fang-Wei Chang 

Janine Antoni's "Mom and Dad" (1994) will be included in The Double: Identity and Difference in Art Since 1900 at National Gallery of Art from 10 July to 30 October 2022.

When two forms or images are presented together, our eyes can’t help but compare them. We “see double” and identify differences and similarities. The art of the double causes us to see ourselves seeing. The Double is the first major exhibition to consider how and why modern and contemporary artists have employed doubled formats to explore perceptual, conceptual, and psychological themes. From Matisse, Duchamp, and Gorky to Rauschenberg, Johns, Warhol, Truitt, and Hesse, this multimedia presentation features works by many of today’s leading artists, including Kerry James Marshall, Glenn Ligon, Roni Horn, and Yinka Shonibare. Through art, The Double explores enduring questions of identity and difference, especially self-identity as defined by our own unconscious, by society, and by race, gender, and sexuality.

A panel of nationally recognized curators, local arts professionals and community members from the Purple Line Extension Section 2 and 3 project areas has selected artists to create site-specific, integrated artworks for the future Wilshire/Rodeo, Century City/Constellation, Westwood/UCLA and Westwood/VA Hospital stations.

The diverse range of accomplished artists includes: 

Eddie Rodolfo Aparicio (Century City/Constellation Station) 

Moses X. Ball (Westwood/UCLA Station) 

Sandow Birk (Westwood/VA Hospital Station) 

Sarah Cain (Century City/Constellation Station) 

Victoria Fu + Matt Rich (Westwood/VA Hospital Station) 

Karen Hampton (Westwood/UCLA Station) 

Phung Huynh (Century City/Constellation Station) 

Oscar Magallanes (Century City/Constellation Station) 

Yunhee Min (Westwood/UCLA Station) 

Meleko Mokgosi (Wilshire/Rodeo Station) 

Rigo 23 (Wilshire/Rodeo Station) 

Gala Porras-Kim (Westwood/UCLA Station) 

Analia Saban (Century City/Constellation Station) 

Francesco Simeti (Westwood/VA Hospital Station) 

Eloy Torrez (Westwood/VA Hospital Station) 

Devon Tsuno (Wilshire/Rodeo Station) 

Iris Yirei Hu (Westwood/UCLA Station) 

As part of a competitive process, the artist selection panel carefully considered each artist’s professional qualifications and examples of past work. Panelists included: Arthur Lewis, Creative Director, United Talent Agency Artist Space; Anna Sew Hoy, Chair, UCLA School of the Arts and Architecture, Department of Art; Cate Thurston, Associate Curator, The Skirball Cultural Center; Connie Butler, Chief Curator, The Hammer Museum at UCLA; Jean Tardy-Vallernaud, Founding Chair, Century City Arts Council; Ken Gonzales-Day, artist; LeRonn P. Brooks, Associate Curator, The Getty Research Institute; Michael Amescua, artist; Stephanie Vahn, Chair, Beverly Hills Arts and Culture Commission; and Thao Nguyen, Art and Design Agent, Creative Arts Agency. 

Throughout her career, New York-based artist Kate Shepherd has explored abstracted spaces in her richly colored works. For this "Artist Talk," Shepherd discusses the evolution of her formal technique, including her signature use of fine lines to delineate space, her focus on paint reflectivity and texture, and her most recent works on paper. She will also discuss how she developed the exhibition "April, May, June, etc., etc., Upended Floor (Mud, Blood)," 2020, at Josh Pazda Hiram Butler Gallery in Houston from afar while living in New York City. Two of her works related to that exhibition are currently on view in "Spatial Awareness: Drawings from the Permanent Collection" at the Menil Drawing Institute.

The "Artist Talk" series is supported by a gift from the Cockrell Family Fund.

About the artist: Kate Shepherd (b. 1961) was born in New York City, where she currently lives and works. Her works are in such collections as Albright-Knox Art Gallery, Buffalo, NY; Los Angeles County Museum of Art; Museum of Fine Arts, Boston; The Phillips Collection, Washington, D.C.; the Menil Collection, Houston; Museum of Fine Arts, Houston; and the Morgan Library & Museum, New York. Shepherd has a long-standing commitment to printmaking, and she has made editions with and for Pace Prints, Chinati Foundation, Dieu Donné, Lower East Side Printshop, and Skowhegan School of Painting and Sculpture.

Visit menil.org/events to learn more about upcoming programs. Public Program of The Menil Collection, Houston, TX. February 17, 2022.

Sarah Cain's "My favorite season is the fall of the patriarchy" will be on display at the National Gallery of Art in Washington, DC when the East Building reopens in December 2021. 

Sarah Cain’s energetic installation jumps the bounds of a 45-foot-long painted canvas to integrate a variety of surfaces in the East Building’s Atrium. Extending onto the nearby protective sculpture enclosures and well covers, Cain’s painted elements surround and complement the canvas to create a dynamic installation that encourages movement and close-looking.

The exhibition "Sarah Cain–Enter the Center" will be on view at the Tang Teaching Museum at Skidmore College from 10 July to 28 November 2021.

Sarah Cain is an artist who explores and expands upon traditional ideas of painting. Cain works on canvases of all sizes, often modifying canvases by cutting and braiding, painting on all sides, and installing the canvas with the back of the painting facing the viewer. She also paints on other surfaces, including interior and exterior walls, floors, and dollar bills.

The creation and destruction of her paintings is part of Cain’s process that, in part, revolves around self-discovery. Cain describes herself as a feminist painter, using elements that are traditionally seen as feminine and “girly” as an act of non-conformity and antipathy to the patriarchal hierarchies of painting.

Artist Talk: Lorraine O’Grady in conversation with Zoe Leonard at the Brooklyn Museum in Brooklyn, New York on Thursday, 27 May 2021 at 6 PM (EST).

Join Lorraine O’Grady, one of the most significant contemporary figures working in performance, conceptual, and feminist art, for an in-depth conversation in conjunction with a special exhibition Lorraine O’Grady: Both/And. O’Grady is joined by photographer Zoe Leonard to discuss their respective approaches toward conceptual photography, moderated by Catherine Morris, Sackler Senior Curator for the Elizabeth A. Sackler Center for Feminist Art.

Larry Bell is included in "The Paradox of Stillness: Art, Object, and Performance" at the Walker Art Center, Minneapolis from 15 May 2021 – 8 August 2021. 

Artists On The Future: Teresita Fernández and Sir David Adjaye in conversation on Stanford University Youtube on Monday, 10 May 2021 at 5 pm (PDT).

This conversation brings together Cuban American visual artist Teresita Fernández with Ghanaian-British architect Sir David Adjaye to discuss place, geography, and global environmental issues. The program is free and open to both members of the Stanford community and the public. 

The exhibition "Jim Hodges" will be on view at Gladstone Gallery in Brussels, Belgium from 8 May – 18 June 2021.

Artist Talk: Teresita Fernández On Art And Eco-Trauma in conversation with Hirshhorn associate curator Marina Isgro virtually on Wednesday, 28 April 2021 at 7 pm (EDT).

Artist Talk: Zoe Leonard in conversation with curator José Esparza Chong Cuy at the Harvard Graduate School of Design virtually on Thursday, 1 April 2021 at 12 PM (EST).

Zoe Leonard will present a work in progress titled Al Rio/To the River, and will engage in conversation about the project with curator José Esparza Chong Cuy.

Music Talk: Justin Vivian Bond in conversation with Jim Hodges virtually at The Museum of Contemporary Art Chicago in Chicago, Ilinois on Saturday, 27 March 2021 at 4 PM (CT).

Acclaimed singer-songwriter, author, painter, performance artist, and actor Justin Vivian Bond chats, riffs, and improvises with long-time friend and collaborator, installation artist Jim Hodges.

Erica Deeman is included in PODIUM II at Gallery 181, San Francisco, CA beginning 23 March 2021.

Marsha Cottrell and Zoe Leonard are included in  "The Way We Are 3.0" at The Weserburg Museum für moderne Kunst, Bremen, Germany from 20 March 2021 - 23 January 2022. 

Artist Talk: Artist Talk: Zoe Leonard and Tim Johnson in conversation with Ingrid Schaffner at The Chinati Foundation virtually on Tuesday, 9 March 2021 at Noon (CST).

Chinati hosts artist Zoe Leonard and poet Tim Johnson in conversation with curator Ingrid Schaffner about Al Rio/To the River. Over 550 photographs by Leonard focus on the Rio Grande/Rio Bravo along the stretch where the river is used to demarcate the boundary between the United States and Mexico.

Artist Talk: Leonardo Drew in conversation with Amin Alsaden at the Power Plant in Toronto, Canada on Thursday, 18 February 2021 at 7 PM (EST).

In this program, co-presented with Kuumba, artist Leonardo Drew will discuss the evolution of his work with Amin Alsaden, The Power Plant’s Nancy McCain & Bill Morneau Curatorial Fellow. The two will expand upon themes explored in the upcoming Summer 2021 exhibition, "Propelled into Otherness". 

The exhibition "Sarah Cain–In Nature" will be on view at the Momentary, a satellite art space of Crystal Bridges in Bentonville, AK from 13 February to 30 May 2021.

Los Angeles-based artist Sarah Cain will create a site-responsive exhibition for the Momentary. Sarah Cain: In Nature will include colorful abstract works on canvas, functional floor paintings, sculpture, and a stained-glass window. Known for her brightly colored installations that blur the boundaries between painting and sculpture, Cain’s work moves over and off the canvas, responding to architecture at large.

The exhibition "Pour ne pas dormir: Jockum Nordström" will be on view at La Criée centre d'art contemporain, Rennes, France from 6 February to 9 May 2021.

A major figure on the Swedish art scene, Jockum Nordström has devoted over thirty years to his mischievous mix of worlds quotidian and oneiric, human and animal, abstract and naive, natural and architectural. At La Criée Centre for Contemporary Art he’s presenting a selection of recent works: collages, drawings and cardboard sculptures.

Zoe Leonard and Janine Antoni are included in "Frida Love and Pain" at High Line Nine, Gallery 5, New York City, New York. Presented by the Chelsea Music Festival, the exhibition is on view from 2 February - 27 February 2021.

Zoe Leonard is included in "La Boîte-en-Valise" at  Office Baroque, Online from 9 January - 20 February, 2021.

Zoe Leonard is included in "A Fire In My Belly" at Julia Stoschek Collection, Berlin, Germany from 6 February 2021 – 12 December 2021.

Artist Talk: Janine Antoni and Byron Kim in Conversation with Rochelle Steiner at Palm Springs Art Museum in Palm Springs, CA on Thursday, 28 January 2021 at 5 PM (PST).

As part of Palm Springs Art Museum's virtual Public Programs series, join artists Janine Antoni and Byron Kim for a conversation with Palm Springs Art Museum's Chief Curator & Director of Curatorial Affairs and Programs Rochelle Steiner. This program is free and open to the public. 

Erica Deeman is included in "When Things Go Back to Normal" at Worth Ryder Art Gallery, Berkeley, CA from 27 January - 25 February 2021.

Sarah Cain is included in "Grouper" at Broadway Gallery, New York City, NY from 20 January – 20 February 2021.

Kate Shepherd is included in "Rhe: everything flows" at Galerie Lelong & Co., New York City from 7 January 2021 – 13 February 2021. 

Jim Hodges recently unveiled a new permanent installation in New York City’s historic Grand Central Terminal. Entitled "I dreamed a world and called it Love" (2020), the sprawling public work is comprised of over 5,000 individually cut pieces of glass that the artist layered to create a swirling camouflage of over 70 various colors.

Erica Deeman is included in Erica Deeman in "Justice" at Marin MoCA, Novato from 14 November 2020 - 24 December 2020.

The exhibition "Teresita Fernández: Maelstrom" will be on view at Lehmann Maupin, New York from 12 November - 21 January 2020. 

Lehmann Maupin is pleased to announce Teresita Fernández, Maelstrom. This exhibition will feature a new series of monumental sculptures and installations that unapologetically visualize the enduring violence and devastation ignited by colonization. 

Joseph Havel is included in "The Marzio Years: Transforming the Museum of Fine Arts, Houston, 1982–2010 at the Museum of Fine Arts, Houston" at the Museum of Fine Arts, Houston from 25 October 2020 - 10 January 2021.

Sarah Cain has been awarded a 2020 Joan Mitchell Foundation Painters & Sculptors Grant. 

Known for her brightly colored installations that blur the boundaries between painting and sculpture, Sarah Cain's work moves over and off the canvas. 

Caragh Thuring is included in "Double-M, Double-X" at Kerlin Gallery, Dublin, Ireland from 17 October 2020 – 16 January 2021. 

Zoe Leonard is included in the exhibition "TITAN" presented by kurimanzutto, an outdoor exhibition in a series of phone booths located in New York City, a project conceived by Damián Ortega and Bree Zucker.

Caragh Thuring is included in "JOKER" at Jahn und Jahn, Munich, Germany from 10 October - 9 November 2020.

"In this time, we must reflect upon our deeds to mankind and our planet. Have we cared for each other and our Earth the way we should? Do we live up to the high principles that so many have defined for us for so many years?"⁠ These are just a few of the questions proposed by the group exhibition, "Emergency on Planet Earth: in a Time Close to Now" featuring two pieces by Rob Reynolds now on view at UTA Artist Space in Beverley Hills through 31 October 2020.⁠
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Larry Bell and Zoe Leonard are included in "Artists for New York" at Hauser & Wirth, New York, NY from 6 October 2020 - 22 October 2020.
‘Artists for New York’ is a major initiative to raise funds in support of a group of pioneering non-profit visual arts organizations across New York City that have been profoundly impacted by the COVID-19 pandemic.

The Sirenuse Art Project was established in 2015 in Positano. Curated by Silka Rittson-Thomas and commissioned by Antonio and Carla Sersale, the project annually invites an artist to Le Sirenuse to permanently present a site-specific and iconic work from the heart of their practice while considering elements of this historic hotel. 

For the 2020 edition, Caragh Thuring has created a painting and a series of gessoed panels inspired by the nearby Vesuvius as well as the hotel’s extensive collection of volcano paintings, gouaches and etchings.Volcanoes are a sustained feature in Thuring's work, a cross-section of an erupting volcano being the first painting she made at the start of her studio practice. Thuring has since painted numerous views of volcanoes, thoughtfully exploring their symbolic, mythical and natural power.

"Teresita Fernández: Elemental" will be on view at the Phoenix Art Museum from 1 October 2020 to 3 January 2021. 

"Teresita Fernández: Elemental" is the first major traveling exhibition and the first mid-career survey of works by contemporary artist Teresita Fernández, considered one of the most innovative artists of her generation.

Co-organized with Pérez Art Museum Miami (PAMM), the retrospective showcases more than 50 large-scale sculptures, installations, and mixed-media wall works created by Fernández over two decades, offering Arizona audiences the opportunity to experience her evocative creations that reinterpret the relationships between nature, history, and identity.

The Mississippi Museum of Art presents "Leonardo Drew: City in the Grass," a participatory, public art sculpture that invites viewers to engage directly with the work, the space it occupies, and one another while maintaining a social distance - on view from 26 September 2020 to 21 February 2021.

"Leonardo Drew: Making Chaos Legible" is on view at the North Carolina Museum of Art from 9 September 2020 to 3 January 2021. 

Using a variety of materials—wood, cotton, canvas, paper, steel, aluminum, sand—Drew makes dynamic sculptures that explode and expand into their spaces. These gravity-defying sculptures convey a feeling of barely contained or restrained energy and chaos. “I think of it as making chaos legible,” he says.

Contemporary artist Leonardo Drew creates dynamic, abstract sculptures and installations that expand into their surroundings. In this virtual lecture, Drew discusses work from his career and his intent for it to be a mirror for viewers, reflecting their individual experiences.

Janine Antoni is included in  “Ghosts from the Recent Past” at the Irish Museum of Modern Art, Dublin, Ireland from 1 September 2020 - 28 February 2021.

Joseph Havel's exhibition "Joss" is on view at Asia Society Texas Center from 29 August to 8 November 2020.

Havel has created a series of new works in response to the ancient bronze vessels currently featured in Asia Society Texas Center's "Eternal Offerings: Chinese Ritual Bronzes." Joss paper and other paper items made in the forms of daily necessities such as food, household goods, and personal objects are burned as offerings in ancestor rituals with the understanding that the smoke carries their value to the spirit world. The ephemerality of joss paper contrasts sharply with the more durable nature of bronze. Havel constructs these sculptures by first using the paper forms of household goods and clothing to determine the compositions, then casting them in bronze.

Janine Antoni is included in "Body of Water" at Magasin III Jaffa, Israel - ongoing Fall 2020.

"Body of Water" consists of three video artworks from the collection of Magasin III Museum for Contemporary Art. "Touch" records Janine Antoni’s attempt to walk across the horizon, between sky and water, at the furthest point the human eye can perceive.

"Jockum Nordström | Bruno Knutman" will be on view at Tegnerforbundet, Oslo from 16 August to 27 September 2020.

Teresita Fernández is included in "Catalyst: Art and Social Justice" at Gracie Mansion, New York, closing 8 September 2021.

Dave Muller is included in the exhibition "5,471 miles" at Blum & Poe in Los Angeles and Tokyo from 21 July to 15 August 2020.

The exhibition "Gary Simmons: Dancing in Darkness" will be on view at Simon Lee Gallery, Hong Kong from 4 July to 29 August 2020.

These works examine the ways in which we attempt to reconstruct the past via personal and collective memory. Simmons delves into his own archive of imagery in order to retrace his personal history while at the same time demonstrating the impossibility of eradicating racial and cultural stereotypes from our shared conscience. The grey palette, paying subtle homage to Gerhard Richter, Robert Rauschenberg and Jasper Johns, is an ironic wink at Simmons’ own inclusion in the art historical canon, recalling also the chalkboards used in his first erasure drawings in the 1990s.

Donald Moffett's work "Aluminum / White House Unmoored" will be on view at Marianne Boesky Gallery, Aspen from 2 July to 13 September 2020. This work is the central work from Moffett's D.C. series, in which the artist projected handheld video of the capital's landmarks and symbols onto silver extruded oil painting—in this case, a flickering disembodied seat of ultimate power. 

Janine Antoni is included in "Raid the Icebox Now: The Chorus" at the RISD Museum as curated by Simone Leigh from 18 October 2019 to 28 June 2020.

In her "Raid the Icebox Now" installation, Simone Leigh places modern and contemporary works by Janine Antoni, Huma Bhabha, David Hammons, and Nancy Elizabeth Prophet in the RISD Museum’s ancient Greek, Roman, and Egyptian galleries. These objects are accompanied by Leigh’s own art: a new ceramic female portrait sculpture and a new sound work.

Engaging directly with this shared global experience of pandemic-motivated social distancing, Blum & Poe Broadcasts, Dave Muller, and Three Day Weekend present an online group exhibition titled "The Gallery is Closed." 

A number of artists and members of the community have contributed personal drawings and public signs that announce closure and reflect a multitude of absent voices and voices in waiting

Artist Joseph Havel checks in with Contemporary Art Museum, Houston's Deputy Director Christina Brungardt during the Covid-19 pandemic.

Tune in to their IGTV or YouTube channel to watch.

Janine Antoni will be included in "For a Dreamer of Houses" at the Dallas Museum of Art from 15 March 2020 to 31 January 2021. The exhibition can also be viewed as a Virtual Exhibition online.

"For a Dreamer of Houses," an imaginative and immersive exhibition, explores the significance of the spaces we inhabit and how they represent ourselves, our values, and our desires. Discover over fifty works from the DMA’s collection in a variety of media that demonstrate the evocative power of domestic objects and structures. The featured artists use forms derived from dwellings or furnishings to investigate ideas including belonging, alienation, fantasy, gender, and the body.

The solo exhibition "Jockum Nordstrom: Without Lantern" will be on view at the Skissernas Museum, Sweden from 9 June to 18 October 2020.

The summer and fall exhibition presents Jockum Nordström, one of Sweden's most internationally acclaimed artists. The central work, The Anchor Hits the Sand, is a powerfully evocative and meditative shadow play with music. In addition to the shadow play the exhibition presents sculptures, collages and sketches, showing Nordström's versatility and artistic process. 

Brooklyn Academy of Music is pleased to announce that Teresita Fernández has been comissioned to create a work of Public Art for their campus. Fernandez, whose work often responds to the natural world, will create an interactive installation called "Paradise Parados" for the outdoor terrance aboce the Rudin Family Gallery at BAM Strong, a new space that connects to the BAM Harvey Theatre. They plan for the work to be on view by 2021. 

Kate Shepherd's installation, "April, May, June, etc., etc., Upended Floor (Mud, Blood)" (2020), will be on view at Hiram Butler Gallery beginning May 2020.

Shepherd explains, "Butler and I planned to open a show on May 2. In mid-March, we didn't even have to say it out loud –– health restrictions would make it impossible for me not only to work in my studio but also to travel to Houston. I decided to go ahead anyway and make a wall painting from afar that could be seen from the outer windows –– something kind of beautiful but spooky. It was a perfect challenge because I knew where the viewer would be."

LA-based artist Dave Muller—whose work is rooted in his fascination with music, how it shapes our identities, and generates cross-cultural dialogue—joins us for a live Q&A to discuss his work and the original DJ mix "Oops!... I Heard It Again".

Larry Bell is included in a "Presentation of Gallery Artists" at Hauser and Wirth, Hong Kong form 8 - 30 May 2020. 

Janine Antoni is featured in the online exhibition "The Artist and The Self" at James Fuentes Gallery from 1 May to 1 June 2020. 

The exhibition will focus on photographic self-portraits made from 1969 to the present, utilizing a range of tools, from a medium-format camera to an iPhone. 

Erica Deeman will direct a lighting and portraiture workshop at Medium Photo, San Diego on 25-26 April 2020.

The two-day workshop will examine the creative possibilities of studio lighting for expressive portraits. San Francisco based artist Erica Deeman will lead participants with live models and studio lighting equipment to create breathtaking, emotionally powerful portraits that express a deeper sense of meaning with our subjects. Workshop participants should have an understanding of camera equipment and digital post-processing software. No previous lighting knowledge required.

"Zoe Leonard: The ties that bind" is on view online at Hauser & Wirth from 11 April to 11 June 2020.

New York-based artist Zoe Leonard balances rigorous conceptualism with a distinctly personal vision in her work. By employing strategies of repetition, shifting perspectives, and a multitude of printing processes, Leonard’s practice probes the politics of representation and display. Leonard explores themes such as gender and sexuality, loss and mourning, migration, displacement, and the urban landscape. 

Sarah Cain is included in "RED", an online group exhibition by Galerie Lelong & Co on view from 10 April to 8 May 2020.

A primary color charged with connotations of the body, emotions, politics, and pop culture, "RED" brings together a display of how Galerie Lelong artists have interpreted and utilized the color in a myriad of media.

Zoe Leonard has been awarded a 2020 Guggenheim Fellowship.

Leonard works with photography, sculpture, and site-specific installation. Leonard has exhibited widely in the U.S. and internationally since the early 1990s. A retrospective exhibition was presented by the Whitney Museum of American Art and Museum of Contemporary Art Los Angeles in 2018. She was awarded the Whitney Museum' Bucksbaum Prize in 2014 and received an Anonymous was a Woman Award in 2005. Leonard taught in the MFA program at Bard College where served as Co-Chair of Photography from 2011-2015.

Rodrigo Cass is included in the online only exhibition "AAA - Anthology of Art and Architecture", a collaboration between Fortes D'Aloia & Gabriel and Bergamin & Gomide and curated by Sol Camacho, that will be on view from 2 April to 31 July 2020.

Through a timeless and non-catalographic cut, "AAA" moves through the field of visual arts - between paintings, sculptures, videos - and architecture - with models, pieces of furniture and photographs of buildings. These are works that have architecture as their language: be it in the relationship between the construction of spaces and their representation; in the use of construction materials; or, still, in the subversion of language itself as a resource for experimentation with scale, composition and geometry.

The exhibition "Sarah Cain: hand in hand" will be on view at the Colby Museum of Art from 31 March 2020 to 13 December 2020. 

Cain seeks out new territories for painting and frequently works at the scale of architecture. For the Colby Museum, she will create an on-site painting that will cover the full expanse of the lobby floor. In a space that functions as a gateway to the galleries, Cain’s hand in hand will be immersive and reorienting, evidencing change and transformation in response to experience, from the ground up.

Gary Simmons' solo exhibition "Screaming into the Ether" is on view at Metro Pictures. In light of the current circumstances facing New York, the exhibition will now be available exclusively online.

Gary Simmons's latest work expands the artist’s decades-long examination into the propagation of racial stereotypes through American media and its devastating effects on how people of color perceive themselves and are perceived by others. The twenty new paintings on view reconsider his signature “erasure” technique and the racist cartoon characters Simmons first appropriated in his renowned chalkboard drawings from the early 1990s.

Artist Talk: Teresita Fernández will be in conversation with San Cha, moderated by author Josh Kun, at the Crossfade LAB in Phoenix, AZ from 7 to 9 pm.

Crossfade LAB is an event series organized by CALA Alliance that presents thought-provoking conversations and performances with internationally known Latinx and Latin American artists.

The ninth edition of Crossfade LAB will stage a special meeting between celebrated visual artist and MacArthur fellow Teresita Fernández, and rising music and performance star San Cha. Moderated by author and Crossfade LAB co-curator Josh Kun, the evening will experiment, agitate, and shimmer, blending installations and sculptures with cumbias and telenovelas —a mix of sound and image that will take you across geographies of the Americas, from Cuba to Jalisco, the Bay Area to Miami, New York to LA.

Gary Simmons is included in "Sanctuary: Recent Acquisitions to the Permanent Collection", curated by Mar Hollingsworth, at the California African American Museum, Los Angeles from 18 March - 6 September 2020. 

Sanctuary features recently acquired works that explore the concepts of safety and refuge as they relate to the African American experience. Whether real, staged, or imagined, the worlds depicted in these photographs and mixed-media works support complex narratives and assert the importance of claiming a place of one’s own. 

In several instances, photographs are displayed alongside three-dimensional sculptural works by the same artist. For example, Gary Simmons’s photograph of an empty academic setting appears in tandem with one of his ghostly erased drawings of coniferous trees on a school chalkboard.

Marsha Cottell will deliver Mary Baldwin University’s 2020 Firestone Lecture in Contemporary Art on 16 March 2020 at 7 pm. 

In her work, Cottrell repurposes the functionality of an electrostatic office laser printer, computer, and screen, and inventively utilizes the tools’ capabilities to create luminous images in layers of carbon-black toner. Her seemingly alchemical process gives material form to an open-ended exploration of the tensions and interplay between nature and technology, body and machine, exterior and interior in images that evoke visionary or dreamlike states, nature, and the sublime.

Teresita Fernandez will be included in the exhibition "Bright Golden Haze" at Oklahoma Contemporary from 13 March to 10 August 2020.

This inaugural exhibition uses the themes of light and place as a way to highlight connections across artistic media, cultures and geographic regions, from the plains of Oklahoma to global centers around the world. Titled "Bright Golden Haze", a reference to the first words in the iconic musical Oklahoma!, the exhibition includes artists of national and international renown alongside artists from our area to demonstrate the ways in which contemporary art can be both location-specific and universal.

The exhibition "Kate Shepherd: Surveillance" will be on view at Galerie Lelong, New York from 12 March - 18 April 2020.

Galerie Lelong & Co. is pleased to present Surveillance, a solo exhibition of new paintings by New York-based artist Kate Shepherd. Known for her paintings of deeply resonant colors achieved through monochromatic layers of enamel, the presentation will reflect the artist’s progression in her exploration of spatial complexity.

Caragh Thuring is included in the group exhibition "This Corrosion" at Helmet Row Modern Art, London from 6 March to 9 May 2020.

Zoe Leonard will be included in "Among the Trees" at the Hayward Gallery, London from 4 March - 17 May 2020.

Beginning with pioneering works from the late 1960s – a decade that saw the emergence of the modern environmental movement – "Among the Trees" surveys a remarkably expansive artistic terrain, including sculpture, painting, installation, video and photography. 

Drawing on the beauty and visually arresting character of trees – including their complex spatial and architectural forms – the works in this exhibition invites us to consider trees as symbols and living organisms that have helped to shape human civilisation.  

Leonardo Drew will be included in "Riffs and Relations: African American Artists and the European Modernist Tradition" at the Phillips Collection from 29 February 2020 to 3 January 2021.

The exhibition presents works by African American artists of the 20th and 21st centuries together with examples by the early 20th century European artists with whom they engaged. European modernist art has been an important, yet complicated influence on black artists for more than a century. The powerful push and pull of this relationship constitutes a distinct tradition for many African American artists who have mined the narratives of art history, whether to find inspiration, mount a critique, or claim their own space.

In conjunction with his inclusion in the exhibtion "Riffs and Relations: African American Artists and the European Modernist Tradition," Leonardo Drew will be in conversation with Renee Mauer, Associate Curator, at the Phillips Collection in Washington, D.C. on 29 February 2020 at 6:30 pm.

Janine Antoni will be included in "Bodyscapes" at the Israel Museum, Jerusalem from 21 February to 3 October 2020. 

"Bodyscapes" studies the concept of embodiment and the corpus as an organizing structure. Examining the relationship between nature and culture through the prism of the body, this exhibition brings together historical sources and artworks ranging from prehistory to contemporary art in a variety of media: works on paper, photographs, sculpture, paintings, video works, and installations.

The exhibition, "Larry Bell: Still Standing," will be at Hauser & Wirth, New York from 20 February to 11 April 2020. 

One of the most renowned and influential artists to emerge from the Los Angeles art scene of the 1960s, Larry Bell is known foremost for his refined surface treatment of glass and his explorations of light, reflection, and shadow. His experimentations with commercial industrial processes with high-vacuum coating systems and his interests in the optical qualities of glass led him to make work that investigates multiple ways of using light as a material.

Janine Antoni will be included in "Amuse-bouche. The Taste of Art" at the Museum Tinguely from 19 February to 26 July 2020. 

What role does our sense of taste play in social interactions and as an artistic material? Museum Tinguely continues its series on the senses in the arts with a group show bringing together work by international artists who address our sense of taste as a possibility for aesthetic perception. 

Rob Reynolds will be in conversation at the Berggruen Institute in Los Angeles on 15 February 2020 at 1:30 pm.

As part of the new Berggruen Institute Transformations of the Human (ToftH) program, artist Rob Reynolds discusses his work as part of a TofTH project cluster on icebergs and the human with philosopher and anthropologist Tobias Rees and founder of Oceans & Ice Lab David Sutherland.

Kate Shepherd is included in the exhibition "Unapologetic: All Women, All Year" at Scottsdale Museum of Contemporary Art from 15 February 2020 to 31 January 2021. 

"Unapologetic: All Women, All Year" takes an in-depth look at works from SMoCA’s collection, highlighting diverse women artists whose work boldly and unapologetically parses topics such as identity, beauty, violence, and equality. As a result of historically being overlooked within the structure of art history, women constitute an average of less than 15% of the artists in museum collections nationally. For the year, SMoCA presents a selection of women artists from its collection to bring awareness to this lack of inclusion. This exhibition’s title conveys a sense of strength, signaling for systemic change within culture, where individuals of all gender, sexuality, race, ethnicity, class, age, and ability see themselves represented within museums.

In 1992, motivated by an interest in Black authorship and self-fashioning, Simmons set up a portable photo studio with painted 'backdrop' paintings at Harlem’s Rucker Park basketball courts and the African Street Festival in Brooklyn, offering free Polaroids to those he photographed. The thirteen paintings that served as portrait backdrop were shown alongside the almost 850 instant photos at Metro Pictures in 1993.

Simmons revives the project and will offer complimentary photographs to select participants during the run of Frieze Los Angeles from 14 - 16 February 2020.  

Dave Muller is included in the exhibition "50+50: A Creative Century from Chouinard to CalArts", organized by Carmen Amengual and Michael Ned Holte, at REDCAT at the California Institute of the Arts from 12 February to 22 March 2020. 

For this exhibitions, CalArts, in partnership with publisher Lisa Ivorian-Jones, will newly commission and sell limited artwork by a prominent group of 50 artist alumni. Representing a broad range of cross-disciplinary art-making, the 50 new editioned works will be released in curated groupings of 10 over the course of five years starting in February 2020.

Kate Shepherd is included in the ongoing exhibition "The Blurred Discreteness of Colors" at Hiram Butler Gallery.

Janine Antoni is included in the exhibition "All of Them Witches," organized by Dan Nadel and Laurie Simmons, at Jeffrey Deitch, Los Angeles from 8 February to 11 April 2020.

This exhibition arose from a conversation we’ve been having for years about our shared affinity for a certain kind of art to which we’re drawn, can’t quite name, but recognize when we see it. Artworks and artists that share an affinity with what we thought of as a “witchy” sensibility, which we see as using the iconography of the supernatural, occult, and witchcraft to channel ideas about power, the body, and gender.

Leonardo Drew is included in "Polyphonic: Celebrating PAMM's Fund for African American Art" at the Perez Art Museum Miami from 7 February to 9 August 2020.

In 2017, after acquiring several now iconic works for the museum’s collection, and with new generous donations from the PAMM Ambassadors for African American Art and an additional matching grant from the Knight Foundation, Pérez Art Museum Miami created an endowed fund that today stands at almost $2 million.

"Polyphonic: Celebrating PAMM’s Fund for African American Art" highlights a group of paintings, sculptures, and photographs that have since become quintessential for the museum. The title of the exhibition points to the idea of various, distinct artistic voices coming together in a spirit of harmony and solidarity.

Jim Hodges is included in the exhibition "Psychic Wounds: On Art & Trauma" at The Warehouse, Dallas from 6 February - 20 November 2020.

"Psychic Wounds: On Art & Trauma" examines over 60 international artists whose memory of historical trauma has provided them with a unique power to generate works of art. Although there have been important examples of art that address wounding, scarring, and healing throughout the 20th century, the proliferation of violent imagery since World War II has led to new kinds of artworks that marshal consciousness of traumatic events and their cultural processing.

Gary Simmons is included in the exhibition "Making Community: Prints from Brandywine Workshop and Archives, Brodsky Center at PAFA, and Paulson Fontaine Press" from 1 February - 12 April 2020 at the Pennsylvania Academy of Fine Arts. 

"Making Community: Prints from Brandywine Workshop and Archives, Brodsky Center at PAFA, and Paulson Fontaine Press" celebrates printmaking, a longstanding ever-expanding artistic form, especially at PAFA. This exhibition brings together an exceptional group of nearly one hundred artworks from PAFA's Permanent Collection, selected from nearly two hundred artworks in this medium that have recently been acquired by PAFA.

Leonardo Drew will deliver an artist lecture on 6 February 2020 from 4:30 to 6 pm at the Manetti Shrem Museum of Art at UC Davis. 

Drew is known for creating reflective abstract sculptural works that play upon the dystopian tension between order and chaos, recalling post-minimalist sculpture that alludes to America’s industrial past, as well as the plight of African Americans throughout U.S. history. One could find many meanings in his work, but ultimately the cyclical nature of life and decay can be seen in his grids of transformed raw material to resemble and articulate entropy and a visual erosion of time.

Tam Van Tran is included in the exhibition "Sample Platter - Contemporary Ceramic" at the Guggenheim Gallery at Chapman University from 3 February to 15 March 2020. 

Sample Platter shows the work of 20 artists investigating the medium of ceramics. Experienced ceramicists who have been exploring the matter and material for years and sometimes decades are represented as well as artists who recently began working in clay or consider ceramics an extension of their practice.

Leonardo Drew is included in "Accidents (Part II)" at Pearl Lam Galleries Hong Kong from 3 February - 25 April 2020.

"Accidents [Part II]" examines the margins of meaning and investigates the potentials that lie beyond the original intention of the artist. 

Leonardo Drew's public installation, "City in the Grass," is on view at the NCMA's Ann and Jim Goodnight Museum Park from 1 February - 7 Semptember 2020. 

"City in the Grass," Drew’s first major outdoor sculpture, is both an abstracted cityscape and a colorful flying carpet. Over 100 feet long and 30 feet wide, the work is composed of aluminum panels covered in a mosaic pattern of colored sand, mimicking a Persian carpet. 

Dave Muller is included in the exhibition "New Images of Man," curated by Alison M. Gingeras, at Blum & Poe, Los Angeles from 1 February to 14 March 2020. 

This exhibition revisits and expands upon the Museum of Modern Art’s eponymous 1959 group exhibition curated by Peter Selz that brought together artists whose work grappled with the human condition as well as emerging modes of humanist representation.

Part homage, part radical revision, this two-floor presentation reconstitutes emblematic figures from the original MoMA line up of artists while simultaneously expanding outwards to include those of the same generation and period who were overlooked in the midcentury. This reprisal features forty-three artists hailing not only from the US and Western Europe, but also Cuba, Egypt, Haiti, India, Iran, Japan, Poland, Senegal, and Sudan.

Tony Feher is included in "Color. Theory. & (b/w)" at the Sarasota Art Museum, Florida from December 2019 to July 2020.

This is the first installation of an ongoing investigation into the art and science of color. The subject of color theory allows us to look at wide range of ideas, from cognitive science to philosophy to literature, while marveling at the seductive and confounding ways in which artists wrestle with color.

Gary Simmons is included in "between the sun and the moon" at the Lahore Biennale, Pakistan from 26 January - 29 February 2020. 

The second Lahore Biennale (LB02) builds on the success of the inaugural Lahore Biennale of 2018 (LB01), fostering new linkages with the wider region. LB01 focused on the local, national and the South Asian context. LB02 consolidates these ties and foregrounds new relations with Central Asian, West Asian, and African contexts. It does so by bringing significant artistic forms and projects to Lahore, and commissioning new works by artists who have not previously engaged with the city.

Zoe Leonard is included in the exhibition "On the Politics of Delicacy" at Capitain Petzel, Berlin from 24 January to 22 February 2020.

Capitain Petzel is pleased to announce the group exhibition On the Politics of Delicacy conceived around the Robert Anton Theatre Collection. At Capitain Petzel, curator Anke Kempkes contextualises the oeuvre of Robert Anton for the first time by unfolding thematic trajectories that resonate with his work, namely the politics of the home theatre, surrealist political theatre, the concept of ‘monstrosity’ in postwar female avant-garde sculpture, a new female painterly symbolism, and queer performativity in times of political polarization.

Caragh Thuring is included in the exhibition "Slow Painting" at The Levinsky Gallery at the University of Plymouth, UK from 24 January to 28 March 2020. 

"Slow Painting" is an exhibition of paintings that take their time, and invite us to do the same. Curated by writer and critic Martin Herbert, the exhibition features 19 artists, primarily British or UK based, whose work spans a myriad of styles and applications, from figuration to abstraction. 

Rodrigo Cass is included in the exhibition "Cities in Dust" at Fortes D'Aloia & Gabriel, Sao Paulo from 23 January to 21 February 2020.

 The exhibit is comprised of photos, paintings and sculptures by 15 of the artists represented by Fortes D’Aloia & Gabriel, which share a particular focus on urban morphology and its contemporary phenomena.

Erica Deeman will be included in the "Re-Imagining Equity in the Art World 2020" panel presented by ArtTable at Untitled Art Fair, San Francisco, on 18 January 2020. 

Three noted San Francisco artists working in diverse media will discuss their art practices, concerns and challenges, and where the equity movement might lead in coming years. Featuring artists Indira Allegra, Katherine Vetne and Erica Deeman, as well as Heidi Rabben, Senior Curator at the Contemporary Jewish Museum. The conversation will be moderated by James Voorhies, Chair, Graduate Program in Curatorial Practice, California College of the Arts, with an audience Q&A to follow. 

During FOG Art + Design 2020,  artist Rosana Castrillo Díaz, Chef Corey Lee, and store owner Sam Hamilton will participate in a conversation about the crossovers of art and how it blurs and blends in their respective arenas. The conversation will be moderated by Gallerist Anthony Meier.

Artist Teresita Fernandez whose wall mosaic titled "Viñales (Mayombe Mississippi)" is among the works in the Besthoff Sculpture Garden, will discuss the influences that shape her art during The Helis Foundation Artist Talk series on Wednesday January 15 at 6 pm.

Zoe Leonard is in the exhibition "Just Another Story about Leaving" at Kunsthaus Glarus, Switzerland from 12 January to 1 March 2020. 

The exhibition is about the collections of the Glarner Kunstverein, curated by Michèle Graf, Selina Grüter and Sveta Mordovskaya in collaboration with Stefan Wagner.

Teresita Fernández will be included in "Visionary Aponte: Art & Black Freedom" at Vanderbilt University Fine Arts Gallery from 9 January - 8 March 2020.

"Visionary Aponte: Art and Black Freedom" takes as its point of departure an extraordinary—and now lost—historical artifact: a so-called “Book of Paintings.” Its creator was José Antonio Aponte, a free black carpenter, artist, and former soldier who was also the leader of an ambitious antislavery conspiracy in Cuba in 1812. From this starting point, twenty contemporary artists have reimagined Aponte’s book for our present, inviting us to think about the role of art and history in making social change.

The Hammer Museum is pleased to announce that  Leonardo Drew will present a large-scale installation for the Hammer's lobby wall. As part of their special project series, Drew will rework a recent piece made from roofing material, wood, and sandpaper. Evocative of the cycle of decay and erosion characteristic of any densely urban environment, the monumental arrangement of material draws a physical connection with the viewer as it invades and recedes in and out of our field of vision.

The exhibition of Larry Bell's work, "Cubic Propositions," will be on view at the Harwood Museum of Art, Taos, NM from 13 December 2019 to 27 September 2020. On the occasion of Larry Bell's eightieth birthday, the Harwood Museum presents a few examples of a prominent theme in his body of work: the cube. From the moment he entered the studio in 1959 and continuing through the present day, the cube has been a means to explore light, space and surface.

Gary Simmons is included in "Inaugural Exhibition" at The Rubell Museum, Miami which opened 4 December 2019 and is ongoing.

The Rubell Museum announced that its new campus will open on December 4, 2019 with a museum-wide installation of works that chronicle key artists, moments, and movements in vital arts centers over the past 50 years. The inaugural exhibition encompasses more than 300 works by 100 artists, providing one of the most far-ranging museum exhibitions of contemporary art ever presented. Drawn entirely from their expansive collection of over 7,200 works by more than 1,000 artists, the exhibition features defining and seminal works by artists whom the Rubells championed as they were first emerging (often becoming the first collectors to acquire their work) and those who had been overlooked.

Janine Antoni's video installation, "Touch," will be on view during Miami Art Week (2 - 8 December) at Faena Festival: The Last Supper. The festival is an exploration of the connections between spirituality and food, and a platform for congregation through contemporary rituals. 

Antoni’s "Touch" will be presented in the Mobile Installation Series, screened daily from 12 – 6 PM on a billboard boat off South Beach. "Touch" is a video in which Janine Antoni set-up a temporary tightrope on the beach in front of her childhood home. Through the camera, the line of the tight rope appears parallel to the ocean’s horizon as Antoni walks back and forth. Under her weight, the wire dips to touch the horizon allowing Antoni to balance there for just a moment.

David Zwirner is pleased to present an exhibition of new work, "The Anchor Hits the Sand," by Jockum Nordström (b. 1963) at the gallery’s London location from 22 November to 20 December 2019. The exhibition will feature a new immersive environment that plays with light, shadow, and movement, as well as a range of new collages and works on paper. 

Expanding on the characteristic motifs and imaginative spirit that have come to define the artist’s broader oeuvre, Nordström’s light and shadow environments  employ a cast of objects within a fantastical and psychologically charged environment that is at once vaguely familiar, evocative, and meditative. 

Galeria Luisa Strina is pleased to announce that an exhibition of Caragh Thuring's work will be on view from 20 November 2019 - 24 January 2020. 

In her first solo exhibition in Brazil, the London-based artist brings together works that synthesize all her recent lexicon of recycled images: volcanoes, ships, tartan, brickwork, appropriated silhouettes of fashion ads, and even a photographed fragment of a painting by Frans Hals. 

Tony Feher is included in the exhibition "Doubles" at Hiram Butler Gallery. The exhibition will be on view from 16 November 2019 - 11 January 2020. 

Tony Feher is in ""Furniture of Desire: Bader Deschenes Feher Levine" at Lie Lay Lain Gallery, New York. The exhibition will be on view from 16 November to 19 December by appointment. 

Lie Lay Lain’s first exhibition, titled "Furniture of Desire", starts as a location, an apartment, and the clear understanding that the space is filled with objects and people that we desire to keep close. The artists in the show either similarly collect or fashion materials and concepts that are reflective, thoughtful, productive, attractive. 

Zoe Leonard is included in the exhibition "Elements of Vogue: A Case Study of Radical Performance" at the University Museum of Chopo". The exhibition will be on view from 15 November 2019 through 7 March 2020. 

Curated by Sabel Gavaldón and Manuel Segade, the show takes voguing, Afro-Latin folk dance and queer culture, as a case study to understand the emergence of the pose as a form of resistance and its ability to articulate new social formations.

Erica Deeman will be included in "Sense of Self" at the San Jose Institute of Contemporary Art from 9 November 2019 to 15 March 2020. 

Presenting subjects who have been historically excluded and misrepresented reclaims their identities and reinserts them into art discourse. "Sense of Self" celebrates the power of contemporary photographic portraiture to spark empathy, break down barriers, and subvert assumptions.

Deeman’s Brown series will be presented in an immersive installation that questions insidious assumptions about race, and how we read faces based on our own visual expectations and historic portrayals. 

Lehmann Maupin is pleased to announce "In Focus: Teresita Fernández" on view now through 4 January 2020. This special installation debuts the artist’s most recent series, Dark Earth, begun in 2019. The presentation will feature four panels made of solid charcoal on chromed metal that delve deeper into the artist’s interest in the buried, layered, and often violent histories of landscape and place.

Merging the conceptual and the material within her Dark Earth series, Fernández sculpts raw charcoal into sumptuously textured, abstracted images that challenge conventional notions of landscape art traditions. These panoramic landscape scenes expand and contract to suggest ancient mountain ranges, bodies of flowing water, subterranean minerals, radiant skies, and the immensity of the cosmos. Fernández’s sense of the landscape suggests not only the physicality of the land, but also the history of human beings who have carefully cultivated it, or abused it, and the subsequent erasure that continues to shape our present-day perceptions of the people and places around us.

Marianne Boesky Gallery is pleased to present Donald Moffett's exhibition "ILL (nature paintings)" from 7 November - 21 December 2019 in New York. In "ILL", Moffett takes up an array of references, from pictographic bleached sea corals, to scans of the human brain, to the vast galaxies spinning deep within the night, blue sky.

Produced in a range of colors, from deep black to crisp white, these abstracted organic forms serve as guideposts to a much-needed discussion on how we have found ourselves in the predicaments of today. The featured works also continue Moffett’s vision to break free the canvas from its rectangular confines and the wall. The paintings, which extend forward into space on steel supports, are in instances perforated, punctured, and inflated. Their resin surfaces range from the high gloss pours seen in any fallow field, to a new matte finish that absorbs and softly reflects the light, while also revealing unexpected infiltrations of color. Despite the ominous undertones, the works in ILL offer important pockets of brightness, as they capture a kaleidoscope of material diversity—one that stands in for the diversity of the world, a world that can yet change, yet again.

Tony Feher in "Raid the Icebox Now with Nicole Eisenman: Tonight We Are Going Out And We Are All Getting Hammered" at the RISD Museum from 1 November 2019 to 19 July 2020. 

This installation plucks these works from the chronology of art history and gives them space to step forward and claim their seats in sonder with us, helping us to realize that each one has a life as vivid and complex as our own. Inside Kiki’s Backdoor, a faux-bar exhibition space, works from the RISD Museum’s collection, ranging from medieval to contemporary, are arranged to draw attention to their humanity.

Gary Simmons will be included in the exhibition "Reflections: Matt Black x Gana Art" at Gana Art Center, Seoul, Korea. The exhibition will be on view from 1 November 2019 - 12 January 2020.

In collaboration with filmmaker and curator, Matt Black, this exhibition is centered around his film titled “Reflections.” Through his interviews with Taryn Simon, Robert Longo, Jeff Koons and more, Matt Black demonstrates the rapidly changing trend of the contemporary art scene and successfully draws honest stories behind their artworks.

Jockum Nordström is included in the exhibition "Kees Goudzwaard - Jockum Nordström - Bart Stole - Mircea Suciu" at Zeno X Gallery from 30 October to 14 December 2019. 

Tavares Strachan is included in the exhibition "Soft Power" at the SFMOMA from 26 October 2019 to 17 February 2020. 

The exhibition SOFT POWER is about the ways in which artists deploy art to explore their roles as citizens and social actors. Appropriated from the Reagan-era term used to describe how a country’s “soft” assets such as culture, political values, and foreign policies can be more influential than coercive or violent expressions of power, the title contemplates the potential of art and offers a provocation to the public to exert their own influence on the world. Taken together, the works in SOFT POWER demonstrate what cultural theorist and filmmaker Manthia Diawara has called a solidarity between intuitions — a concept that acknowledges the complexity, darkness, and opacity from which our reality emerges — that expresses the poetry and imagination of our differences.

Sarah Cain will be included in "Driving Forces: Contemporary Art from the Collection of Ann and Ron Pizzuti" at the Pizzuti Collection of the Columbus Museum of Art from 26 October, 2019 to 8 March, 2020. 

With work by more than 50 artists from more than 20 different countries, "Driving Forces" features a wide-range of work that not only responds to, but helps shape contemporary culture. Work by artists who influenced the direction of twentieth-century art are joined by others who are helping to define what art means in the twenty-first.

Perez Art Museum Miami is pleased to present Teresita Fernández: Elemental. The exhibition will be on view from 18 October 2019 to 9 February 2020. It offers visitors an unparalleled opportunity to experience numerous works by one of the nation’s leading contemporary artists. The exhibition tells the story of a creator who, through her practice, reflects and challenges perceptions of the natural world and the U.S. social order, and asks viewers to contemplate their roles with those spaces. The retrospective will introduce visitors to the artist’s large-scale sculptures, installations, and mixed media works that merge formal and conceptual aspects of her practice through the use of natural materials and the historic genre of landscape to reinterpret relationships between nature, history, and identity. The show will travel to Phoenix Art Museum afterward.

Teresita Fernández and Leonardo Drew will be included in the exhibition "Waking Life" at Ruby City, San Antonio, TX. "Waking Life", the inaugural exhibition for Ruby City, San Antonio's massive new contemporary arts center, will feature works from the Linda Pace Foundation collection and give visitors the chance to see some of the world's greatest contemporary artists. The exhibition will be in three parts, and was curated by Kathryn Kanjo, director and CEO of the Museum of Contemporary Art San Diego. 

Janine Antoni is in the exhibition, "How We Live: Selections from the Marc and Livia Straus Family Collection," at the Hudson Valley MOCA. The exhibition will be on view from 12 October 2019 to 6 December 2020.

Comprised of thirty-seven artists representing twenty-one countries, this exhibition explores the ways in which artists simultaneously bring the world around them into their practice, while in turn influencing the world and environment with their work.

The Contemporary Art Museum, Raleigh, NC is pleased present an exhibition of works by artist Rosana Castrillo Díaz. The exhibition will be on view from 4 October 2019 to 12 January 2020. 

St. Joseph's Art Society is pleased to present an exhibition of Erica Deeman's photography. The exhibition will be on view in San Francisco, CA from 1 October 2019 - 31 January 2020.

This September Cain will unveil a major public work of her own, a 150-foot-long series of 37 vividly colorful stained-glass windows, funded by the San Francisco Arts Commission, which she hopes will inspire passers-by in an equally unlikely setting: the new AirTrain terminal at the city’s international airport. The completed work will incorporate panes of glass in over 270 colors, framed in soldered zinc, which Cain has painstakingly arranged so that no two adjoining fragments are the same shade. “If a work is going to span that much space, you want the viewer to keep discovering things,” she says.

Gary Simmons and Leonardo Drew in "Generations: A History of Black Abstract Art" from the Joyner/Giuffrida Collection at the Baltimore Museum of Art from 29 September 2019 - 19 January 2020. The exhibition offers a sweeping new perspective on the contributions black artists have made to the evolution of visual art from the 1940s to the present moment. Artists featured include pioneers of postwar abstraction once overlooked by history, such as Norman Lewis, Alma W. Thomas, and Jack Whitten, as well as artists from a younger generation such as Kevin Beasley, Mark Bradford, Martin Puryear, Lorna Simpson, and many others.

Dave Muller will be included in the exhibition "Cosmic Rhythm Vibrations" at the Nasher Museum of Art at Duke University from 28 September 2019 - 1 March 2020. This exhibition highlights works from the Nasher Museum collection that engage visual and musical rhythm. As wide-ranging objects that reference the power of rhythm and music to transcend earthly concerns, collectively they become cosmic in their vast reach and otherworldly magnetism.

Kristen Morgin will be included in "Total Collapse: Clay in the Contemporary Past" at The Rubin Center for Visual Arts at the University of Texas, El Paso from 26 September to 13 December 2019. Organized around ideas exploring the function of the ceramic object as an anthropological devise and early human technology, the exhibit features work in sculpture, performance, and site-specific installation. The exhibition further examines the value of the ceramic object, as an artifact with sociopolitical potential, but also puts into question the role of contemporary mass-produced ceramic objects and their impact on future histories.

Larry Bell is included in the group exhibition "LA to Taos" at 203 Fine Art, Taos, NM from 21 September - 28 October 2019. The exhibition will be accompanied by a reception on 21 September from 5-8 pm. "LA to Taos" is an exhibition recognizing and honoring the achievements of four artists, Larry Bell, Ron Cooper, Ronald Davis and Ken Price, who have all made significant contributions to the evolving art colony of Taos. Between 1970 and 1990, each of the four artists made the unlikely move from Los Angeles to Taos, New Mexico, where they continued to live and work in the ensuing decades. Although their approaches to artmaking span various disciplines and methods, they share a penchant for rule-breaking and innovation.

Janine Antoni will install her work "I am fertile ground" at the Green-Wood Cemetery Catacombs, Brooklyn, NY opening 21 September 2019. In the historic setting of the Cemetery’s Catacombs, artist Janine Antoni will present her newest installation, 'I am fertile ground'. For nearly three decades, she has used the body, most often her own, as a tool to produce her sculptural, photographic, and performative work. I am fertile ground continues and expands on this theme in her practice, connecting Antoni’s study of emotionally resonate gestures with artworks inspired by religious icons. Each object on display pays reverence to a gesture Antoni has amplified through her body and that of others, rendering the body as both exalted and fragile.

Leonardo Drew in "Cycles: From the Collections of Jordan D. Schnitzer and His Family Foundation" at the Museum of Contemporary Art, University of Massachusetts, Amherst from 20 September - 8 December 2019. Leonardo Drew’s prints, at once powerfully large yet fragile, test the versatility of the medium, transforming cotton paper pulp and pigment into what suggests densely populated cities, a forest, or an urban wasteland. Much like his sculptural installations in wood, Drew starts with a raw material, transforming and reconstructing its essence until it resembles debris. Through this process, the artist articulates diverse histories of chaos, and cycles of birth and death.
 

Zoe Leonardo is included in the exhibition "Maneuver" at the Artist's Institute at Hunter College from 18 September to 14 December 2019. The works on view in "Maneuver" by Zoe Leonard, Sarah Charlesworth and Rosemarie Trockel, like others in the exhibition, take their point of departure and reference from woven forms. That said, the strategies these very different artists adopt—their close engagement with the technical apparatus mobilized to realize their conceptions—aligns with Anni Albers’ practice in later work, and so reveals new facets to her legacy.

Joseph Havel exhibition, "Parrot Architecture," at Hiram Butler Gallery, Houston, TX will be on view from 14 September to 26 October, 2019. There will be an opening reception to honor the artist on 14 September from 11 am - 1 pm. 

Zoe Leonard is included in the group exhibition "Still I Rise: Feminisms, Gender, Resistance - Act 3" at Arnolfini, Bristol from 14 September - 15 December 2019. "Still I Rise" is a timely exhibition focusing on the his/herstory of resistance movements and alternative forms of living from a gendered perspective. With over 100 exhibits by some 70 practitioners, Still I Rise presents the way in which resistance has been approached by visual artists, writers, architects, designers, activists, working as individuals or in groups.

Janine Antoni will be included in the exhibition "Don't Touch Me: Acts of Faith" curated by Precious Okoyomon and Quinn Harrelson and on view at Robert Grunenberg, Berlin from 13 September - 20 October 2019. There will be an opening reception on 12 September 2019 from 5 - 9 pm. 

Zoe Leonard in "Histories of our Time: On collective and personal narratives" at Kunsthaus Baselland from 13 September - 10 November 2019. At the core of this exhibition are different artistic stories, personal narratives and engagements with recent history as forms of gaining understanding. In various different ways they deal with the history of a country as well as a personal history or, as the case may be, their viewpoint or commentary on, or memories of, contemporary events.

Zoe Leonard will be included in "Queer Forms" at the Katherine E. Nash Gallery at University of Minnesota from 10 September - 7 December with an opening reception on Saturday, September 21 from 7-10 pm. "Queer Forms" is part of a network of artistic and intellectual activity planned at the University of Minnesota and in the community. This multidisciplinary group exhibition and series of public programs that investigate and celebrate the history, politics and culture of LGBTQ+ Liberation across a range of artistic forms and perspectives. 

Zoe Leonard included in the exhibition "How the Light Gets In" at the Johnson Museum of Art at Cornell College. The exhibition is on view from 7 September to 8 December 2019.

"how the light gets in" presents mainly post–9/11 artworks that address conditions of mobility, vulnerability, and the loss of and yearning for home. The exhibition brings together an international group of 58 artists and artist teams and collectives, ranging in age from their twenties to their nineties and representing 29 countries of birth and residence. Their work engages with themes of migration, immigration, displacement, and exile.

Sarah Cain will be included in the exhibition "The light touch" at Vielmetter Los Angeles from 7 September - 19 October 2019. The exhibiition will feature the works of artists Math Bass, Sadie Benning, Linda Bessemer, Sarah Cain, Iva Gueorguieva, Caitlin Lonegan, Yunhee Min, and Monique van Genderen. 

Zoe Leonard is included in the exhibition "Axis Mundo: Queer Networks in Chicano L.A." at Williams College Museum of Art from 6 September to 9 December 2019, and also at The Gund Gallery at Kenyon College from 17 January to 12 April 2020. 

Axis Mundo: Queer Networks in Chicano L.A. is a traveling exhibition that explores the intersections among a network of over fifty artists. This historical exhibition is the first of its kind to excavate histories of experimental art practice, collaboration, and exchange by a group of Los Angeles based queer Chicanx artists between the late 1960s and early 1990s. While the exhibition’s heart looks at the work of Chicanx artists in Los Angeles, it reveals extensive new research into the collaborative networks that connected these artists to one another and to artists from many different communities, cultural backgrounds, sexual orientations, and international urban centers, thus deepening and expanding narratives about the development of the Chicano Art Movement, performance art, and queer aesthetics and practices.

Corbett vs Dempsey is pleased to announce Builder, an exhibition of Caragh Thuring's work. The exhibition will be on from 6 September - 12 October 2019 with an opening reception on Friday, 6 September from 6-8 pm. 

Zoe Leonard will be included in "United by AIDS––An Exhibition about Loss, Remembrance, Activism and Art in Response to HIV/AIDS" at the Migros Museum for Gegenwartskunst on view from 31 August - 10 November 2019. The extensive group show sheds light on the multifaceted and complex interrelation between art and HIV/AIDS from the 1980s to the present, examining the blurred boundaries between art production and HIV/AIDS activism and showcasing artists who played and still play a leading role in this discourse. The exhibition seeks to untangle the complex and diverse narratives around HIV/AIDS and discuss their fragility in a contemporary perspective.

Leonardo Drew will be included in "Afterlives of the Black Atlantic" at the Allen Memorial Art Museum at Oberlin College from 20 August 2019 - 24 May 2020. 

Afterlives of the Black Atlantic brings together works from the United States, Europe, Latin America, the Caribbean, and Africa that collectively explore the complexities of memory, identity, and belonging in the wake of the transatlantic slave trade. Drawn largely from the AMAM collection, with the addition of several loans and a site-specific commissioned work by José Rodríguez, Afterlives places contemporary artworks in dialogue with historical objects, contextualizing the concerns of artists investigating this history and its continued relevance. 

Larry Bell will welcome visitors to his Venice Beach studio for an artist talk on Saturday, 17 August 2019 at 7 pm. Larry Bell's work reflects a lifelong investigation into the properties of light. His passion for playing with those properties with reverence and spontaneity belies and even defies the impressively technical nature of his practice. Given that his most popular works trade in optical illusion, this rare opportunity to speak with Bell at the place where the magic happens reveals the very analog, tactile, material experiments behind the quiet dazzle of the work.

We are pleased to announce that Joseph Havel will be included in the group exhibition "Place" at Hiram Butler Gallery, Houston, TX from 17 August - 28 September 2019. The exhibition will also include Jane Benson, Leslie Hewitt, Rick Lowe and Clarissa Tossin. 

Richard Hoblock will have a solo exhibition “Outside My Window” at 295 Artspace, Orient  NY, 16-18 August 2019. The show will consist entirely of smaller oil paintings on wooden panels.

Tony Feher is included in the exhibition "Specters of Disruption" at the de Young Museum, San Francisco from 15 August - 10 November 2019. The exhibition is the result of an inquiry into the shared encyclopedic collections of the de Young and Legion of Honor museums, performed with an eye toward patterns that might suggest a storyline within a collective institutional subconscious. Drawing from their historic holdings and re-contextualizing them with modern and contemporary art, "Specters of Disruption" connects the museums’ colonial and geological underpinnings to the current conditions of the Bay Area and the evolving trajectories of American art histories.

Gary Simmons will be included in the exhibition "Direct Message: Art, Language, and Power" at the MCA Chicago from 26 October 2019 - 12 January 2020. The exhibition focuses on the ways artists reveal patterns within communication, exploring how shared media platforms shape our lives. Proceeding from a belief in the power of language as the basis for our outlook and actions, the exhibition considers the ways artists rearrange and reconfigure communication structures as starting points for social critique and political inquiry.

Larry Bell will be included in "It's All Black & White" at the Frederick R. Weisman Museum at Pepperdine University from 27 August - 8 December 2019. A special opening reception will be held Sunday, September 15 from 4-6 p.m., and Foundation Director Billie Milam Weisman will host a walkthrough at 4 p.m. 

This exhibition focuses on how contemporary artists since 1970 have used black and white. The majority of the works are American, with a special focus on works from California. Included are seminal movements such as Pop Art, Process Art, Light and Space, New Figuration, Appropriation Art, Expressionism, and more. 

Leonardo Drew has been comissioned by the San Francisco Arts Commission to create a public installation, "Number 69S," 2019, for the San Francisco International Airport Harvey Milk Terminal 1. Adorning one of Boarding Area B’s prominent bulkheads is a multi-layered installation by Drew. Comprised of hundreds of small sculptural elements derived from remnants of past artworks and other recycled materials, the installation forms a massive galaxy that spans three walls. Recycling is integral to the artist’s desire to never let anything go to waste. The artwork reflects the enormous cross-section of people passing through SFO who carry with them a multitude of life experiences and cultures.

Donald Moffett will be included in the exhibition "Painting/Sculpture" at Marianne Boesky Gallery in Chelsea, New York from 10 July - 9 August 2019. The exhibition will explore contemporary painting and its relationship to the formal and conceptual language of sculpture. Painting/Sculpture will include works realized as three-dimensional sculpture, but understood intrinsically as paintings, as well as two-dimensional works that create the illusion of volume and layers. Together, the works capture ongoing questions about how we draw the lines between artistic practices.

Caragh Thuring will be included in the exhibition "Vesuvio quotidiano, Vesuvio universale" at the Certosa di San Martino - Campania Museum Polo, Naples, Italy from 5 July - 29 September 2019. Focusing on depictions of Mount Vesuvius throughout art history, the exhibtion will present around 100 works from the sixteenth century to the present day.

The Contemporary Art Museum of Raleigh, NC is pleased to present a solo exhibition, entitled Black and Light, of new work by Marsha Cottrell this summer. 

Larry Bell will be included in the exhibition "Twenty-Five Years" at Peter Blake Gallery, opening 30 June 2019. Peter Blake Gallery is pleased to commemorate its twenty-fifth year with an exhibition of the gallery’s historic West Coast Minimalism collection.

Zoe Leonard will be included in "The Warmth of Other Suns: Stories of Global Displacement" at the Phillips Collection, Washington, DC from 22 June - 22 September 2019. Curated by Massimiliano Gioni and Natalie Bell in partnership with the New Museum, New York, the exhibition presents 75 historical and contemporary artists 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 will bring together a multitude of voices and expose the universality of migration as an experience shared by many.

Leonardo Drew will be participating in a symposium presented by Madison Square Park Conservancy and School of Visual Arts on "Innovating Public Art" at the SVA Theatre on Friday, 21 June 2019 from 9 am to 12 pm.

Zoe Leonard will be included in the exhibition "In-visible Realness: 50 Jahre nach Stonewall" at PS120, Berlin from 20 June - 19 July 2019. PS120 is an independent non-profit art space exhibiting emerging artists side by side with historic works by established artists. The mission of the space is to draw unexpected links across generations and territories through new modalities of curation, scholarship, and criticism. The exhibition will examine the Stonewall protests and the 50 years of art production since. 

Zoe Leonard will be included in the exhibition "Transamerica/n: Gender, Identity, Appearance Today" at the McNay Art Museum, San Antonio, TX from 20 June - 15 September 2019. The exhibition celebrates the authentic, beautiful, and vulnerable voices of contemporary, North American artists who express their true selves through a broad gender spectrum. Some of the artists identify as LGBTQ+, and some do not. The art in Transamerica/n speaks to family, community, self-discovery, and ultimately identity. 

Zoe Leonard will be included in the exhibition "Morrison and Rice" at Steven Harvey Fine Art Projects from 19 June - 20 July 2019. HFAP presents a two person exhibition of Richard Morrison(1948-2015) and Bill Rice (1932-2006). The two artists were close friends and collaborators for twenty-five years. This show includes major works from their estates and private collections. In the rear gallery there will be a selection of works by their peers and friends including Peter Hujar, David Wojnarowicz, and Zoe Leonard.

Donald Moffett and Zoe Leonard will be included in the exhibition "Manifesto: Art x Agency" at The Hirshhorn Museum and Sculpture Garden on view June 15–Jan. 5, 2020. Organized by the Hirshhorn’s Chief Curator Stéphane Aquin and comprising more than 100 works of art and ephemera created over a hundred-year period, “Manifesto: Art x Agency” explores how artists used manifestos to engage with the political and social issues of their time and how contemporary practices still employ art as a tool in the making of history.

Jim Hodges will be included in in "Seeing Things as They Really Are: Three-dimensional Paperworks" at Dieu Donné, New York from 13 June - 8 September 2019. This group exhibition mines the archive at Dieu Donné to examine the organization’s rich legacy of sculptural and three-dimensional papermaking. The choice to create dimensional works in paper pulp is not just for the material’s aesthetic and physical qualities, but for the powerfully subversive, humorous, political, and emotional associations that paper and the printed word embody. This exhibition focuses on works whose overlooked and underappreciated subject matter are imbued within these inherent associations with paper: objects like plastic bags, cardboard, chains, plastic tubing, dishrags, and CDs.

Zoe Leonard will be included in "Kiss My Genders" at the Hayward Gallery at Southbank Centre, London from 12 June - 8 September 2019. Spanning the past 50 years, the exhibition will bring together over 100 artworks by artists from around the world who employ a wide range of approaches to articulate and engage with gender fluidity, as well as with non-binary, trans and intersex identities.
 
Working across photography, painting, sculpture, installation and video, many of the artists in Kiss My Genders move beyond a conventional understanding of the body, and in doing so open up new possibilities for gender, beauty and representations of the human form.

Gary Simmons will be included in the exhibition, 'Get Up, Stand Up Now: Generations of Black Creative Pioneers', at Somerset House, London, UK. This summer, Somerset House celebrates the past 50 years of Black creativity in Britain and beyond, in a major new exhibition spanning art, film, photography, music, literature, design and fashion.

Tony Feher included in the exhibition "Celebration of Our Enemies: Selections from the Hammer Contemporary Collection" at the Hammer Museum, Los Angeles from 9 June - 8 September 2019. This selection of video, sculpture, and photography from the Hammer’s Contemporary Collection presents an intergenerational group of artists whose works rarely have been exhibited together. "Celebration of Our Enemies" embraces the concept of the enemy as an inherent part of art’s character and provides a context in which friends and enemies, collaborators and competitors, lovers and loved ones can cohabitate in the warm glow of the museum’s galleries.

Tony Feher will have a solo exhibition at Pymouth Rock in Zurich, Switzerland from 7 June - 22 July, 2019. Feher was one of the most rigorous and innovative sculptors of the past three decades. From his emergence in the late 1980s to his death of AIDS related illnesses in 2016 he manipulated the detritus of the human landscape, constructing sculptures that maintained an intrinsic poetry as they dealt directly with an everyday minimalism of shape, color and form. 

The exhibition is co-curated with the artist Wyatt Kahn. Kahn worked for Feher from 2010-2012 and Feher became both a mentor and close friend of Kahn’s up until his death.

Janine Antoni will be included in the exhibition "Artists I Steal From" - curated by Alvaro Barrington and Julia Peyton-Jones at Galerie Thaddaeus Ropac in London and on view from 5 June until 9 August 2019. "Artists I Steal From" is an exhibition about looking at art through the eyes of an artist. Artists have always borrowed from one another; however, few are as candid about their sources – about who they steal from and why – as the artist Alvaro Barrington (b. 1983, Caracas, Venezuela). "Artists I Steal From" brings together works by 49 artists, some of whom have never been shown in the UK before, some who are considered to be among the greatest artists of our time. All have directly influenced the way Barrington creates, thinks and sees, and all have perfected techniques or solutions that he has been inspired to ‘steal’.

Leonardo Drew has been commissioned to create a new public project for the Park next spring. Marking the Conservancy's 38th commissioned exhibition and the artist's first major public art project, City In the Grass will present a topographical view of an abstract cityscape atop a patterned panorama. Building on the artist's signature technique of assemblage and addictive collage, the 100-foot long installation will be Drew's largest and most ambitious work to date, incorporating new materials and a new conceptual premise. City in the Grass will be on view from 3 June 2019, through the fall of 2019, at the Park's Oval Lawn.

For City in the Grass, Drew has conceived of an expansive aluminum structure that will undulate along the Park's lawn following the subtle slopes and valleys. Meticulously layered with a mixture of multicolored sand and dirt, the structure will mimic a patterned carpet as its coarse, decorative surface gathers and folds, reflecting the artist's interest in East Asian decorative traditions and global design more broadly. In various sections the artist will install wood reliefs emerging from the undulating waves, reminiscent of aerial views of protruding cityscapes.

Pizzuti Collection of the Columbus Museum of Art (Pizzuti Collection of CMA) is proud to announce "Jim Hodges", on view June 1 – September 22, 2019. This exhibition features more than thirty works by Jim Hodges from the collection of Ron and Ann Pizzuti.

Hodges is among a generation of artists who came of age in the 1980s and 90s amidst a deepening AIDS epidemic and the continuing struggle for LGBTQ visibility and rights; love and loss are intertwined themes in his work. Whether using words and phrases, reflective materials,or photographs, Hodges’ work addresses the personal and collective experience of the body and the senses. With a highly poetic sensibility, he draws our attention to the meeting place of external objects and interior life.

Jockum Nordström is included in the exhibition "Das Kollegium" at the Grafikstiftung Neo Rauch from 26 May 2019 - 3 May 2020. The exhibition is bringing together works by 19 international artists born between 1934 and 1982, friends, companions and forerunners of Neo Rauch, who the artist invited to take part in a joint group exhibition. The exhibition focuses on graphic works, ranging from linocuts to lithographs, etchings and collages, some of which have been created specifically for the exhibition, amongst them two large format works on paper by Neo Rauch.

Janine Antoni will be included in "The Sensation of Space" at The Warehouse, Dallas TX from 20 May - 15 November 2019. This exhibition looks at the ever-expanding ways artists create sculptures that generate, activate, and occupy space in all its physical and psychological manifestations. At its foundation is a dialogue between the Raymond and Patsy Nasher Collection, one of the world’s finest collections of European and American modern and contemporary sculpture, and The Rachofsky Collection, a post-WWII collection of art from around the world with focuses in identity, process, and conceptual work. The Sensation of Space explores the material, formal, and thematic connections in works dating from the mid-19th century to the present and illustrates how artists continually seek out new ways to redefine traditional notions of sculpture.

Erica Deeman will be included in the new exhibition 'About Things Loved: Blackness and Belonging' at the Berkeley Arts Museum and Pacific Film Archive' from 17 May - 21 July 2019. 

Black culture and museum institutions have often had a negative relationship. Historically, this has included the theft of cultural objects, the appropriation of styles, and the devaluation of skilled practices, as well as the marginalization and exclusion of Black artists from exhibitions and collections. Museums have been implicated in antiblack practices that present racial difference as biological fact rather than social construction, and exclude, marginalize, and devalue Black art, Black artists, and Black life. Recognizing this, About Things Loved: Blackness and Belonging centers a diverse array of Black art in the hope of addressing these questions: To whom does blackness belong? Where does blackness belong? How can blackness belong within the museum?

Teresita Fernández has been comissioned by the New Orleans Museum of Art to create an installation piece for the new Sydney and Walda Besthoff Sculpture Garden at NOMA, which opens 15 May 2019. Fernandez will create a 60-foot-long mosaic wall for the garden's main courtyard.

Donald Moffett will be included in the group exhibtion "100 Sculptures" at anonymous gallery, Paris, France from 13 - 20 May 2019. Curated with Todd von Ammon, 100 Sculptures is as advertised: one hundred small sculptures created by over one hundred international artists. The only given framework being that no sculpture have more than a 5 x 5 inch (12.7 x 12.7 cm) footprint. This traveling, regenerative, and celebratory exhibition is a meshwork; an extremely populous show with the objective to create the most dynamic, non-hierarchical system that is possible within the limited confines of a gallery space. The one hundred (+) objects on view have the ability to interact with and decode one another freely.

Jim Hodges will be included in the exhibition, 'With a Capital P: Selections by Six Painters', at the Elmhurst Art Museum. The title is a reference to an approach that doesn’t always use paint or brush. Curated by six distinguished local painters Leslie Baum, Magalie Guérin, José Lerma, Nancy Mladenoff, Suellen Rocca, and Kay Rosen, the group exhibition consists of six rooms, each using different criteria to interpret artistic approaches and a wide-ranging conversation about process and media by artists based in the Midwest and beyond. 

José Lerma, known for works that are part art history and part personal mythology, invited numerous artists to make work on paper napkins, inspired by an installation piece from Elmhurst Art Museum’s collection by Jim Hodges. In this section of the exhibition, the ordinary material of paper napkins has been transformed through the artists’ works. 

Zoe Leonard is included in "Coordinates: Maps and Art Exploring Shared Terrain" at the David Ramsey Map Center, Stanford University from 25 April - 30 September 2019. The exhibition will feature a variety of ways in which the two porous mediums overlap in inquiries about space, both geographical and metaphorical.

Jim Hodges sculpture, Unearthed, 2015, will be on view at San Francisco's Grace Cathedral from 22 April - 8 September 2019. Unearthed is a monumental, bronze cast of an uprooted tree stump by artist Jim Hodges that will be in residence at Grace Cathedral for four and a half months. During this transitional period, the sculpture will exist in a state of refinement as it absorbs the prayerful energy generated by the faithful gathered in worship, ultimately to be partially hidden once completed, when the now exposed tangle of twisted, knotted roots will again be returned to the ground and buried as they were before the original tree stump was pulled from the earth.

To coincide with the work’s interlude at the cathedral, a program has been organized that will present a series of musical performances and a public reading that follow along narratives that echo and reflect along the varied themes that resonate from the sculpture.

Larry Bell is included in the exhibtion 'Closer Look: Intimate Scale' at the Orange County Museum of Art. Co-curated with exhibiting artist Hiromi Takizawa and the Orange County Museum of Art, this exhibition provides a focused look at small sculpture in the OCMA permanent collection. Selected for their innovative materials, playfulness in scale and function, and historic importance within the context of significant art movements and artistic careers, each artwork in Closer Look is intended to be viewed at a close distance, providing the viewer with an intimate moment to make slow and careful observations

Erica Deeman has been chosen for the Headlands Center for the Arts' 2019 Artist in Residency Program. 

5 April - 17 May 2019

Zoe Leonard's work is included in the exhibition, 'Palimsest', at Lismore Castle, Ireland. The exhibition takes as its starting point the definition of “palimpsest” - originally a manuscript or document that has been erased or scraped clean to be re-used. It has since become used to mean “something reused or altered but still bearing visible traces of its earlier form”. The exhibition will explore ideas of connections across time, how locations have multiple uses through time and multiple meanings, what endures and what disappears. The idea for Palimpsest came from the richly layered history of Lismore itself, and the verdant nature that surrounds it.

ZOE LEONARD is a New York based artist who works across photography, sculpture and installation. In 2018 she was given a mid-career survey at the Whitney Museum, New York, that travelled to The Museum of Contemporary Art, Los Angeles.

Michael DeLucia will be included in 'All That Is Solid Melts Into Air' at the Klaus von Nichtssagend Gallery, New York, NY from 29 March - 5 May. 

Larry Bell will be included in 'Glow Like That' at K11 Atelier. Light is not only a natural phenomenon but also a product of technological advancement. It is an empty signifier awaiting a narrative; it is undefined, fuzzy at the edges. Fluid and amorphous, light therefore has endless possibilities. When interacting with light, certain kinds of surfaces take on an iridescent sheen or reflect their surroundings, producing a shimmering or radiant ‘glow’. Presented by K11 Art Foundation as the first contemporary art exhibition held in Victoria Dockside, Glow Like That features 16 artists and collectives from countries including China, the US, and Japan, showcasing an impressive array of paintings, video works, sculptures, and installations. 

Leonardo Drew and Gary Simmons will both be included in Black Refractions, "a landmark initiative that explores the vital contributions of artists of African descent, proposing a plurality of narratives of black artistic production and multiple approaches to understanding these works," first at the Museum of African Diaspora in San Francisco, then the Gibbes Museum of Art in Charleston, the Kalamazoo Institute of the Arts, Smith College, Frye Art Museum, and the Utah Museum of Fine Arts. 

Shulamit Nazarian is proud to present, Close to Home, a group exhibition of four photographers that mine their personal experiences–past and present–to express moments of intimacy within larger social and political structures on view from 2 March - 6 April 2019. Engaging with the deep and complicated history of photographic portraiture, each artist renders his or her subjects in part as extensions of themselves, coded with personal and cultural references. 

Erica Deeman’s Brown series is a collection of medium format photographs that depict isolated men from the African diaspora, rendered shirtless in front of a brown backdrop that matches the color of the artist’s own skin. Injecting her own presence in the portrait of others,these deceptively straightforward imagesprovide a foil for the deleterious tropes of black male portraiture—particularly images affiliated with the practice of physiognomy and mug shots. Her subject’s gazes are quiet, vulnerable, and self-aware, carrying the power and weight of the photographic history and lineage that she is acutely referencing.

The FLAG Art Foundation is pleased to present Drawn Together Again on view February 23–May 18, 2019, featuring artwork from Jim Hodges. This survey of contemporary drawing focuses on the intimate act of drawing through the variety of traditions and practices artists employ. The exhibition of more than 120 artists eschews themes and categorization, instead favoring an intentionally broad artist list to show the strength and dynamic range of contemporary practice. At the heart of the exhibition is a fifty-foot-long salon wall that brings together unexpected dialogues between multi-generational artists with a range of backgrounds and training—from outsider artists, to those with expansive careers, to classically taught students, alumni, and faculty from The New York Academy of Art, chosen through an open call.

Gary Simmons' Recapturing Memories of the Black Ark will be included in Desert X 19 in Palm Springs, CA. On view 9 February through 21 April 2019.

De La Warr Pavilion is pleased to present the group exhibition Still I Rise: Feminisms, Gender, Resistance, Act II, with works by Zoe Leonard. The exhibition will be on view from 9 February through 2 June 2019.

Still I Rise looks at resistance across the world from a multiplicity of viewpoints, from the domestic sphere to large-scale uprisings and spanning the late nineteenth century to present. With over 100 exhibits by some 40 practiioners, Still I Rise presents the way in which resistance has been appraoched by visual artists, writers, architects, designers, activists, working as individuals or in groups. It takes place within a global context, referring to recent women-led uprisings and demonstrations, including mass protests in Argentina confronting violence against women: 'Ni Una Menos', the global Women's Strike initiated in teh US, as well as the pivotal role women played in the formation of Black Lives Matter movement. The exhibition also references key historic moments including the Civil Rights Movement, resistance against dictatorships in Latin America in the 1960s-70s, independence movements against colonial rule in Africa, the Women's Liberation Movement, the AIDS crisis and the Stonewall Rebellion. 

Gary Simmons will be included in The Chicago Museum of Contemporary Art's exhibition, "Prisoner of Love", from 26 January - 27 October 2019. Centered around this filmic journey, the exhibition features a rotating body of work from the MCA's collection (including Gary Simmons) inspired by the titular themes in Bruce Nauman's iconic neon Life, Death, Love, Hate, Pleasure, Pain. The work's title establishes the themes of three rotating groups of artwork in the exhibition’s final gallery: life and death, love and hate, and pleasure and pain.

The Contemporary Austin is pleased to present Janine Antoni and Anna Halprin: Paper Dance, on view from 26 January - 17 March 2019. Paper Dance is both a retrospective spanning thirty years of work by the New York–based artist Janine Antoni (Bahamian, born 1964 in Freeport, Grand Bahama) and a solo dance performance developed in collaboration with pioneering dancer and choreographer Anna Halprin (American, born 1920 in Wilmette, Illinois). On view on the second floor of the Jones Center, The Contemporary Austin’s downtown venue, Paper Dance consists of a wooden dance floor and thirty-nine crates containing thirty-eight works of Antoni’s sculpture and photography from 1989 to the present. During the exhibition, Antoni will present a series of performances within the gallery. Throughout each performance the artist will reposition and uncrate artworks so that the space changes and evolves over time, highlighting three exhibition cycles that address major themes of Antoni’s work: absence, motherhood, and identity.

Caragh Thuring will be included in the new exhibition, "Painter's Beach Club: Telescope", at the Jerwood Gallery from 19 January - 24 March. As curator Nigel Cooke says, "The title of the exhibition Painter’s Beach Club started the thought process - historically, there's been places for painters to gather together - the Colony Room in London where Francis Bacon and Freud used to go, the Cedar Tavern in New York where the Abstract Expressionists used to hang out. So sort of mythically there's always been these places for painters and I thought that maybe social media was like a new version of that."

Thomas Dane Gallery in Naples, Italy is pleased to present the solo exhibition Caragh Thuring: Roger, on view from 19 January through 2 March 2019. Utilising various fabrics as canvas, including sailcloth, Neapolitan tartan and woven images of her own previous works, Thuring constructs fragments of submarines, coins, plants, figures, textiles and volcanoes into compositions that explore the spatial depth and vocabulary of painting. The exhibition will be accompanied by an artist's book focused purely on Thuring's depictions of volcanoes created over the last fifteen years.

In these new works Thuring has returned frequently to the motif of tartan, both as a woven fabric and as depicted in paint. The tartan geometry acts as a two-dimensional plane and referential grid on which the syntactical elements of the painting are arranged and through which they are all connected.Thuring has continued this exploration by stretching as her canvas, a registered Neapolitan tartan produced by local draper ISAIA, a fabric producer established in the 1920s and still in operation today as a renowned tailor and menswear label. The long tradition of tailoring and cloth making in Italy and Naples here linked directly with that of Scotland where Thuring grew up, close to another industrial port city: Glasgow, much alike in its energy and vibrancy to Naples.

The Morgan Library & Museum is pleased to present the group exhibtion, By Any Means: Modern and Contemporary Drawings from the Morgan, with works by Marsha Cottrell. The exhibition will be on view from 18 January through 12 May 2019. 

Contemporary approaches to drawing are often experimental and expansive. By absorbing and building upon the legacy of avant-garde experimentation in the first half of the twentieth century, artists from the 1950s to the present have pushed beyond the boundaries of traditional draftsmanship through their use of chance, unconventional materials, and new technologies. By Any Means brings together about twenty innovative works from the Morgan’s collection, including many recent acquisitions, by artists such as Marsha Cottrell, John Cage, Sol LeWitt, Vera Molnar, Robert Rauschenberg, Betye Saar, Gavin Turk, and Jack Whitten.

Honor Fraser is pleased to present The Sun Will Not Wait, a solo exhibition of new works by Sarah Cain. The exhibition will be on view from 12 January through 9 March 2019. For The Sun Will Not Wait, the artist will create a new floor painting onsite prior to the opening along with a body of new canvases concluding with an upward view through a skylight work inspired by a major commission by the San Francisco Arts Commission for a stained-glass wall at the San Francisco International Airport to be unveiled in June 2019. 

In the paintings of Sarah Cain, spatial constraints and material pieties fall away with fearless colors, easily expanding out from canvases into installations which have in the past included furniture, clothing, jewelry, and found objects. A spirited post-minimalist, Cain crafts an abstraction intertwined with life.

Rob Reynolds will be included in "DOES IT MAKE A SOUND" at Ochi Gallery, 31 December 2018 - 18 February 2019.

Hauser & Wirth is proud to present ‘Zoe Leonard. Aerials’. Over the past three decades, the New York–based artist has created a body of work which acutely interrogates the politics and conditions of image-making and display. This exhibition, the artist’s first at the London gallery, focuses on a series of aerial photographs created in the mid to late 1980s.

Leonard’s work – at once rigorously conceptual and highly personal – has engaged with themes such as the history of photography, loss and mourning, gender and sexuality, migration, displacement, and the urban landscape. Leonard has always taken an experimental approach. With a longstanding interest in vernacular, popular, and practical uses of photography, Leonard is drawn in particular to the deadpan appearance of photographs used in science, mapping and archiving; modes of representation that are also systems for classification and interpretation. Much of her practice calls into question the impartiality of these images and the ways in which the uses of photography have altered modern visual culture. Leonard’s aerial photographs, among her earliest bodies of work, are a direct outcome of this interest, taking a perspective that alludes to surveillance and aerial reconnaissance photography. However, Leonard counters the look of traditional reportage by using composition and formal elements that underline the position of the artist and the role of the viewer in the photographic process. 

Aperture is pleased to present the group exhibition At Home: In the American West with a new work by Erica Deeman, on view from 6 December 2018 - 4 January 2019. In a year when thousands of migrant children have been sent to live in tent cities, rents for a San Francisco apartment average $3,750, and wildfires have destroyed entire communities, the question of how people define "home" has never felt more urgent. Some feel nostalgic about where they came from, some never left the towns they grew up in, and others couldn't wait to leave. At Home features a variety of emerging and established photographers who traveled through ten states in the American West and spoke to people about what, and where, home is. The series includes a formerly homeless woman who finally feels settled in her tiny house in Seattle, a single mother who found her sanctuary living off the grid in the New Mexico desert, a couple who built their dream mansion in the mountains, a DACA recipient who has proudly purchased his first home in Utah, and a Los Angeles native who feels at peace by the ocean.

This exhibtion coincides with the publication of The California Sunday Magazine's December special issue in which all stories will be told through photography, focusing on a single theme: Home.

The Museum of Contemporary Art, Los Angeles is pleased to present Zoe Leonard: Survey, on view from 11 November 2018 - 25 March 2019.

Zoe Leonard: Survey is the first large-scale overview of the artist’s work in an American museum. The exhibition looks across Leonard’s career to highlight her engagement with a range of themes, including gender and sexuality, loss and mourning, migration, displacement, and the urban landscape. More than it focuses on any particular subject, however, Leonard’s work slowly and reflectively calibrates vision and form. Using repetition, subtle changes of perspective, and shifts of scale, Leonard draws viewers into an awareness of the meanings behind otherwise familiar images or objects. A counter-example to the speed and disposability of image culture today, Leonard’s photographs, sculptures, and installations ask the viewer to reengage with how we see. 

The Institute of Contemporary Art, Miami is pleased to present the solo exhibition, Larry: Bell Time Machines, on view from 1 November 2018 - 10 March 2019. Larry Bell: Time Machines is the first comprehensive American museum survey of the artist’s work in nearly two decades. The exhibition features major bodies of Bell’s work, from the his early Cube series to his large-scale color-glass installations.

At ICA Miami, Larry Bell: Time Machines focuses attention on Bell’s innovative explorations of experiences generated by architectural space, as well as his little-known engagement with audiovisual media, including video and photography.

One of the most significant artists of his generation, Larry Bell (b. 1939, Chicago) is an important representative of a West Coast minimalism that married matter-of-fact materials and forms with intense sensorial experiences. Bell is most commonly known for his Minimalist sculptures—transparent cubes that thrive on the interplay of shape, light, and environment—that champion the ideas of the Light and Space Movement of the 1960s. Although he had early success with Abstract Expressionist painting, a side job at a frame shop led him to experiment with excess scraps of glass, thus beginning his fascination with the material’s interaction with light. Bell’s first series of cubes combined three-dimensional glass forms with transmitted light, creating illusions of perspective through angles, ellipses, and mirrors. His later purchase of industrial plating equipment allowed him to create sculptures with metallic-coated glass and, eventually, drawings on Mylar-coated paper.

Coinciding with the Museum of Contemporary Art, Los Angeles (MOCA) retrospective - 'Zoe Leonard. Survey' - Hauser & Wirth is pleased to present the gallery's first Los Angeles exhibition devoted to New York-based artist Zoe Leonard. The landmark, decade-long project, 'Analogue' (1998 - 2009) is comprised of 412 photographs that document the homogenizing effects of globalization. The photographs in this installation depict vanishing storefronts and abandoned objects, which the artist captured using obsolete technology - a vintage 1940s Rolleiflex camera - along with gelatin silver and chromogenic processes. A preeminent artist of her generation, Leonard balances rigorous conceptualism with a distinctly personal vision in her work, which encourages the viewer to reconsider the act of looking.

The exhibition in Los Angeles marks the West Coast debut of this monumental installation,, which was first shown in 2007 at The Wexner Center of the Arts, Columbus, OH.

albertz benda & Friedman Benda are pleased to present the group exhibition Under the Night Sky, on view from 25 October - 15 December 2018, featuring a new work by Rob Reynolds. The night sky remains an enduring source of inspiration. For millennia, this universal cover of darkness at once symbolizes life and death, fascination, fear, immortality, regernation, and a blank slate for our projected dreams and desires. 

Under the Night Sky explores the numerous ways in which the frontier of the night sky influences the human psyche and continues to hold artists in its grip. Spanning the spaces of Friedman Benda and albertz benda, the exhibition bring together significant works by modern, post-war, and contemporary artists and designers with a selection of seminal Central Asian rugs. The works in the exhibition engage with the night sky on both conscious and unconscious levels, featuring the interplay between literal homages to the night sky and works with looser interpretations of the theme, whose makers innately channel the emotive presence of night.

Accelerator at Stockholm University is pleased to display two works by Janine Antoni, Moor and Touch, on view from 30 October - 10 November 2018. This exhibition is made in close collaboration with Magasin II, who have lent these works from their collection. Moor and Touch present the results of two performative acts in which life situations and life stories are linked together.

Moor will be displayed in the Aula Magna gallery. Janine Antoni learned how to braid using traditional rope-making techniques. This piece is comprised of unusual and personal objects donated to the artist from multiple sources. The sculpture, which takes the form of a rope, contains everything from cat hair and dental floss to Christmas lights and plant samples. The work still continues to evolve today and is constantly being extended.

The video installation Touch, made in 2002, is a progression from Moor and will be projected on Accelerator's future entrance. In the video, Antoni is balancing on a line that runs parallel to the horizon in front of her childhood home in Grand Bahama Island. Antoni describes the training process as an exercise in feeling comfortable with being out of balance.

The Carnegie Museum of Art is pleased to present The 57th Carnegie International, on view from 13 October 2018 - 25 March 2019. Presenting work by 32 artists and artist collectives, the exhibition invites visitors to explore what it means to be "international" at this moment in time, and to experience museum joy. The pleasure of being with art and other people inspired the composition of this International- a series of encounters with contemporary art inside the world of Carnegie Museum of Art.

New York-based Zoe Leonard's participation in the International comes as a major survey moves from the Whitney Museum of American Art to the Museum of Contemporary Art in Los Angeles. Her work in photography and sculpture is often epic in scale, as in her vast installation of 4,000 vintage postcards that map Niagra Falls. Her contribution to the International is part of a new epic: to photograph the length of the Rio Grande as it forms a charged, serpentine border between the United States and Mexico.

For the second program in their collaboration with San Francisco Dance Film Festival, Catharine Clark Gallery will present the film Spirit Labour, in which Hugo Glendinning and Adrian Heathfield follow the creative practice of sculptor and performance artist Janine Antoni and her collaborations and conversations with the choreographer Anna Halprin and the writer Hélène Cixous.

Spirit Labour traces the lines of connection between these artists inclined toward elemental exposure and non-human forces. the film asks: what kind of labour is it, to work communally with the bodies, movements, expressions and affects of others, to dedicate one's lifework to the othering that issues from these relations? How might we think of these labours and affinities as forms of infrastructure?

Kerry Schuss is pleased to present the second edition of a project that began a year ago in Los Angeles, with Vol. 1: Life On Earth. That exhibition marked 40 years since NASA's launch of the twin Voyager space probes. Strange Attractors. The Anthology of Interplanetary Folk Art Vol. 2: The Rings of Saturn is a group exhibition featuring works by Yuji Agematsu, Mitchell Algus, Leilah Babirye, Lisa Beck, Jane Benson, Moki Cherry, Bruce Conner, Tony Conrad, James Crosby, Ryan Foerster, Terry Fox, Lukas Geronimas, Daan van Golden, Lonnie Holley, Mamie Holst, Chip Hughes, Candy Jernigan, Tillman Kaiser, Jutta Koether, Lazaros, Paul Lee, Dave Muller, Kayode Ojo, Nik Planck, Helen Rae, Aura Rosenberg, Sally Ross, Nancy Shaver, Philip Taaffe, Richard Tinkler, Josh Tonsfeldt, Dan Walsh and B. Wurtz.

Beeler Gallery at Columbus College of Art & Design is pleased to dedicate Season ONE to the individual art practices of the four original core members of fierce pussy, the New York-based queer art collective - Nancy Brooks Brody, Joy Episalla, Zoe Leonard, and Carrie Yamaoka. fierce pussy amplified is on view from 2 October 2018 - 17 March 2019. Formed in New York City in 1991 through their immersion in AIDS activism during a decade of increasing political mobilization around gay rights, fierce pussy brought lesbian identity and visibility directly into the streets. Low-tech and low-budget, the collective responded to the urgency of those years, using readily available resources: old typewriters, found photographs, their own baby pictures, and the printing supplies and equipment accessible in their day jobs. fierce pussy was composed of a fluid and often shifting cadre of members. Four of the original core members - Nancy Brooks Brody, Joy Episalla, Zoe Leonard, and Carrie Yamaoka - continue to work together.

arms ache avid season: Nancy Brooks Brody, Joy Episalla, Zoe Leonard, Carrie Yamaoka: fierce pussy amplified tracks each artist's work from the 1990s to the present and draws upon the collective power, shared tactics, and diversity of their works. The works, some of which will be created specifically for the season, will be installed in four movements or "chapters." Each chapter will include works from all four artists in different configurations to amplify the four art practices as living, breathing entities. It is the first time the works of the four artists are put into direct inquiry. A gallery containing artifacts and documentation of fierce pussy will be on view.

The Deutsches Hygiene-Museum is pleased to present the group exhibition Shine on Me: We and the sun, on view from 28 September 2018 - 18 August 2019. 

In the late summer of 2018, the NASA's Parker Solar Probe launched a historic mission: its goal is to get as close to the sun as never before. Almost at the same time, the German Hygiene Museum embarks on a sister mission, which approaches the sun for the first time in a major special exhibition. Join us on board and learn more about the cultural significance, the scientific insights, the unresolved mysteries surrounding the star, on which everything revolves around the world - and learn more about us humans: What did the ancient cultures of all Continents over the sun? What can solar science say today about its composition? And what influence does it have on our present, our well-being and our everyday life?

Right at the beginning of the exhibition, a large-scale art installation awaits you that is inspired by the century-old dream of space to touch the sun. From here, you'll embark on seven "orbits" orbiting the Sun from different perspectives - deity, timer and symbol, luminosity, medicine and energy source and, of course, the star at the center of our universe. 

me Collectors Room / Stiftung Olbricht is pleased to present The Moment is Eternity: Works from the Olbricht Collection, on view from 26 September 2018 - 1 April 2019. The group exhibition features works by Zoe Leonard and shines the spotlight on the photographic works in the Olbricht Collection.

Transience is one of the key themes of the Olbricht Collection. And what artistic medium other than photography could be better suited to addressing the questions of time and history that this theme throws up? Lending duration to the moment is inscribed into the very medium itself. In theis property, art and philosophy come together.

In connection with her public installation in Harvard Yard this fall, Autumn (...Nothing Personal), artist Teresita Fernández will discuss her practice and ongoing research for this major commission by the Harvard University Committee on the Arts. This event will take place on Thursday, 20 September 2018 from 6:00 to 7:30pm at Harvard Art Museums.

On view August 27 through October 1, 2018, Autumn (. . . Nothing Personal) is a site-specific work built for Tercentenary Theatre in Harvard Yard. The title references James Baldwin’s 1964 text Nothing Personal, which was published as a collaborative book with photographer Richard Avedon at the height of the civil rights movement. Fernández’s project centers Baldwin’s text as a collective reading and asks members of the Harvard and local communities to use the sculpture as a social space to read, perform, gather, and debate.

Larry Bell and Jim Melchert: Artists In Conversation
Moderated by Gay Outlaw

Tuesday 18 September | 6:30 pm

Timken Lecture Hall
California College of the Arts

Free and open to the public

Presented by Anthony Meier Fine Arts and California College of the Arts

In conjunction with
'Larry Bell: Bay Area Blues'
Anthony Meier Fine Arts
18 September - 19 October 2018
 

Parkett is pleased to present the group exhibition, A Time Capsule Revisited: A New Installation of Works Made by Women for Parkett 1984-2017" at the New Temporary Exhibition Space at Löwenbräu, Zurich. The group exhibitions has works by Zoe Leonard and will be on view from 25 August through 15 November 2018.

On the occasion of Complete Cubes, Hauser & Wirth's first exhibition devoted to Larry Bell in his hometown of Los Angeles, please join us for a discussion of the artist's work with Aram Moshayedi, curator at The Hammer Museum. 

With over 20 works ranging in size from 2 inches to 40 inches and spanning the early 1960s to today, this exhibition celebrates Bell's mastery of light, reflection, and volume through a groundbreaking approach to glass. Hauser & Wirth's presentation also features new large-scale glass sculptures created fo the exhibition.

This event is free, however, reservations are recommended.

Hayward Gallery is pleased to present the group exhibtion, Space Shifters, with works by Larry Bell. The exhibition will be on view from 16 September 2018 - 6 January 2019. A major thematic exhibition featuring artworks by over 20 international artists that alter or disrupt our sense of space and re-orient our understanding of our surroundings in ways that are by turns subtle and dramatic. Often constructed from reflective or translucent materials, including glass and resin, the artworks in Space Shifterselicit responses that are both physiological and psychological.

Featuring pioneering sculptures from the 1960s – often minimal in nature and concerned with light, volume and scale – this exhibition also includes large-scale installations, ambitious architectural interventions and a number of site-specific commissions that respond to the gallery’s brutalist architecture and provide a dramatic and fitting conclusion to Hayward Gallery’s 50th anniversary year.

De Nieuwe Kerk is pleased to present the group exhibition, "Buddha's Life, Path to Present" with works by Tony Feher. The exhibition will be on view from 16 September 2018 through 3 February 2019. The earliest objects in the exhibition date back to the third century A.D. and the most recent from 2018. The ancient works of art recount the life of Siddhartha Gutama, better known as the Buddha. Born a wealthy prince in the fifth century BC, he chose at the age of 29 to renounce his royal lifestyle and devote himself to spiritual development. The various phases in his life - his birth, renunciation, enlightenment, first sermon and death - symbolize Buddhist belief and form the narrative of this exhibition. 

The essence of Buddhism is enlightenment, attainable via a consciousness of the here and now. The exhibition makers, including co-curator and designer Siebe Tettero, illustrate the ‘now’ by including works by contemporary artists; some of these are new pieces specially created for this exhibition. The contemporary exhibits are by internationally famous artists like Ai Weiwei, Yoko Ono, Tony Feher, Alicia Framis, Tatsuo Miyajima, Allan Kaprow, Rei Naito, Kohei Nawa, Michelangelo Pistoletto, Ugo Rondinone and Carolee Schneemann. Dutch art is also represented with works by Salvador Breed and Koos Breukel.

The 57th Salon is pleased to present the group exhibition, The Marvellous Cacophony, with works by Larry Bell. The exhibition will be on view from 15 September - 28 October 2018. 

The Marvellous Cacophony is based on the idea of diversity. This concept puts the Serbian and the Belgrade art scenes into an international context, but at the same time, refers to the complex cultural and socio-political situation in the region. At the beginning of 21st century, despite the fact that the Western notion of contemporary art has become an universal model of reference, no single common denominator has emerged. The art world has many centres, multi-layered activities, a plurality of ideas about what art is and what it can be, and an impressive number of heterogeneous works. This Marvellous Cacophony reflects the richness of the world. It is a positive condition, creating energies that can include dissonance and even conflicting ideas and expressions. It involves the coexistence of multiple identities and permanent relational flows, conveying notions of miscellany and openness, and creating meaningful narratives about art and culture, social issues and politics. The Marvellous Cacophony will explore worldwide artistic production, looking into diverse art scenes and different generations of living artists. It will bring together a constellation of works that express, through their forms, structures, materials, techniques, devices and content, the extraordinary richness of contemporary artistic expression.

Chimento Contemporary is pleased to present View from the Cheap Seats, a solo exhibition of new works by San Francisco-based artist, Richard Hoblock. The exhibition will be on view from 15 September - 27 October 2018.

In his paintings, Hoblock extends the practice of traditional abstraction beyond the basic tenets of gesture, color, and form, by an excavation of the interstitial spaces. Profuse with layer upon layer of sumptuous paint, and infused with various oils to create a sensual undulation of luster, each painting appears to breathe, given life with the ever-changing light.

Characterized by a precise dynamism and deliberate gesture, while structured with formal strength, Hoblock’s paintings are experiential. Bold artistic signatures complement deeply complex surfaces, while the sophistication of his gestures signify a mode of communication that is wordless and beyond materiality. By transcending both language and time to evoke a myriad emotional states, his paintings reveal a feeling of unrealized portrayals of the past, as well as foretelling life’s inevitable joy and pain. Hoblock’s autographic markings stir up and suspend places in our imagination we choose to deny, or for which we desperately yearn.

Radiant biomorphic shapes create privately sensual moments, as if the immediacy of flesh is carved out with visceral glee. On viewing these works, this liminal space places us between desire and destruction. We bask in the portal of transcendence and possibilities — “ecstasy before the void is always fleeting.” (Bataille)
 

Galerie Max Hetzler is pleased to announce the group show True Stories. A Show Related to an Era – The Eighties, curated by Peter Pakesch. The show will be on view from 14 September - 27 October 2018 and includes works by Zoe Leonard.

Seen from today’s perspective, during this decade, the way art would function in society has changed largely. Within the history of the late 20th Century, the very two years 1968 and 1989 are truly significant for politics as well as for culture. One signifies the height of the Cold War and the departure to new freedoms, the other one the end of this Cold War and the dawn of a new world order (that still is not in place yet).

Kunst Haus Wien is pleased to present the group exhibition, Still Life: Obstinacy of Things, on view from 12 September 2018 through 17 February 2019. Are the banal objects of our consumerist world to be equated with the opulently arrayed fruits, blooms and other vanitas motifs familiar to us from the painterly still lifes of Old Masters? What is it that underpins our 400-year fascination with the genre? And why are contemporary artists rediscovering the still life for themselves in the medium of photography at this very precise moment in time? What do still lifes have to say to us today about our habits and our very own existence? 

With a selection of international and Austrian artists ranging from Jan Groover to Christopher Williams, Leo Kandl and Harun Farocki, the large theme-based photo graphy exhibition highlights the historical development strands that have led to today’s radical re-examination of the genre as a new field of experimentation for artistic expression. Above all, the exhibition featuresa younger generation of artists who are reflecting our very own ‘present’ in their photographs. They do so by precisely perceiving and meticulously examining the world of objects that surrounds us, with all its peculiarities, beauty, and ugliness. While some have chosen aggressively to combine highend consumer products with garbage and trash, others focus on things utterly over looked: worlds of objects that act as the traces of our everyday world with an often idiosyncratic beauty – which is precisely why they reward a closer examination. As we slow down the pace with which we contemplate them, these new still lifes counterbalance the glut of digital images that submerge our everyday lives, creating spaces in which our quotidian objects encounter things both novel and unfamiliar.

Simon Lee Gallery is pleased to present Green Past Gold, an exhibition of new work by Los Angeles-based artist, Gary Simmons. This is his fourth solo exhibition with the gallery. The exhibition will be on view from 13 September - 20 October 2018.

Across his wide-ranging practice racial, social and cultural politics have been central themes and continue to occupy this recent series of the artist’s signature ‘erasure drawings’. Since the early stages of his career, Simmons has used the act of erasure as a means by which to interrogate racial identity and oppression in America. In these new monumentally-scaled works, he depicts the names of African-American actors of the silver screen alongside the titles of the silent films and early ‘talking pictures’ in which they starred. Towering over the viewer as though cinema screens themselves, each work is crafted over time with washes of grayscale pigment that evoke the wiped-clean slate of a blackboard. At centre stage, the oft-forgotten names of black screen actors are illuminated in glowing white paint, while the titles of the films recede into the background, smudged almost to oblivion. 

Simon Lee Gallery New York is pleased to present The Tissue of Memory, a cross-generational group exhibition that considers the gesture and its history, as exemplified by the practices of Kelly Akashi, Robert Mangold, Agnes Martin, Win McCarthy, Monique Mouton, Josephine Pryde, Gary Simmons, Cy Twombly and Heimo Zobernig. The exhibition will be on view from 12 September - 10 November 2018.

Employing signs, forms, and gestures in service of inscription, the works on view demonstrate artists' thinking through the medium at hand and materials influencing composition.

Slide Space 123 at Mills College is pleased to present Additive Measures, a group show with works by Rosana Castrillo Díaz. The exhibition will be open from 10 September - 12 October 2018. The artists in the exhibition are all Mills College MFA Studio Art Alumni who share an occupation withthe passage of time, and our iintrinsic human want to quantify and describe the vastness of this experience. The act of accumulation, be it a collection of personal notes or the progressive loss of information in a jpeg file, become a possible metric for this arduous task.

Rosana Castrillo Díaz's material studies revel in the subdued elegance of light and gesture. Linen, paper, and tape are layered and finely manipulated by hand, demonstrating the resilience of these unfussy materials. With a knot, tear, or dusting of mica powder, she constructs diaphanous forms that demand the careful, extended attention of their audience. The work derives its quiet strength from that which is underestimated or overlooked.

Sarah Cain will be included in Take Up Space at Pizzuti Collection, 8 September 2018 - 20 January 2019.

Take Up Space presents abstraction as it travels across floors, hangs on walls, and is suspended above stairwells. Abstraction runs throughout this space, exploring and becoming territory. The works - mostly paintings - are results of artsits' projects that consider the relevance and power of abstractions' possibilities. The works in these galleries respond: to architecture, to history, to color, to taste, to edges, to time, and to our sociopolitical climate. They are explorations of form. They require us to notice their experimentation. They charge us to take the color, shapes, and scale of their structures into account. 

Kristen Lorello Gallery is pleased to present Michael Wetzel: Bu, a solo exhibition of new works by New York-based artist Michael Wetzel, on view from 5 September - 28 October 2018. This is the artist's first solo exhibition at the gallery.  Sculptures in frescoed plaster with inclusions of found seashells, pebbles, and colored plexiglass are paired with paintings on linen that superimpose landscape, figure, and word.  They continue the artist's ongoing exploration of the experience and imaging of place.

The geographic reference point in this exhibition is Los Angeles.  Wetzel incorporates elements of L.A.'s human-made and natural landscape into the form and material of his artworks, drawing upon his lived experiences in California, while working from New York.  Each sculpture includes a geometric base and elongated torso, capped by a highly embellished head.  Found seashells, the outline of canyons and shorelines, and the futuristic style of L.A.'s 1960s "Googie" architecture inform the surfaces of his sculptures, which rift on the classical tradition of bust portraiture, fresco painting, and Cubist sculpture.  The paintings echo the hand-wrought architectural quality present in the sculptures.  Made with charcoal, casein, and paper, they communicate a mood somewhere between stiffness and tranquility.

Equal to Wetzel's interest in place as experienced is his investigation of place as invented or imaged.  By incorporating text into his paintings and sculptures, Wetzel creates specific associations between word and place, drawing simultaneously from the language of printed advertisements and the research of other artists who use text to direct the viewer's reading of a site (Aitken, Baldessari, Ruscha).  For Wetzel, the use of text brings into play the corporate practice of branding particular locations in service of tourism or real estate - souvenir t-shirts, billboards, travel ads, or posters - and of associating a location with a particular mood to market other products. The title of the exhibition, Bu, points two ways, as the homonym for "Boo," a term of affection, and as the packaged nickname for Malibu, "the Bu."

The Culver Center of the Arts is pleased to present the group exhibition, Painting Architecture, with works by Sarah Cain. The exhibition will be on view from 1 September - 29 December 2018. Painting Architecture invites viewers to contemplate the distinctions between architecture and painting. The artists featured in the exhibition explore elements of architecture including volume, facade, public and private spaces, and utility. The artists consider the differences of presence and examine the tension between architecture's ties to function and paintings' rejection of practical usefulness.

Cutting, collaging, and expanding paintings beyond their boundaries, Sarah Cain redefines the nature of painting. Though the  scale of her work is at times architectural, Cain incorporates small found objects amid drawn and painted gestures, sometimes including domestic furniture such as a vanity or dresser. 

Teresita Fernandez is on view at the McNay Art Museum, San Antonio, TX from 30 August, 2018 - 18 August, 2019. Best known for her experiential sculptures and public installations, 2005 MacArthur Foundation Fellow and Brooklyn-based artist Teresita Fernández presents Fire (United States of the Americas) 2 as the eighth wall installation in the McNay’s AT&T Lobby. Presented in conjunction with Pop América, 1965–1975, Fire invites viewers to contemplate the social history of North America, and offers compelling commentary with striking visual elements that include a large map of the United States.

The Harvard University Committee on the Arts is pleased to present Autumn (...Nothing Personal), a site-specific work built by Teresita Fernández for Tercentenary Theatre in Harvard Yard. The installation will be on view from 27 August - 1 October 2018.

The title references James Baldwin's 1964 text Nothing Personal, which was published as a collaborative book with photographer Richard Avedon at the height of the civil rights movement. Fernández's project centers Baldwin's text as a collaborative reading and asks members of the Harvard and local communities to use the sculpture as a social space to read, perform, gather, and debate.

Van Doren Waxter is pleased to present a group exhibition with new works by Marsha Cottrell, 1 August - 30 August 2018. The group exhibition explores multidisciplinary approaches to depicting forms found in or related to the natural world. Featured historical and contemporary artists include Hilary Berseth, Marsha Cottrell, TM Davy, Jeronimo Elespe, Tom Fiars, Judy Fiskin, Joe Goode, Voliker Huller, Ellsworth Kelly, Cameron Martin, Douglas Melini, Valeska Soares, Hedda Sterne and Kevin Zucker. Spanning almost 60 years (1960-2018), works on view encompass painting, drawing, photography, and sculpture, and demonstrate pictorial strategies ranging from photographic to nearly abstract.

Marsha Cottrell's practice is centered around manipulation of the quotidian office computer and printer. Bridging drawing, printmaking, painting, and photography, Cottrell's process produces luminous images that allude to celestial bodies and interior landscapes. As in Untitled (9:49:46am) (2018), her works meld the sensuality of the corporeal with the enigma of the intangible. 

Southampton Arts Center is pleased to present the group exhibtion, COUNTERPOINT: Selections from The Peter Marino Collection, with works by Donald Moffett. The exhibtion will be on view from 28 July through 23 September 2018. 

A longtime resident of Southampton, Peter Marino’s architectural work includes award-winning residential, retail, cultural, and hospitality projects worldwide.  Well known for integrating art within his designs, Marino has commissioned more than 300 site-specific works. COUNTERPOINT continues Marino’s cross disciplinary practice, revealing influences that have shaped the architect’s career and life-long connection to art.

COUNTERPOINT is organized into four thematic chambers designed on site by Peter Marino: Gardens Gallery serves as a connection to the Southampton community with a Jason Schmidt photograph of Marino’s Southampton garden, nine bronze Grand Moutons de Peter by Francois-Xavier Lalanne from the garden itself, and a series of screens showing a selection of Marino’s local architectural projects. The Pop Art Gallery features works by Tom Sachs, Damien Hirst, Joel Morrison, Richard Prince, and Andy Warhol. The Treasury Room focuses on photographs by Robert Mapplethorpe and Marino’s sculptural bronze boxes. Lastly, the Modern German Art Gallery includes a selection of works by Anselm Kiefer and Georg Baselitz.

Larry Bell will be included in the exhibition "Alma Thomas: The Light of the Whole Universe" at Smith College Museum of Art from 27 July, 2018 - 1 December, 2019. New materials developed during World War II (1939–45) also transformed art in the 1950s, 1960s and 1970s. The invention of acrylic paint, a highly saturated, quick drying, plastic-based paint derived from Plexiglass and employed by Alma Thomas, Helen Frankenthaler, and Sam Gilliam, radically changed the way artists worked once it became commercially available in the 1950s.

The use of translucent plastics by Fred Eversley, Larry Bell, and Louise Nevelson in addition to experiments with the shape and finish of metals by Michelangelo Pistoletto, Donald Judd, and John Chamberlain show just some of the ways artists exploited the creative potential of these new materials.

Larry Bell is included in the exhibition "Alma Thomas: The Light of the Whole Universe" at Smith College Museum of Art New from 27 July 2018 - 31 December 2019.

New materials developed during World War II (1939–45) also transformed art in these decades. For example, Philadelphia’s Rohm and Haas (now The Dow Chemical Company) applied lessons gleaned from one of its wartime acrylic products—Plexiglass—to develop acrylic paint. The invention of this highly saturated, quick drying, plastic-based paint, employed by Alma Thomas, Helen Frankenthaler, and Sam Gilliam, radically changed the way artists worked once it became commercially available in the 1950s.

The use of translucent plastics by Fred Eversley, Larry Bell, and Louise Nevelson in addition to experiments with the shape and finish of metals by Michelangelo Pistoletto, Donald Judd, and John Chamberlain show just some of the ways artists exploited the creative potential of these new materials.

Baldwin Gallery is pleased to present a solo exhibition Gary Simmons: Within Our Gates, 27 July - 4 September 2018. 

The Phoenix Art Museum is pleased to present In the Company of Women: Women Artists from the Collection, a group exhibition with works by Erica Deeman, 7 July - 12 August 2018. The group exhibition showcases nearly 50 twentieth- and 21st-century artworks from Phoenix Art Museum's collection created exclusively by women. In an era of contemporary phenomena such as the #MeToo movement, and in light of growing awareness of gender inequality in many contexts, including art museums, this exhibition is an engagement with feminist scholarship that, for decades, has aimed to provide a more complete history of artistic production.