Federico's works, The Loving Despots and The Great Encounter, will be included.
Unreachable Spring is a group exhibition featuring artists prompted by a desire to take refuge in their work and address this transformational moment in a personal way.
The gallery is pleased to announce that Edra Soto has received the Joan Mitchell Foundation Grant. The Joan Mitchell Foundation Grant is an unrestricted award in which $25,000 is granted to 25 different artists from throughout the United States.
Festival takes place October 28- November 1, 2020
Webinar will be presented on ZOOM.
For Which It Stands is an evolving physical and online exhibition platform featuring over thirty-five contemporary artists who use the iconic American flag, loaded with centuries of convoluted history and exclusion, to create new symbols of national identity.
Peter Williams has long engaged issues of American racism and the Black experience, and his new exhibition Black Universe at Luis De Jesus Los Angeles is no different: his paintings include flying cars, abstracted landscapes, snatches of text (“Trump,” “Wall Street,” “Lawyers,” “Floater,” and “Help” all appear), and Black astronauts whose need to wear helmets in space makes me think of the phrase “I can’t breathe.”
Through a four-part passage from living room to flea market to museum to art studio, Transformations presents the metamorphosis of everyday objects in radically different contexts, highlighting how the ever-changing interpretations of the past are consistently informed by present-day views and concerns.
Recently retired from the University of Delaware, his work is currently on view in solo exhibitions in Los Angeles and Detroit and, this week, Williams received the Artists’ Legacy Foundation 2020 Artist Award. Howardena Pindell was recognized with the award in 2019.
My nomadic childhood is what, in part, attracted me to photography. The camera is a way for me to connect to permanence. Memory, heritage, and loss are major themes in my work.
Drawn entirely from the Mead’s collection, the group exhibition Founding Narratives raises questions about representation and the absence of representation in national narratives and in the establishment of a national art, about the significance of “firsts,” and about the interpretative frameworks that museums offer about artists and artworks.
Gonzales-Day’s powerful and nuanced investigations of intersectionality and racial violence stem from an almost-encyclopedic knowledge of art history and a desire to rewrite a more inclusive past and advocate for a more equitable present.
The oil paintings and digital collages in Caitlin Cherry’s online show Corps Sonore call forth a phantasmagorical nightclub harboring cliques of bionic sirens bathed in an opulent, rippling iridescence.
Otros Lados: Itzel Basualdo, Hugo Crosthwaite, and Judithe Hernández brings together three generations of artists who are deeply informed by Mexican and Mexican American experiences from the other side.
Artist Ken Gonzales-Day has been widely recognized for the “Erased Lynching” series, which include lynching postcard photos that effectively “erased’ the victims of lynching and focused on the white crowds gathered to witness the murders.
In the exhibition Peter Williams: Incarceration at the Cressman Center for Visual Arts, Louisville, Kentucky (February 7–March 21, 2020), curated by Chris Reitz, the focus is on incarceration; as a Black man and a painter who feels entrapped in modernism’s legacy of the grid, Williams recognizes that imprisonment of one kind or another has run throughout White America’s dealing with Black people since the beginning of its history.
Caitlin Cherry has always been interested in the weaponized circulation of images. At the Brooklyn Museum in 2013, she mounted her paintings on wooden catapults modeled after martial designs by Leonardo, as if they were about to be fired into the air.
Presented by the Paris-based nonprofit Aware, the new award recognises a solo presentation of work by a female artist at The Armory Show.
