This exhibition and its accompanying catalogue aim to present a comprehensive view of Diebenkorn’s evolution to maturity, focusing solely on the paintings and drawings that precede his 1955 shift to figuration at age 33. Included in the exhibition are paintings and drawings primarily from the Richard Diebenkorn Foundation, many of which have not before been publicly exhibited. Together these 78 drawings and 22 paintings offer a full picture of the young artist’s achievements.
Crocker Art Museum, Sacramento, California, October 8, 2017–January 7, 2018
David Owsley Museum of Art, Ball State University, Muncie, Indiana, February 1–May 20, 2018
Portland Art Museum, Portland, Oregon, June 16–September 23, 2018
Frederick R. Weisman Museum of Art, Pepperdine University, Malibu, California, January 12–April 7, 2019
Academy Art Museum, Easton, Maryland, April 19–July 14, 2019
Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 establishes connections between works of art based on instructions, spanning over sixty years of conceptual, video, and computational art. The pieces in the exhibition are all “programmed” using instructions, sets of rules, and code, but they also address the use of programming in their creation. The exhibition links two strands of artistic exploration: the first examines the program as instructions, rules, and algorithms with a focus on conceptual art practices and their emphasis on ideas as the driving force behind the art; the second strand engages with the use of instructions and algorithms to manipulate the TV program, its apparatus, and signals or image sequences. Featuring works drawn from the Whitney’s collection, Programmed looks back at predecessors of computational art and shows how the ideas addressed in those earlier works have evolved in contemporary artistic practices. At a time when our world is increasingly driven by automated systems, Programmed traces how rules and instructions in art have both responded to and been shaped by technologies, resulting in profound changes to our image culture.
The exhibition is organized by Christiane Paul, Adjunct Curator of Digital Art, and Carol Mancusi-Ungaro, Melva Bucksbaum Associate Director for Conservation and Research, with Clémence White, curatorial assistant.
Mika Tajima is included in this group exhibition.
Some 250 works explore three distinct periods in American history when mainstream and outlier artists intersected, ushering in new paradigms based on inclusion, integration, and assimilation. The exhibition aligns work by such diverse artists as Charles Sheeler, Christina Ramberg, and Matt Mullican with both historic folk art and works by self-taught artists ranging from Horace Pippin to Janet Sobel and Joseph Yoakum. It also examines a recent influx of radically expressive work made on the margins that redefined the boundaries of the mainstream art world, while challenging the very categories of “outsider” and “self-taught.” Historicizing the shifting identity and role of this distinctly American version of modernism’s “other,” the exhibition probes assumptions about creativity, artistic practice, and the role of the artist in contemporary culture. A fully illustrated catalog accompanies the exhibition.
The exhibition is curated by Lynne Cooke, senior curator, special projects in modern art, National Gallery of Art.
High Museum of Art, Atlanta, June 24–September 30, 2018
Los Angeles County Museum of Art, November 18, 2018–March 18, 2019
Harvey Quaytman: Against the Static marks the first major solo exhibition of Quaytman’s work since a focused retrospective at PS1 in 1999. As the artist’s first West Coast presentation, the exhibition is an unprecedented opportunity for Bay Area audiences to immerse themselves in the work of an artist whose singular contributions to twentieth-century modernism anticipate today’s renewed interest in the sculptural and material qualities of abstract painting.
“The totality of Harvey Quaytman’s highly original body of work places him squarely within the tradition of modernist painting, yet it also proves him to be one of its most capable and unsung explorers,” said the exhibition’s curator Apsara DiQuinzio, curator of modern and contemporary art and Phyllis C. Wattis MATRIX Curator at BAMPFA. “Even as Quaytman inhabited modernism, he incessantly pushed its boundaries and expanded its formal and conceptual concerns in ways that seem even more innovative in retrospect.”
In conjunction with the exhibition, DiQuinzio has edited an illustrated 176-page catalog that features the most in-depth scholarship on Quaytman to date. Published by UC Press, the catalog includes new essays by DiQuinzio, art historian Suzanne Hudson, art critic John Yau, as well as Quaytman’s daughter R. H. Quaytman—a noted artist in her own right, whose upcoming exhibition at the Solomon R. Guggenheim Museum coincides with BAMPFA’s presentation this fall.
From luscious leafy tendrils to stark horizon lines, this exhibition of prints by Hedda Sterne (1910–2011) celebrates the artist’s exquisite variety of formal interests. Although most often associated with a group of artists called the “Irascibles”—avant-garde forerunners of Abstract Expressionism—Sterne defied stylistic categorization. Her aesthetic experimentations fluctuated between organic and geometric, figural and abstract, and painterly and graphic. All share, however, a passionate attention to detail and form.
Drawn from the Amon Carter’s collection, this selection of lithographs features two thematic series that Sterne completed at the Tamarind Lithography Workshop in 1967: Metamorphoses, a study of the vegetal folds of a head of lettuce, and Vertical-Horizontals, a study of the atmospheric recession of the horizon. Both series expose Sterne’s highly original style and her intense exploration of a single theme over the course of many experimental compositions.
Objects Like Us, a group exhibition featuring more than seventy tabletop art objects by fifty-six artists, will open at The Aldrich Contemporary Art Museum in May. This exhibition explores the relational behavior of intimately scaled objects that personify or embody a human condition or attribute. The objects will span nearly sixty years and feature works conceived specifically for the exhibition, including a site-specific floor installation by artist/co-curator David Adamo. The overall experience will underscore the efficacy of the works’ relativity and illuminate the interconnectedness of audience and objects. Objects Like Us, is organized by Amy Smith-Stewart, curator at The Aldrich, and Adamo; it will be on view at The Aldrich from May 20, 2018, to January 13, 2019.
Sarah Peters is included in this group exhibition.
Epic Abstraction: Pollock to Herrera begins in the 1940s and extends into the 21st century to explore large-scale abstract painting, sculpture, and assemblage through more than 40 works from The Met collection, a selection of loans, and never-before-seen promised gifts and new acquisitions. Enhanced in the setting of Marcel Breuer’s 1966 modernist architectural masterpiece.
Hedda Sterne will be included in this group exhibition.
The Thomas Cole Site presents SPECTRUM, a site-specific contemporary art exhibition that explores relationships between Thomas Cole’s use of color and that of 11 contemporary artists. Artworks will be sited throughout and in conversation with the historic home and grounds of Thomas Cole (1801-1848), founder of America’s first major art movement, the Hudson River School of landscape painting. The exhibition engages artists in a visual dialogue with Cole and explores how artists use color in their practice at the intersection of art and science.
Anne Veronica Janssens
This November marks the fifth anniversary of the Parrish in its Herzog & de Meuron-designed building in Water Mill. To celebrate this milestone, the annual reinstallation of the Parrish permanent collection presents a closer look at artists whose work represents the ongoing legacy of artists of the East End.
Individual galleries will be dedicated to Abstract Expressionist James Brooks (1906–1992).
Recently, the Museum was entrusted with the most significant collection of works by Brooks and Charlotte Park by the James and Charlotte Brooks Foundation. Twenty paintings on view by Brooks, a key figure in modern American art who lived on the East End for decades, illustrate his embrace of experimentation and risk.
Alan Shields: Common Threads provides insight into the artist’s life-long engagement with textile and the needle arts, and illustrates how his impetus to take painting down from the wall and the stretcher liberated his artistic process.
Schneider Museum of Art
Mika Tajima: Æther is organized in collaboration with the New Museum, New York, and curated by Margot Norton.
Crossroads mines our collection for stories that resonate today by highlighting the critical role of the artist in everyday life.
This complete reinstallation of our postwar and contemporary art galleries places the work of artists at the intersection of history and society. We’re also bringing dozens of rarely and never-before-shown works out of storage. Curator Eric Crosby finds pockets of depth, diversity, and eccentricities, organizing the galleries in a series of “chapters.”
Crossroads is organized by Eric Crosby, The Richard Armstrong Curator of Modern and Contemporary Art.
To celebrate the recent gift of the painting One (1970), by American artist Sam Gilliam (b. 1933), the Block Museum will present a focused exhibition of works by artists engaged with abstraction and the expansion of painting in the U.S. in the 1960s and 1970s. Donated from the estate of Dawn Clark Netsch from the Collection of Walter A. Netsch and Dawn Clark Netsch, One is a quintessential example of Gilliam’s innovative “drape” paintings, which the artist began making in the late 1960’s. Moving beyond the experiments of other painters of the era, Gilliam saturated raw, unstretched canvas with acrylic to create works that lie at the intersection of painting and sculpture. Born in Tupelo, Mississippi and raised in Louisville, Kentucky, Gilliam has been based in Washington D.C. since the early 1960’s, and is part of a generation of Washington-based painters who have explored the boundaries of color, scale, and shape in painting.
One will be considered in the context of works from the Block’s collection by Gilliam’s contemporaries Alan Shields and Frank Stella. These works will be supplemented by additional Gilliam works drawn local collections.
Paper/Print: American Hand Papermaking, 1960s to Today. This focused exhibition is the first to trace the American hand-papermaking revolution as an outgrowth of the printmaking renaissance. It brings together the best, along with some of the rarest and lesser known examples, of two-dimensional works, artist books, and cast-paper multiples to spotlight the closely intertwined American stories of printmaking and papermaking in the contemporary period. Spanning more than fifty years, the exhibition will examine the transformation of paper from its traditional role as a substrate for prints to an active partner—and stand-alone medium—in the creation of editions and unique works by such artists as Mel Bochner, Lynda Benglis, Chakaia Booker, Leonardo Drew, David Hockney, Louise Nevelson, Robert Rauschenberg, Alan Shields, and Richard Tuttle, to name just a few.
This group exhibition includes Brian Rochefort.
Brian Rochefort is included in this group exhibition.
Sex, death, romance, magic, terror, wonder, alienation, and freedom: the night invites a myriad of often contradictory associations. For centuries, painters have been drawn to the mysteries and marvels of the night and its perceptual and poetic possibilities. From Rembrandt and his Night Watch to Georges de la Tour’s candle-lit scenes of the seventeenth century, James McNeill Whistler’s woozy Nocturnes, Vincent van Gogh’s dizzying Starry Night, and Edward Hopper’s lonely Nighthawks, artists have sought to capture the mood of the night. Of course, an exhibition about the night is also about the light that illuminates the darkness, from the moon and the stars, to candles, cigarettes, and the glow of cell phones. Many of the artists in The Lure of the Dark look back to predecessors, such as the Impressionists and Monet and Pisarro, to study the night en plein air, completing a painting in a single sitting or night. Featuring paintings — including new commissions — by a diverse group of over a dozen contemporary artists, including Patrick Bermingham, William Binnie, Cynthia Daignault, TM Davy, Jeronimo Elespe, Cy Gavin, Shara Hughes, Josephine Halvorson, Sam McKinniss, Wilhelm Neusser, Dana Powell, Kenny Rivero, and Alexandria Smith, The Lure of the Darkillustrates the ways in which the hours of darkness continue to provoke the contemporary imagination, providing apt metaphors for the diversity of human experience and the intersections of human experience along with the anxious tenor of the day.
Sarah Peters is part of this group exhibition.
Alan Shields: A Different Kind of Painting features more than 40 of the late artist’s radical textile works that challenge the notion of painting, some shown for the first time.
Born in 1944 in Herington, Kansas, Shields attended Kansas State University, studying civil engineering and studio art. He moved to New York in 1968 and created three-dimensional, two-sided, and architecturally adaptable paintings. He showed with Paula Cooper Gallery from 1968 to 1991.
Shields died in 2005, and his estate is represented through Van Doren Waxter.
Recent exhibitions have included Alan Shields: Protracted Simplicity (1966-1985), Aspen Art Museum, Aspen, Colorado (2016) and Alan Shields: In Motion, Parrish Art Museum, Water Mill, New York (2015). Shields’ work is included in a number of museum collections such as the Metropolitan Museum of Art, New York; the Museum of Modern Art, New York; the National Gallery of Art, Washington, D.C., and the Tate Collection, London.
Alan Shields: A Different Kind of Painting runs Aug. 22 through Jan. 2. A reception will take place Sept. 7.
Curated by Ian Ruffino.