Calle del Comandante Zorita 46-48
28020, Madrid, Spain
February 21 - May 5, 2018
Terry Haggerty translates natural forms, man-made objects, and ambiguous shapes into engaging line compositions that oscillate between flat and dimensional space using simple two-colour combinations, as well as multicoloured line arrangements painted on shaped wood panels and fabricated metal.
Using a simple curved line motif, Haggerty stretches the picture plane beyond view with running parallel lines that bend from sight to define both visible and invisible space. Within the confines of an outlined shape, multiple angles of a form, seemingly contradictory, are viewed from a single viewpoint. For more information, click here.
Image: Installation view of Still Motion
william cordova now′s the time: narratives of southern alchemy
Pérez Art Museum Miami
1103 Biscayne Blvd.
Miami, FL 33132
April 27 - October 7, 2018
william cordova now’s the time: narratives of southern alchemy is the first extensive museum survey of cultural practitioner william cordova (b. 1969, Lima; lives in Miami, Lima, and New York). It presents a selection of works embodying the three main themes that have inspired the work of this celebrated Miami artist for decades: transmission, alchemy, and transcendence. In his nationally and internationally recognized drawings, sculptures, installations, and collaborative projects, cordova collapses linear concepts of time and history to address contemporary notions of displacement. For more information, click here.
Image: William Cordova, sin titulo (taki oncoy) (untitled [taki oncoy]), 2014. Feathers and wire, dimensions variable.
Carnegie Museum of Art
Carnegie Museum of Art
4400 Forbes Avenue
Pittsburgh, PA 15213
March 15–July 15, 2018
Photographer Deana Lawson (b. 1979) addresses critical issues surrounding representations of African Americans and the African diaspora. No other photographer working today depicts the black figure so directly and sensitively. Many of Lawson’s sitters are strangers that she encounters in her everyday life and then photographs in intimate settings. For this solo exhibition, Lawson expands her artistic practice with new and experimental methods of installation. By applying her own photographs as well as appropriated images directly to the museum walls without frames, Lawson will heighten the immediacy of her work and invite audiences to consider urgent questions of race and representation. For more information, click here.
Image: Deana Lawson, Ring Bearer, 2016, inkjet print, 43 x 54.25 inches (109.2 x 137.8 cm).
The Katastwof Karavan
Prospect.4: The Lotus in Spite of the Swamp
101 Mississippi River Trail, Algiers Point
New Orleans, LA 70114
February 23 - 25, 2018 (closing weekend)
Throughout January and February, Prospect New Orleans will present workshops, artist talks, and educational programming, featuring art and artists from Prospect.4. These events will culminate with the closing weekend of Prospect.4, including the much-anticipated presentation of Kara Walker’s new public artwork, The Katastwóf Karavan, which will be installed and activated daily on the bank of the Mississippi River in Algiers Point from Friday, February 23 through Sunday, February 25, and feature two special public performances with the artist and noted jazz pianist Jason Moran scheduled for Friday, February 23 at 4:30 p.m. and Saturday, February 24 at 2:30 p.m.
For The Katastwóf Karavan, Walker, in collaboration with the noted jazz pianist Jason Moran, and the steam-power enthusiast Kenneth Griffard, constructed a thirty-two-note steam calliope similar to the one on the Steamboat Natchez and housed it in an arcane looking parade wagon of her own design. In critical response to the Natchez, Walker’s calliope plays songs and sounds she associates with the long history of African American protest music: gospel, reggae, jazz improvisation, chants, and shouts. For more information, click here.
Lignes de vie
Galerie 3 - Centre Pompidou
Place Georges Pompidou
75004 Paris, France
February 7 - April 30, 2018
If Sheila Hicks chose textiles, it is because from clothes to furniture, interior decoration and on to the canvas that undergirds the high art of painting, these are materials that life constantly puts in our way, in a vast variety of contexts. It also allows works to remain alive, taking different forms each time they are shown. Ductile and tactile, Hicks’s work occupies a singular place in the art of our time. It combines forms typical of modernism with non-Western traditions, the play of colour, and a concern to maintain the vital openness of the work. The Lignes de vie (Life Lines) exhibition at the Centre Pompidou brings together pieces representative of her whole career: a vast, vibrant and vital installation, pulsing with form and colour, and open onto the city thanks to the gallery’s full-length glazing giving onto street level outside. For more information, click here.
Image: Installation view of Lignes de vie.
Art City 2018
Banca di Bologna Hall of Palazzo De’ Toschi
Piazza Minghetti 4/D
February 2 - March 4, 2018
Banca di Bologna is proud to present the first solo show in Italy by Canadian-born, New York-based artist Erin Shirreff. Entirely made up of new pieces created specifically for the occasion, the exhibition offers Italian viewers their first major opportunity to experience the work of an artist who, in her early forties, can already be found in the collections of prestigious international museums such as the Centre Georges Pompidou (Paris), MoMA (New York) and the Guggenheim (New York).
This solo show by Erin Shirreff is one of ten events chosen for the Art City cultural program, a joint initiative in which the Bologna City Council and BolognaFiere have selected a calendar of high-profile curatorial events to complement Arte Fiera. For more information, click here.
Image: Installation view of Many Moons.
c for heads / h para cabecas
Praça dos Poveiros, 56, sala 1
February 3 - March 3, 2018
Ten years after his last solo exhibition in Porto (Serralves Museum of Contemporary Art, 2007), Jorge Queiroz presents a series of paintings and drawings of different time periods, under the title c for heads/ h para cabeças. The exhibit focuses on a group of works that try to reveal the fantastic and dreamlike universe of an artist that constantly defies the genres and the historic times of art. It is fair to say this is an unclassifiable work: it always seems to escape interpretation, however, upon its presence we are always tempted to decipher the enigma that is proposed. Does anyone have the answer?
Image: Jorge Queiroz, Untitled, 2010, pencil, color pencil, watercolor, gouache and oil pastel on paper, 57.5 x 58.875 inches (146.1 x 149.5 cm).
Hilos libres. El textil y sus raíces prehispánicas, 1954-2017
2 Sur 708, Centro Histórico,
Puebla, Pue., México 72000
November 7, 2017 - April 2, 2018
Considered as one of the most innovative artists in the use of textiles, which has served her as both a space for meditation and material, Sheila Hicks (Hastings, Nebraska, 1934) has developed during her career, beginning in the mid-1950s, a reflection and a most singular artistic practice.
More than a "textile artist" -a really simplistic term- what this exhibition proposes to discover is a life’s work marked by two essential bases that have served to accompany and nourish it: the influence of Pre-Columbian textile and abstract painting. For more information, click here.
Con el Mismo Amor (triptych)
Image: Jan Henle, Con el Mismo Amor (triptych), 1999-2006, film drawing, printed on gelatin silver paper and selenium toned, 97 x 160 inches (3 parts- install 2" apart), edition 1 of 6.
Anonymous Was A Woman Award
Anonymous Was A Woman is an unrestricted grant of $25,000 that enables women artists, over 40 years of age and at a significant juncture in their lives or careers, to continue to grow and pursue their work. The Award is given in recognition of an artist's accomplishments, artistic growth, originality and potential. It is not need-based. The Award is by nomination only.
The name of the grant program, Anonymous Was A Woman, refers to a line in Virginia Woolf’s A Room of One’s Own. As the name implies, nominators and those associated with the program are unnamed. The award was begun in 1996 in response to the decision of the National Endowment of the Arts to cease support of individual artists. For more information, click here.
Arturo Herrera's Sortario is located on the 6th floor in the dining room. Sortario is a “wall painting,” crafted from two layers of machine-cut wool felt, which combines bold, abstract shapes with subtle references to Roman artifacts uncovered on site by archaeologists during the construction of Bloomberg London. For more information about Bloomberg London, click here.
Photo by James Newton
W.E.B. Du Bois Medal
Awarded since 2000, the Du Bois Medal is Harvard's highest honor in the field of African and African American Studies. It is awarded to individuals in the U.S. and across the globe in recognition of their contributions to African American culture and the life of the mind. Recipients have included scholars, artists, writers, journalists, philanthropists, and administrators whose work has bolstered the field of African and African American Studies.
In addition to Walker, this year’s medalists include: Donna Brazile, Democratic Political Strategist; Ava DuVernay, Filmmaker; Carla Hayden, Librarian of Congress; LL COOL J, Actor/Recording Artist; John W. Thompson, Chairman of the Board, Microsoft; Darren Walker, President, Ford Foundation; and Jennifer Ward Oppenheimer, Philanthropist (Posthumous). For more information, click here.
Photo by Ari Marcopoulos
Officine Grandi Riparazioni
Corso Castelfidardo, 22
10138 Torino, Italy
October 1, 2017 - January 1, 2020
Track is a site-specific monumental mural by Arturo Herrera, for the entrance hall of OGR Torino’s North Workshops. The Officine Grandi Riparazioni (OGR) Torino is a majestic 19th century industrial complex in Torino, Italy that will now be a center for art, music, food, and cultural programming. The mural's intricate pattern references the building's use as the site of repair for railroad engines - a series of paths that meet spanning in various directions, suggesting also a twisting of branches and trees that stretch upwards. The artwork puts forth the idea of intense movement, suggesting some of the cardinal values of the OGR: interconnection, fluidity and energy. For more information, click here.
Photo by Daniele Ratti
2017 Florida Prize In Contemporary Art
The three jurors of the exhibition were Dan L. Hess, a visual artist based in Central Florida; Katherine Navarro, Associate Curator of Education at The Mennello Museum of American Art; and Joanna Robotham, Curator of Contemporary Art at the Tampa Museum of Art.
Robotham said “It was a pleasure to serve as a juror for the 2017 Florida Prize. Hansen Mulford selected an extraordinary group of artists for the exhibition, each remarkable in their own right. It was challenging to select one winner, as there are many strong, smart works on view. Congratulations to William Cordova. I look forward to seeing more from this outstanding artist.” For more information, click here.
Image: William Cordova, courtesy of Nicholas Travaglini.
Trisha Brown was born and raised in Aberdeen, Washington. She graduated from Mills College in 1958, studied with Anna Halprin and taught at Reed College in Portland before moving to New York City in 1961, where she became a founding member of the Judson Dance Theater. In 1970, she co-founded the dance collective Grand Union and formed the Trisha Brown Dance Company.
While best known for her career as an avant-garde dancer and choreographer with over 100 dance works to her credit, Brown consistently sought to integrate the visual arts with her performance practice. She collaborated with artists on set and costume designs for her performances, including the likes of Robert Rauschenberg, but for many years she produced her own body of work, primarily in the form of drawings, that meld the art of dance and the visual arts.
In 2008, the Walker Art Center organized a major survey exhibition of Brown’s drawings. Curated by Peter Eleey, Trisha Brown: So That the Audience Does Not Know Whether I Have Stopped Dancing traveled to the Mills College Art Museum in Oakland and Musée d’art Contemporain de Lyon.
Brown is survived by her son, Adam Brown, his wife Erin, her four grandchildren – and by her brother Gordon Brown and sister Louisa Brown. Her husband, artist Burt Barr, died on November 7, 2016.
Image: © Marc Ginot
THE PERLMUTTER ARTIST-IN-RESIDENCE AWARD
For her Perlmutter residency, Jones will create new work in response to the rich cultural history of the Rose Art Museum and of Brandeis, engaging the university community in the creation of a score inspired by Louise Nevelson’s 1967 retrospective exhibition at the Rose. On April 29, this score will be interpreted and performed by Brandeis student and faculty musicians, who will present it in the Rose galleries during the campus-wide Leonard Bernstein Festival of the Creative Arts. Jones will give a talk about her work and her planned residency project at Brandeis University on March 22 at 5:30pm. For more information about the event, click here.
Burt Barr (1938-2016) was known for his use of traditional cinematic techniques to create simple but humorous videos. Characterized by minimal processes and presentations, use of the single take, 4:3 aspect ratio, and slow fade-ins and fade-outs, Barr’s work was the antithesis of most other contemporary video art. His works often punned, both verbally and visually, on conventions of filmmaking with videos like Slo Mo (1996), featuring a turtle moving in slow motion, and The Long Dissolve (1998), which shows an ice cube slowly dissolving in a glass dish.
Burt Barr began making videos in the mid-1980s. These early works were shown at film festivals in Montreal, Berlin, Toronto, San Sebastian, Melbourne, and Rotterdam, as well as on PBS. In 1993 he made the transition to the installation works that have been exhibited in museums and galleries worldwide including solo presentations at the Whitney Museum of American Art, MoMA PS1, Museo Nacional Centro de Arte Reina Sofía, and Platform Garanti Contemporary Art Center in Istanbul.
From early in his career, Barr worked with personalities of the art-world, many of them actors in various roles. Included in this group are Clarissa Dalrymple, Klaus Kertess, Dorothy Lichtenstein, Trisha Brown (his wife), Robert Rauschenberg, Elizabeth Murray, Cecily Brown, Billy Sullivan, Jessica Craig-Martin, Nessia Pope, Stephen Mueller, Carroll Dunham, Teresita Fernandez, Tim Davis, Ester Partegas, and “downtown” performers such as Willem DaFoe, Diane Madden, Lance Gries, Stephen Petronio, Jodi Melnick, Stanford Makishi, Jimena Paz, Roz LeBlanc, Mindy Myers, and Judith Sanchez-Ruiz. Working with these artists formed yet another dimension to the work – that of documentation of the art community during a particular time in New York City.
Barr was the recipient of grants from The Andrea Frank Foundation (1999), John Simon Guggenheim Memorial Foundation (1998), The Foundation for Contemporary Arts (1996), The Massachusetts Council on the Arts and Humanities (1984), WGBH/WNET (1987), Brooklyn Arts Council (1989), the National Endowment for the Arts (1983,1985,1988,1989,1993), the New York State Council on the Arts (1986,1989,1996), and The American Film Institute (1992).
Barr served as an Instructor of Film and Video Projects at the Pratt Institute, an Instructor of Creative Projects at New York University, and was a Visiting Artist at Skowhegan School of Painting and Sculpture. He lectured at Cornell University, Ohio University, Emily Carr Institute in Vancouver, Rhode Island School of Design, Parsons School of Design, the Museum of Modern Art, Suzanne Dellal Center in Tel Aviv, CAPC Musée in Bordeaux, Anthology Film Archives, and Intermedia Arts in Minneapolis.
Barr was born in 1938 in Lewiston, Maine. He lived in New York and is survived by his wife, the dancer and choreographer Trisha Brown; his step-son, Adam Brown; and Adam's family.
Image: Copyright Timothy Greenfield-Sanders, courtesy Hiram Butler Gallery
For more information, click here.
Image: Arturo Herrera, Half-time, 2016. Courtesy of the artist. Joe Humphrys, Tate Photography © Tate 2016
The Artist Project
The Artist Project is an online series in which the Metropolitan Museum of Art give artists an opportunity to respond to their encyclopedic collection. In this episode, Arlene Shechet reflects on a bronze statuette of a veiled and masked dancer."When an artist is in love with the piece that communicates very well over time. So thousands of years later, we’re still feeling it."