Arts Summary

December 17, 2019

Rear Windows by Li Qing at Prada Rong Zhai, Shanghai, through January 19, 2020

“Prada presents ‘Rear Windows’, a new exhibition project by artist Li Qing, with the support of Fondazione Prada. Curated by Jérôme Sans, the show will be on view in the premises of Prada Rong Zhai, a 1918 historical residence in Shanghai restored by Prada and reopened in October 2017.

‘Rear Windows’ is an immersive and collaborative project conceived on site by the artist Li Qing and the curator as a specific storyboard, an in-depth exploration of the history and the space of Prada Rong Zhai, creating a connection between the past times and the current urban environment of Shanghai.

‘Rear Windows’—inspired by the eponymous 1954 movie directed by Alfred Hitchcock— is devised as a succession of climatic scenes to experience the act of seeing and of being seen or observed. Through some of his emblematic works like Neighbor’s Window and Tetris Window series, Li Qing suggests references to the city of Shanghai (or even Hangzhou, where the artist lives), where old and new buildings, different social groups, urban myths, legends and expectations coexist.” — Fondazione Prada

Exhibition views of “Rear Windows” by Li Qing. Prada Rong Zhai, November 7, 2019 -January 19, 2020. Photos: Zhu Hai. Courtesy Prada

Li Qing’s portrait

Jérôme Sans’ describes the exhibition, “as a narrative story conceived through a wide range of Li Qing’s past and recent works, unfolding as in a movie set of a film whose action is about to happen. Li Qing initiates here a new form of poetry in Prada Rong Zhai, one which belongs to an imaginary society and that lives in its past dreams, but also within his own work of today, continually questioning: how to be closer to the reality of things?”

December 15, 2019

Milano Art Week 2020, April 14 – 19

Milano Art Week 2020 presents a program of initiatives, exhibitions and performances organized by the City of Milan (April 14-19), that flanks miart, the trade fair of modern and contemporary art that takes place in Fiera Milano (April 17-19). Milano Art Week sees the participation of major public institutions and private foundations, all inaugurating new exhibitions and original artistic commissions. The 2020 programme confirms Milan’s thriving exhibition scene, which makes it an international destination for art and reflects the diverse range of institutions and venues that form the city’s cultural mosaic.

Furla Foundation

5c. Photo Bas Princen Courtesy Fondazione Prada Fondazione Prada_Torre_Bas Princen14

Prada Foundation. Photo: Bas Princen. Courtesy Prada Foundation

18. Triennale Milano_-� Gianluca Di Ioia - Triennale_Milano

Triennale Milano. Photo: Gianluca Di Ioia

6. ∏Franco Mascolo_Tony Cragg alla Fondazione Stelline, Milano 2007_Ferryman e I'm Alive

Stelline Foundation. Sculpture by Tony Cragg. Photo: Franco Mascolo

Marconi Foundation

Padiglione D’Arte Contemporanea (PAC).

Pirelli HangarBicocca. Photo: Lorenzo Palmeri. Courtesy Pirelli HangarBicocca

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Museo Scienza e Tecnica. Photo: © PaoloSoave

Ibrahim Mahama, A Friend, 2019. Installation view of Caselli Daziari Porta Venezia, Milan. Courtesy Nicola Trussardi Foundation. Photo: Marco De Scalzi

Milano Art Week 2020 will present solo exhibitions and new commissions by international artists such as Olafur Eliasson for Nicola Trussardi Foundation, Tania Bruguera at the PAC|Padiglione d’Arte Contemporanea contemporary art gallery, Martin Kippenberger and Liu Ye at Prada Foundation, Rirkrit Tiravanija at the Museum of Science and Technology, Nairy Baghramian for Furla Foundation at the GAM|Gallery of Modern Art, Charles Atlas at ICA Foundation, Enzo Mari at the Triennale, Trisha Baga at the Pirelli HangarBicocca, Marinella Senatore at Stelline Foundation and Alessandro Pessoli at the Diocesan Museum. There will be major retrospectives and in-depth exhibitions of Chen Zhen at the Pirelli HangarBicocca, Carla Accardi at the Museo del Novecento and Gianni Colombo at Fondazione Marconi. At the Triennale Guillermo Kuitca will curate a selection of works from the collection of Fondation Cartier pour l’Art Contemporain. There will also be performance art by Christodoulos Panayiotou at the Triennale and MAI/Marina Abramović at the Giangiacomo Feltrinelli Foundation.

The preview of the upcoming 2020 Milano art fair was announced at a New York City press conference by Massimiliano Gioni, Artistic Director, Trussardi Foundation, Milan and New Museum, New York; Filippo del Corno, Deputy Mayor for Culture, City of Milan and spokesperson for Milano ArtWeek; Alessandro Rabottini, Artistic Director of miart and spokesperson of miart 2020.

Images courtesy City of Milan.

December 12, 2019

State of Extremes at Design Museum Holon, Israel, through October 24, 2020

“Design Museum Holon presents State of Extremes, an original, large-scale exhibition of contemporary design that probes the social, technological and environmental crises that increasingly define our current condition of extremes—while also showing ways in which design can act as a mediating, moderating and healing force. Curated by Aric Chen with Maya Dvash, Chief Curator of Design Museum Holon, and Azinta Plantenga State of Extremes includes over 70 works by international and Israeli designers and studios. It marks the museum’s 10th anniversary, coming a decade after the museum’s inaugural 2010 exhibition, The State of Things.” — Design Museum Holon

“In 2010, The State of Things inaugurated the Design Museum Holon by presenting a landscape of objects,” says curator Aric Chen, who was also a member of that earlier exhibition’s curatorial team. “Now, ten years later, State of Extremes instead describes a condition—one in which the world has changed and, with it, design and design practice.”

“In the last decade, design and innovation have driven us to envision newness in the world, in the pursuit of solutions to everyday problems,” says Maya Dvash, Chief Curator of Design Museum Holon. “However, our advancements have created unforeseeable consequences to humankind. ‘State of Extremes’ offers a vivid picture of where we are and where we are going”.

Spiraling _ Keiichi Matsuda, Merger, 2018, Video, 402 minutes (1)

Category: Spiraling. Keiichi Matsuda, Merger, 2018, Video, 4:02 minutes

Polarization _ Nathan Smith and Sam T. Smith, ME & EU; 2016 (3)

Category: Polarization. Nathan Smith and Sam T. Smith, ME & EU, 2016

Extremer _ Lucy McRae, Compression Cradle, 2019. Photo credit _ Scottie Cameron (1)

Category: Extremer. Lucy McRae, Compression Cradle, 2019. Photo credit: Scottie Cameron

Extremer _ Adam Nathaniel Furman for Camp Design Gallery, In collaboration with Abet Laminati, Benevolente – The Royal Family, 2019. Image credit Federico Floriani

Category: Extremer. Adam Nathaniel Furman for Camp Design Gallery, In collaboration with Abet Laminati, Benevolente–The Royal Family, 2019. Image credit: Federico Floriani

Category: Extremer. Bas Princen, Valley (Jing’an), 2007. Inkjet, digital print

New Normal _ Jun Kamei, Amphibio, 2018. Photo Jukan Tateisi (2)

Category: New Normal. Jun Kamei, Amphibio, 2018. Photo credit: Jukan Tateisi

Category: New Normal. Stephan Bogner, Philipp Schmitt, Jonas Voigt, Raising Robotic Natives, 2016. Mixed materials

Extreme Lab _ Meydan Levy, Neo Fruit, 2018. Bogdan Sokol _ Image credit_Shay Maman (2)

Category: Extreme Lab. Meydan Levy, Neo Fruit, 2018. Bogdan Sokol. Photo credit: Shay Maman

Extreme Lab _ Meydan Levy, Neo Fruit, 2018. Bogdan Sokol _ Image credit_Shay Maman (1)

Category: Extreme Lab. Meydan Levy, Neo Fruit, 2018. Bogdan Sokol. Photo credit: Shay Maman

Extreme Lab _ Kuang-Yi Ku, Tiger Penis Project, 2018. Image credit _ Yu-Tzu Huang (1)

Category: Extreme Lab. Kuang-Yi Ku, Tiger Penis Project, 2018. Image credit: Yu-Tzu Huang

December 10, 2019

Alvin Ailey American Dance Theater Five-Week New York City Center Season, December 4, 2019 – January 5, 2020

“Alvin Ailey American Dance Theater, New York City Center’s Principal Dance Company, returns to the theater’s stage from December 4, 2019 – January 5, 2020. Artistic Director Robert Battle leads Ailey’s 32 extraordinary dancers during this annual five-week engagement, which has become a joyous holiday tradition. The repertory features more than two dozen diverse works by some of the world’s preeminent choreographers, including world premieres by Donald Byrd and Ailey dancer and newly announced Resident Choreographer Jamar Roberts, company premieres by Aszure Barton and Camille A. Brown, and new productions by Judith Jamison and Lar Lubovitch.” — Alvin Ailey Dance Theater

“I’m not only excited about this season’s topical works and the range of choreographers, but also that Jamar Roberts is now Ailey’s first-ever Resident Choreographer” stated Artistic Director Robert Battle. “Continuing the Company’s legacy of excellence, works will be staged by three dance masters while we also showcase the artistry of some of today’s most sought-after choreographers following in their footsteps. We will also celebrate Masazumi Chaya, the untiring and unmatched keeper of the flame whose dedication to Alvin Ailey’s vision spans nearly five decades, as well as The Ailey School for fifty years of world-class training that has developed countless performing artists. And we’re happy to kick off the season honoring Elaine Wynn at the Opening Night Gala, as her support led to our building’s expansion, allowing the organization – especially The Ailey School – to grow and thrive.”

GreenwoodChoreographer: Donald Byrd Alvin Ailey American Dance Theater Credit Photo: ©Paul Kolnik studio@paulkolnik.com nyc 212-362-7778

World Premiere. Donald Byrd’s Greenwood. Photo: ©Paul Kolnikstudio

AAADT in Darrell Grand Moultries Ounce of Faith Photo by Paul Kolnik3

2018-19 Season Premiere. Darrell Grand Moultrie’s Ounce of Faith. Photo by Paul Kolnik

AAADTs Danica Paulos in Darrell Grand Moultries Ounce of Faith Photo by Paul Kolnik

2018-19 Season Premiere. Danica Paulos in Darrell Grand Moultrie’s Ounce of Faith. Photo by Paul Kolnik

AAADTs Belen Indhira Pereyra and Yazzmeen Laidler in Darrell Grand Moultries Ounce of Faith. Photo by Paul Kolnik

2018-19 Season Premiere. Belen Indhira Pereyra and Yazzmeen Laidler in Darrell Grand Moultrie’s Ounce of Faith. Photo by Paul Kolnik

AAADTs Khalia Campbell in Darrell Grand Moultries Ounce of Faith Photo by Paul Kolnik

2018-19 Season Premiere. Khalia Campbell in Darrell Grand Moultrie’s Ounce of Faith. Photo by Paul Kolnik

DiviningChoreographer: Judith Jamison Alvin Ailey American Dance Theater Credit Photo: ©Paul Kolnik studio@paulkolnik.com nyc 212-362-7778

New Production 2019. Judith Jamison’s Divining (1984). Photo: ©Paul Kolnikstudio

New Production 2019. Judith Jamison’s Divining (1984). Photo: ©Paul Kolnikstudio

AAADTs Jacqueline Green in Judith Jamisons Divining. Photo by Paul Kolnik

New Production 2019. Jacqueline Green in Judith Jamison’s Divining (1984). Photo: ©Paul Kolnikstudi

AAADTs Jacquelin Harris in Judith Jamisons Divining. Photo by Paul Kolnik

New Production 2019. Jacquelin Harris in Judith Jamisons Divining (1984). Photo by Paul Kolnik

Title image: Alvin Ailey American Dance Theater’s Solomon Dumas. Photo by Andrew Eccles.

December 9, 2019

Inventing Acadia: Painting and Place in Louisiana at New Orleans Museum of Art (NOMA), through January 26, 2020

“The first major exhibition on Louisiana landscape painting in more than 40 years, Inventing Acadia explores the rise of landscape painting in Louisiana during the 19th century, revealing its role in creating—and exporting—a new vision for American landscape art that was vastly different than that to be found in the rest of the United States.

From the early 19th century onwards, Louisiana’s dense forests and tangled, impenetrable swamplands—branded as Acadie, or Acadia—came to represent America’s fascination with untamed wilderness. In Louisiana, artists encountered a landscape utterly unlike the Northeastern forests and mountains around which the very idea of the American landscape had been formed. Louisiana drew painters from France, New York, Boston, Mexico and the Caribbean, who made the region a testing ground for new ideas about landscape representation. This resulted in landscape paintings that brought American art into conversation with a new type of terrain, as well as a more international set of artistic and cultural references. Far from a regional phenomenon, Inventing Acadia shows how Louisiana landscape painting was part of a national–and even international–landscape conversation.” — NOMA

Robert Brammer, Mississippi Panorama, 1842-1853, Oil on canvas, 29 x 36 inches, Collection of Stacy and Jay Underwood

Alfred W. Boisseau, Louisiana Indians Walking Along a Bayou, 1847, Oil on canvas, 24 x 40 inches, Gift of William E. Groves, New Orleans Museum of Art, 56.34

John Antrobus, A Plantation Burial, 1860, Oil on canvas, 52 ¾ x 81 5/16 inches, The Historic New Orleans Collection, The L. Kemper and Leila Moore Williams Founders Collection, 1960.46

Theodore Rousseau, A Swamp in the Landes, after 1844, Oil on panel, 16 7/16 x 22 5/16 inches, The Walters Art Museum, 37.991

LA-2019-4_Duncanson_Uncle Tom and Little Eva

Robert Seldon Duncanson, Uncle Tom and Little Eva, 1853, Oil on canvas, 27 ¼ x 38 ¼ inches, Gift of Mrs. Jefferson Butler and Miss Grace R. Conover, Detroit Institute of the Arts, 49.498

Joseph Rusling Meeker, The Acadians in the Atchafalaya, “Evangeline,” 1871, Oil on canvas, 32 1/8 x 42 3/16 inches, A. Augustus Healy Fund, The Brooklyn Museum, 50.118

Everett B.D. Fabrino Julio, Life Along a Louisiana Bayou, 1877, Oil on canvas, 15 ¼ x 30 ¼ inches, Collection of Roger Houston Ogden

Joseph Rusling Meeker, After a Storm—Lake Maurepas, 1888, Oil on canvas, 20 ½ x 32 ¼ inches, Gift of the Phi Gamma Chapter of the Chi Omega Society, Louisiana State University Museum of Art, 98.14

Asher Brown Durand, Forenoon, 1847, Oil on canvas, 60 ¼ x 48 ¼ inches, Gift of the Fine Arts Club of New Orleans, New Orleans Museum of Art, 16.4

George David Coulon, Spirit of Louisiana, 1894, Oil on canvas, 44 x 27 inches, Gift of the Fine Arts Club of New Orleans on the occasion of their 60th Anniversary, New Orleans Museum of Art, 76.69

Inventing Acadia: Painting and Place in Louisiana is accompanied by a site-specific contemporary art installation in NOMA’s Great Hall by the artist Regina Agu, created in partnership with A Studio in the Woods, through an artist residency. For her project, Agu created a large-scale photographic panorama that wraps the museum’s Great Hall, based on her experiences revisiting the sites of many of the historical landscape paintings in the exhibition.

Inventing Acadia: Painting and Place in Louisiana is organized by the New Orleans Museum of Art.

December 1, 2019

Dora Maar at Tate Modern, through March 15, 2020

The Tate exhibition is the first UK retrospective of the work of Dora Maar (1907–97). Born Henriette Théodora Markovitch, she grew up between Argentina and Paris and studied decorative arts and painting before switching her focus to photography. Her photographs and photomontages became celebrated icons of surrealism. Featuring over 200 works from a career spanning more than six decades, this exhibition shows how Maar’s eye for the unusual also translated to her commercial commissions, social documentary photographs, and paintings.

During the 1930s, Maar was active in left-wing revolutionary groups led by artists and intellectuals. In the winter of 1935–6 Maar met Pablo Picasso and their relationship had a profound effect on both their careers. She documented the creation of his most political work, Guernica 1937. He in turn immortalised her in Weeping Woman. Together they made a series of portraits that combined experimental photographic and printmaking techniques. Later Maar withdrew from photography and concentrated on painting. She returned to her darkroom only in her seventies. This exhibition explores the breadth of Maar’s long career.

Dora Maar, 1907-1997. 29 rue d’Astorg, c. 1936. Photograph, hand-coloured gelatin silver print on paper, 294 x 244 mm. Collection Centre Pompidou, Paris. Musée national d’art moderne. Centre de création industrielle. Photo © Centre Pompidou, MNAM-CCI / P. Migeat / Dist. RMN-GP © ADAGP, Paris and DACS, London 2019

Dora Maar, 1907-1997. Model in Swimsuit, 1936. Photograph, gelatin silver on paper, 197 x 167 mm. The J. Paul Getty Museum, Los Angeles © ADAGP, Paris and DACS, London 2019

Dora Maar, 1907-1997. Untitled (Hand-Shell), 1934. Photograph, gelatin silver print on paper, 401 x 289 mm. Centre Pompidou, Musée national d’art moderne, Paris. Photo © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / image Centre Pompidou, MNAM-CCI © ADAGP, Paris and DACS, London 2019

Dora Maar Untitled (Fashion photograph) c. 1935

Dora Maar, 1907-1997. Untitled (Fashion photograph), c. 1935. Photograph, gelatin silver print on paper, 300 x 200 mm. Collection Therond © ADAGP, Paris and DACS, London 2019

Dora Maar, 1907-1997. Untitled, c. 1933. Photograph, gelatin silver print, 240 x 183 mm. Harvard Art Museums/Fogg Museum, Richard and Ronay Menschel Fund for the Acquisition of Photographs © ADAGP, Paris and DACS, London 2019

Dora-Maar-The-years-lie-in-wait-for-you-c.1935-

Dora Maar, 1907-1997. The years lie in wait for you, c.1935. Photograph, gelatin silver print on paper, 355 × 254 mm. The William Talbott Hillman Collection © ADAGP, Paris and DACS, London 2019

Dora Maar, 1907-1997. Untitled, 1935. Photomontage, 232 x 150 mm. Photo © Centre Pompidou, MNAM-CCI / P. Migeat / Dist. RMN-GP © ADAGP, Paris and DACS, London 2019

Dora Maar, 1907-1997. Untitled, c. 1980. Photograph, gelatin silver print on paper, 300 x 237 mm. The J. Paul Getty Museum, Los Angeles © ADAGP, Paris and DACS, London 2019

Dora Maar is curated by Karolina Ziebinska-Lewandowska, Curator, Centre Pompidou; Damarice Amao, Assistant Curator, Centre Pompidou; and Amanda Maddox, Associate Curator, the J. Paul Getty Museum; with Emma Lewis, Assistant Curator, Tate Modern. The Tate Modern presentation is curated by Emma Lewis with Emma Jones, Curatorial Assistant, Tate Modern.

November 27, 2019

Making Knowing: Craft in Art, 1950–2019 at Whitney Museum of American Art, November 22, 2019 – January, 2021

“Making Knowing: Craft in Art, 1950–2019 foregrounds how visual artists have explored the materials, methods, and strategies of craft, beginning with works made after World War II when many artists embraced fiber arts and ceramics to challenge the dominance of traditional painting and sculpture. Over the next seven decades, artists have continued to explore techniques such as weaving, sewing, or pottery, and experimented with textiles, thread, clay, and beads, among other mediums. These works speak to artists’ interests in domesticity, hobbyist materials, the decorative, vernacular American traditions, ‘women’s work,’ and feminist and queer aesthetics. By employing marginalized modes of artistic production, they challenge the power structures that determine artistic value.

Drawn primarily from the Whitney’s collection, the exhibition will encompass over eighty works by more than sixty artists, including Ruth Asawa, Eva Hesse, Mike Kelley, Liza Lou, Howardena Pindell, Robert Rauschenberg, Elaine Reichek, and Lenore Tawney, as well as featuring new acquisitions by Shan Goshorn, Kahlil Robert Irving, Simone Leigh, Jordan Nassar, and Erin Jane Nelson.” — Whitney Museum of American Art

Photographs by Corrado Serra.

Ree Morton, Signs of Love, 1976

Installation view

Alan Shields, J + K, 1972

Eva Hesse, No title, 1969-70

Installation view

Right: Kahlil Robert Irving, 100’s, 2018. Njideka Akunyili Crosby, Portals, 2016

Installation view

Center: Betty Woodman, Still Life #11, 1990

Left: Robert Arneson, Whistling in the Dark, 1976

Making Knowing: Craft in Art, 1950–2019 is organized by Jennie Goldstein, assistant curator, and Elisabeth Sherman, assistant curator, with Ambika Trasi, curatorial assistant.

November 27, 2019

Artist in Exile: The Visual Diary of Baroness Hyde de Neuville at New-York Historical Society, through January 26, 2020

“The New-York Historical Society introduces visitors to a little-known artist whose work documented the people and scenes of early America. Artist in Exile: The Visual Diary of Baroness Hyde de Neuville, on view in the Joyce B. Cowin Women’s History Gallery of the Center for Women’s History, presents 114 watercolors and drawings by Anne Marguérite Joséphine Henriette Rouillé de Marigny, Baroness Hyde de Neuville (1771–1849). Selftaught and ahead of her time, Neuville’s art celebrates the young country’s history, culture, and diverse population, ranging from Indigenous Americans to political leaders. Curated by Dr. Roberta J.M. Olson, curator of drawings at New-York Historical, this exhibition is the first serious exploration of Neuville’s life and art—showcasing many recently discovered works including rare depictions of European scenes and people at work, a lifelong sociological interest—and is accompanied by a scholarly catalogue.” — New-York Historical Society

Photographs by Corrado Serra.

“Baroness Hyde de Neuville’s status as a woman, an outsider, and a refugee shaped her view of America and Americans, making her a particularly keen and sympathetic observer of individuals from a range of socioeconomic and ethnic backgrounds,” said Dr. Louise Mirrer, president and CEO of the New-York Historical Society. “Neuville could never have envisioned that her visual diary—created as a personal record of her travels and observations of early America—would become an invaluable historical document of the early republic. Yet her drawings vividly evoke the national optimism and rapid expansion of the young United States and capture the diversity of its inhabitants.”

November 21, 2019

New York Botanical Garden’s Holiday Train Show, November 23, 2019 – January 26, 2020.

“The New York Botanical Garden’s Holiday Train Show® showcases Central Park—the most popular urban park in America—in the 28th year of this much-loved holiday event. Visitors are transported to a miniature metropolis as model trains zip through an enchanting display of more than 175 New York landmarks, each re-created from natural materials such as birch bark, lotus pods, acorns, and cinnamon sticks.

In the Holiday Train Show, more than 25 G-scale model trains and trolleys hum along nearly a half-mile of track past re-creations of iconic sites from all five boroughs of New York City, the Hudson River Valley, and other locations in New York State. Artistically crafted by founding visionary Paul Busse’s team at Applied Imagination, all of the New York landmarks are made from natural materials such as bark, twigs, stems, fruit, seeds, fungus, and pine cones. American steam engines, streetcars from the late 1800s, and modern freight and passenger trains travel beneath overhead trestles, through tunnels, across rustic bridges, and past waterfalls that cascade into flowing creeks. Thomas the Tank Engine™ and other beloved trains disguised as large colorful insects delight children as they whiz by.” — NYBG

Photographs by Corrado Serra.

November 19, 2019

Finding Home: Four Artists’ Journeys at Norman Rockwell Museum, through May 25, 2020

“Finding Home: Four Artists’ Journeys, a new exhibition open November 9, 2019 through Monday, May 25, 2020 at the Norman Rockwell Museum in Stockbridge, MA, documents the complex emotional realities of adapting to a new life thousands of miles away from where their stories began, through compelling visual memoirs inspired by the personal journeys of four master illustrators, Frances Jetter, David Macaulay, James McMullan, and Yuyi Morales.

More than 200 original drawings, paintings, linoleum block prints, and digital mixed media works by the artists draw upon memories and family narratives, and on historical research that establishes meaningful contexts for their work. Personal mementos from photographs, travel documents, treasured toys, skates, and tea sets, to articles of clothing, books, as well as video commentary, will illuminate each illustrator’s story. The space that images make to inspire conversation will be explored, as will the distinctive qualities of each artist’s voice, their aesthetic and technical approaches, and the use of visual symbols as anchors in their poignant sequential narratives.” — Norman Rockwell Museum

Frances-Jetter-Amalgam-America-Page_09-800x1054

Frances-Jetter-Amalgam-Three-Generations-in-Four-Cramped-Apartments-Page_31-800x1052

Frances Jetter, Three Generations in One Cramped Apartment, 2018. Illustration for Amalgam by Frances Jetter. Linoleum cut print on paper. Collection of the artist. Image © Frances Jetter. All rights reserved.

David-Macaulay_Launch-of-the-St-Louis-sm-800x451

David Macaulay, Launch of the St. Louis, 2017. Illustration for Crossing on Time: Steam Engines, Fast Ships and a Journey to the New World by David Macaulay. Digital Illustration. Collection of the artist. Image © David Macaulay. All Rights Reserved

David-Macaulay-Macaulay-Family-Boards-SS-United-States-sm-800x450

David Macaulay, The Macaulay family board the SS United States, 2017. Illustration for Crossing on Time: Steam Engines, Fast Ships and a Journey to the New World by David Macaulay. Digital Illustration. Collection of the artist. Image © David Macaulay. All Rights Reserved

David-Macaulay-Ships-Cross-the-Atlantic-sm-800x487

David Macaulay, Ships crossing the Atlantic Oceans were powered by the wind in their sails, 2017. Illustration for Crossing on Time: Steam Engines, Fast Ships and a Journey to the New World by David Macaulay. Digital Illustration. Collection of the artist. Image © David Macaulay. All Rights Reserved

James-McMullin_The_Bombong_Scare-800x941

James McMullan. The Bombing Scare, 2014. Illustration for Leaving China: An Artist Paints His World War II Childhood by James McMullan. Watercolor on paper. Collection of the artist. Image © James McMullan. All rights reserved.

James-McMullin-Leaving-China_p.-55-800x957

James McMullan, 2014. Illustration for Leaving China: An Artist Paints His World War II Childhood by James McMullan. Watercolor on paper. Collection of the artist. Image © James McMullan. All rights reserved.

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Yuyi Morales, Migrantes, you and I, 2018. Mixed media digital. Illustration for Dreamers (New York: Neal Porter Books, Holiday House Publishing, Inc.) 2018.

Yuyi Morales, Illustration for Unbelievable. Surprising, 2018. Mixed media digital. Dreamers (New York: Neal Porter Books, Holiday House Publishing, Inc.) 2018.

Yuyi Morales, 2018. Illustration for Dreamers (New York: Neal Porter Books, Holiday House Publishing, Inc.) 2018. Mixed media digital.

The exhibition was co-curated by Deputy Director/Chief Curator, Stephanie Plunkett and Director of Curatorial Operations, Martin Mahoney.

With Finding Home: Four Artists’ Journeys, Norman Rockwell Museum continues its exploration of the immigrant experience, giving voice to immigrants and offering a visual record of a truly American experience.

For the past eight years the Museum has also partnered with the Berkshire Immigrant Center, Berkshire Community College Adult Learning Program, and the Literacy Network of South Berkshire to host the annual United States Citizenship Naturalization Ceremony and celebrate the regions’ newest citizens.

November 18, 2019

Ballet Hispánico at The Apollo Theatre, November 22-23, 2019

“Ballet Hispánico, the nation’s premier Latino dance organization, returns to the Apollo stage on Friday and Saturday, November 22 and 23, 2019 at 8:00pm with a program that continues its commitment to staging works by female, Latinx choreographers.

In the World Premiere of Tiburones, Annabelle Lopez Ochoa addresses the discrimination and stereotypes placed upon Latinx culture and the power the media has in portraying these themes by diminishing the voices of Latinx artists. Ochoa will deconstruct gender roles and identity to revitalize an authentic perspective of Puerto Rican icons appropriated within the entertainment industry.

In this restaging of Nací (2009), choreographer Andrea Miller draws from the duality of her Spanish and Jewish-American background and employs her distinctive movement style to investigate the Sephardic culture of Spain, with its Moorish influence and profound sense of community, despite hardship.

Con Brazos Abiertos (2017) is a fun and frank look at life caught between two cultures. Michelle Manzanales utilizes iconic Mexican symbols that she was reluctant to embrace as a Mexican-American child growing up in Texas, to speak to the immigrant experience. Intertwining folkloric representations with humor and music that ranges from Julio Iglesias to Rock en Español, the work brings life to a Latino dilemma.” — Ballet Hispánico

Nací. Photo by Paula Lobo.

Vanessa Valecillos in Nací. Photo by Rosalie O’Connor

Con Brazos Abiertos. Photo by Paula Lobo

Lyvan Verdecia in Con Brazos Aberitos. Photo by Paula Lobo

Melissa Verdecia in Con Brazos Abiertos. Photo by Paula Lobo

Melissa Verdecia in Con Brazos Aberitos. Photo by Paula Lobo

Dandara Viega in Con Brazos Abiertos, photo by Amy_Kerwin, Emelin Theater_17 copy 3[1]

Dandara Viega in Con Brazos Abiertos, Emelin Theater. Photo by Amy Kerwin

Artistic Director & CEO: Eduardo Vilaro. Rehearsal Director: Johan Rivera. Choreographers: Annabelle Lopez Ochoa, Andrea Miller, and Michelle Manzanales. Dancers: the Ballet Hispánico Company; Simone Cameresi, Shelby Colona, Laura Lopez, Geena Pacareu, Gabrielle Sprauve, Dandara Veiga, Melissa Verdecia, Lenai Wilkerson, Christopher Bloom, Jared Bogart, Antonio Cangiano, Paulo Gutierrez, Paulo Hernandez, Omar Rivera, and Lyvan Verdecia.

Title photo by Rachel Neville. Images courtesy Ballet Hispánico.

November 15, 2019

Yayoi Kusama: Every Day I Pray For Love at David Zwirner Gallery, November 9 – December 14, 2019

“David Zwirner is pleased to present new work by Yayoi Kusama at the gallery’s 537 West 20th Street location in New York. The exhibition features new paintings, new sculptures, an immersive installation, and the debut of INFINITY MIRRORED ROOM – DANCING LIGHTS THAT FLEW UP TO THE UNIVERSE, 2019.

One of the most influential artists of the twentieth and twenty-first centuries, Kusama occupies a unique position within recent art history. Since her early assimilation of pop art and minimalism in the 1960s, she has created a highly personal oeuvre that resonates with a global audience. Distinctly recognizable, her works frequently deploy repetitive elements—such as dots—to evoke both microscopic and macroscopic universes.

The exhibition introduces new paintings in the artist’s iconic My Eternal Soul series. Created in a more intimate format on view for the first time in the United States, these works are singular explorations of line and form. Minutely detailed, yet with bold explorations of color, they are at once abstract and figurative. Framed by the paintings and addressing a similar dialectic is a large, new floor-based constellation composed of almost a hundred different stainless-steel elements. Viewers navigate an all-encompassing environment of organic-looking, cloud-like forms whose reflections envelop its audience and reinforce an impression of perpetuity and infinity.” — David Zwirner

Yayoi Kusama. Pumpkin, 2019. Fiberglass reinforced plastic, stainless steel, and urethane paint. 48 7/8 x 50 x 52 3/8 inches, 124 x 127 x 133 cm. Yayoi Kusama © YAYOI KUSAMA. Courtesy Ota Fine Arts, Victoria Miro and David Zwirner