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DTSTART;TZID=America/New_York:20241112T150000
DTEND;TZID=America/New_York:20241112T163000
DTSTAMP:20260403T133755
CREATED:20240926T204933Z
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SUMMARY:Washington\, DC | Tour of 'Breaking It Down: Conversations from the Vault' at the Phillips Collection
DESCRIPTION:Sam Gilliam\, April\, 1971 [detail]\, Acrylic on canvas\, 60 x 60 x 2 1/2 in.\, The Phillips Collection\, Bequest of Mercedes H. Eichholz\, 2013\n\n\n\nJoin curator Renee Maurer on a one-hour guided tour of The Phillips Collection\, exploring Breaking It Down: Conversations from the Vault plus access to the exhibition Creative Aging. In connection with Breaking It Down‘s examination of the history of collecting at the Phillips\, inseparable from its founding mission of using the arts to support healing and community-building\, the tour will introduce us to the museum’s current cutting-edge education programs. \n\n\n\nAbout the exhibition:  \n\n\n\nThe Phillips Collection\, from its inception\, has focused on creating what founder Duncan Phillips called “units”: groups of works of art that represent key aspects of an artist’s vision or spirit. Leaders in championing the independent-minded artist\, Duncan and Marjorie Phillips gave many their first museum exhibitions and acquisitions. This presentation offers a deep dive and new take on several artists who are cornerstones of the collection\, including Georges Braque\, Richard Diebenkorn\, Arthur Dove\, Sam Gilliam\, Paul Klee\, and Georgia O’Keeffe\, alongside a growing collection of works by trailblazers of our time\, including Sean Scully\, Sylvia Snowden\, Renée Stout\, Joyce Wellman\, and more. \n\n\n\nProgram Admission: \n\n\n\n\nArtTable member: $15\n\n\n\nFriend of member: $20\n\n\n\nNot-yet-member: $25\n\n\n\n\nNot a member? Join today!
URL:https://www.arttable.org/event/washington-dc-tour-of-breaking-it-down-conversations-from-the-vault-at-the-phillips-collection/
LOCATION:The Phillips Collection\, 1600 21st St NW\, Washington\, DC\, 20009
CATEGORIES:New York
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241112T170000
DTEND;TZID=America/New_York:20241112T180000
DTSTAMP:20260403T133755
CREATED:20241020T153538Z
LAST-MODIFIED:20241020T153540Z
UID:28782-1731430800-1731434400@www.arttable.org
SUMMARY:San Francisco\, CA | Walkthrough of Forms Unbound: Peter Young and Maren Hassinger at Gallery Wendi Norris
DESCRIPTION:[L] Peter Young\, #5 – 1967\, 1967\, Acrylic on canvas\, 144 x 72.25 inches (365.76 x 183.52 cm). Courtesy of the artist and Gallery Wendi Norris\, San Francisco. [R] Maren Hassinger\, Untitled Vessel (Small Body)\, 2021\, Stainless steel wire rope on steel armature\, 48 x 36 inches (121.92 x 91.44 cm). Courtesy of the artist and Susan Inglett Gallery\, NYC. Photo by Adam Reich.\n\n\n\nJoin ArtTable for a walkthrough of Forms Unbound: Peter Young and Maren Hassinger at Gallery Wendi Norris\, along with an overview of the gallery’s program. Installed across two venues—Gallery Wendi Norris\, and Gallery Wendi Norris Offsite\, located across the street in the historic carriage house at 38 Hotaling Place—Forms Unbound pairs fluid wire and fiber-based sculptures by Maren Hassinger (b. 1947) with monumental dot paintings by Peter Young (b. 1940). Young and Hassinger have followed parallel journeys in life and art: both raised in Los Angeles\, they launched their careers in New York\, where the art world was dominated by Abstract Expressionism and Minimalism. As the works on view in Forms Unbound demonstrate\, each artist developed new visual vocabularies and practices to mark their own departure from the limiting influence of formalism. Bringing these two artists into dialogue\, this exhibition explores the limits—and possibilities—of abstraction and minimalism. Our tour will focus especially on Hassinger’s work; reshaping industrial materials like steel wire rope into forms that appear organic or handmade\, and melding natural materials with the manmade\, Hassinger contemplates the relationship between the earth and our human world. Juxtaposed with Young’s monumental paintings\, the full impact of Hassinger’s large-scale sculptures is fully felt in the carriage house space\, where viewing the works becomes an immersive experience. \n\n\n\nEnjoy conversation and a glass of wine following the tour! \n\n\n\n \n\n\n\nAccessibility note: There no stairs leading into or within the main gallery space and Carriage House. Limited seating is available for guests who need. \n\n\n\n \n\n\n\nProgram Registration: \n\n\n\n\nArtTable Member – $15\n\n\n\nFriend of Member – $20\n\n\n\nNon-Member – $25\n\n\n\n\n\n\nNot a member? Join today! \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nMaren Hassinger (b. 1947\, Los Angeles) has built an expansive practice that articulates the relationship between nature and humanity. Carefully choosing materials for their innate characteristics\, Hassinger has explored the subject of movement\, family\, love\, nature\, environment\, consumerism\, identity\, and race. Wire rope has played a prominent role in Maren Hassinger’s artistic practice since the early 1970s when\, as a sculptor placed in the Fiber Arts program at UCLA\, Hassinger used the material to bridge the gap between the two disciplines. The artist often takes a biomimetic approach to her material\, whether bundling it to resemble a monolithic sheaf of wheat or planting it in cement to create an industrial garden. Within the past five years\, Hassinger has been commissioned to make work for Sculpture Milwaukee (curated by Ugo Rondinone)\, Dia Bridgehampton\, Socrates Sculpture Park\, the Hirshhorn Museum and Sculpture Garden\, the Rockefeller Foundation\, and the Aspen Art Museum. Her work is currently installed at Dia Beacon and at Longhouse Reserve in East Hampton. Hassinger will be honored with an upcoming two-person survey alongside Senga Nengudi at IVAM\, Valencia\, as well as participation in an upcoming exhibition at The Met. Hassinger is the recipient of the Women’s Caucus for the Arts Lifetime Achievement Award. Her work can be found in the collections of the Art Institute of Chicago; the Hirshhorn Museum\, Washington D.C; the Los Angeles County Museum of Art; the Museum of Modern Art\, NYC; the San Francisco Museum of Art; the Walker Art Center\, Minneapolis; and the Whitney Museum\, NYC\, among others. \n\n\n\nPeter Young (b. 1940\, Pittsburgh) grew up in Los Angeles and studied at Pomona College for two years before moving to New York in 1960. Young’s paintings have continuously defied categorization since his early New York years showing with Leo Castelli and Richard Bellamy. He has been described variously as the first post-modernist painter\, as well as a minimalist and an abstract surrealist. From the beginning\, his paintings have addressed the rigid formal criteria of minimal art that prevailed in the 1960’s. Following his first two solo exhibitions in 1967 and 1970 at the Noah Goldowsky Gallery\, Young then exhibited at Richard Bellamy’s Oil & Steel Gallery in Tribeca in 1984. Through Bellamy’s interest in Young’s work\, it came to the attention of then P.S.1 Director\, Alanna Heiss\, and in 2007 the P.S.1 Contemporary Art Center dedicated a comprehensive survey exhibition to the artist’s work\, accompanied by a monograph\, focusing on the period between 1963 and 1977. His work has been included in exhibitions at The Museum of Modern Art\, New York; the Museum of Contemporary Art Tucson\, Arizona; the Whitney Museum of American Art\, New York; The Guggenheim\, New York; Albright-Knox Art Gallery\, Buffalo; as well as the Walker Art Center\, Minneapolis; Tate St. Ives\, United Kingdom; Rolf Ricke\, Cologne; and Documenta 5\, Kassel\, Germany. Peter Young’s work is featured in collections\, including the Allen Art Museum\, Oberlin College\, Ohio; the American University\, Washington D.C.; the Australian National Gallery\, Canberra\, Australia; the Solomon R. Guggenheim Museum\, New York; the Museum of Contemporary Art\, Chicago; The Museum of Modern Art\, New York; the Neuberger Museum\, Purchase College\, New York; Phoenix Art Museum\, Arizona; San Francisco Museum of Modern Art; Edwin A. Ulrich Museum of Art\, Wichita; University of Texas\, Austin; and the Whitney Museum of American Art\, New York\, among others. \n\n\n\nAbout Gallery Wendi Norris: Gallery Wendi Norris is a leading international art gallery with headquarters in San Francisco\, California. The gallery holds decades-long relationships with 20th-century luminaries such as Leonora Carrington\, Dorothea Tanning\, Wolfgang Paalen\, Remedios Varo\, and Alice Rahon\, artists whose nomadic and visionary practices interrogated the aesthetic\, scientific\, and philosophical movements of their times. The gallery also represents María Magdalena Campos-Pons\, Enrique Martínez Celaya\, Chitra Ganesh\, Julio César Morales\, Ranu Mukherjee\, Eva Schlegel\, Peter Young\, and other contemporaries\, artists whose work similarly flows across disciplines\, continents\, and generations as they speculate on the present moment. Opened in 2002\, Gallery Wendi Norris remains committed to its founding principles of rigorous programming\, development of artists’ legacies\, public accessibility\, and cultural significance. To those ends\, the gallery hosts visiting academics\, sponsors artist talks\, and publishes highly-researched books with original contributions from international scholars. The gallery actively supports artists in engaging new audiences through influential commercial\, biennial\, and institutional collaborations. Pioneering an offsite exhibition model in 2017\, the gallery produces public-facing artworks and shows wherever they might reach the widest viewership and provide the deepest impact. Working in concert with major museums\, private collectors\, and innovative curators\, Gallery Wendi Norris builds enduring\, well-represented collections for its respected array of international clients.
URL:https://www.arttable.org/event/san-francisco-ca-walkthrough-of-forms-unbound-peter-young-and-maren-hassinger-at-gallery-wendi-norris/
LOCATION:Gallery Wendi Norris\, 436 Jackson St\, San Francisco\, California\, 94111\, United States
CATEGORIES:New York,National
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DTSTART;TZID=America/New_York:20241113T180000
DTEND;TZID=America/New_York:20241113T193000
DTSTAMP:20260403T133755
CREATED:20241004T192027Z
LAST-MODIFIED:20241031T163302Z
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SUMMARY:Brooklyn\, NY | Behind-the-Scenes Tour: Dieu Donné
DESCRIPTION:Join ArtTable for an immersive experience at Dieu Donné\, where artists create unique handmade paper artworks in collaboration with an expert team. This event includes a behind-the-scenes tour of the Brooklyn-based hand papermaking studio\, a live demonstration by a Master Papermaker\, and an opportunity to learn about different hand papermaking techniques. Discover exclusive works made in collaboration with Dieu Donné by artists including Howardena Pindell\, Diana Al-Hadid\, Melvin Edwards\, Glenn Ligon\, Lynda Benglis\, and more. \n\n\n\n\n\n\nProgram admission (limited spots available): \n\n\n\n\nArtTable Members – $20\n\n\n\nMember Guests – $25\n\n\n\nNon-Members – $30\n\n\n\n\nNot a member? Join today! \n\n\n\n\nAccessibility Note: The closest walk-in entrance to the building is through a turnstile\, followed by a few stairs. If you require a wheelchair- or walker-accessible entry\, please let ArtTable know\, and they will provide detailed campus directions from Dieu Donné. Seating will be available to those who need it during our visit. \n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\nArtTable extends a special thank you to Angelica Semmelbauer for coordinating this visit. \n\n\n\n\n\nDIRECTIONS: \n\n\n\nBy NYC Ferry: The Brooklyn Navy Yard stop is a 10-15 minute ride on the Astoria line\, either from Wall Street (take the northbound/90th Street-bound ferry 1 stop to the Brooklyn Navy Yard) or from East 34th Street (take the southbound/Wall Street-bound ferry 1 stop to the Brooklyn Navy Yard). Dieu Donné\, in Building 3 at the Navy Yard\, is a 12-minute walk from the ferry stop (see map below). \n\n\n\nBus/Subway: Please see below for directions provided by Dieu Donné\, as well as a map of Dieu Donné’s section of the Brooklyn Navy Yard campus.
URL:https://www.arttable.org/event/brooklyn-ny-behind-the-scenes-tour-dieu-donne/
LOCATION:Dieu Donné\, Brooklyn Navy Yard\, Bldg 3 / 63 Flushing Ave\, Suite 602 (6th floor)\, Brooklyn\, New York\, 11205
CATEGORIES:New York,National
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DTSTART;TZID=America/New_York:20241118T153000
DTEND;TZID=America/New_York:20241118T164500
DTSTAMP:20260403T133755
CREATED:20241027T180834Z
LAST-MODIFIED:20241028T142948Z
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SUMMARY:Philadelphia\, PA | Curator-Led Tour: 'Mickalene Thomas: All About Love' at The Barnes Foundation
DESCRIPTION:Mickalene Thomas. Afro Goddess Looking Forward\, 2015. Rhinestones\, acrylic\, and oil on wood panel. © 2024 Mickalene Thomas\n\n\n\nJoin ArtTable for a tour of Mickalene Thomas: All About Love on the East Coast debut of this major international survey of Thomas’ work. Meet us in the galleries of the Barnes Foundation\, where ArtTable member Nina Diefenbach\, The Barnes’ Senior Vice President and Deputy Director for Advancement will provide an introduction to the exhibition. At 3:45\, our 60-minute tour with Nancy Ireson\, Deputy Director for Collections & Exhibitions and Gund Family Chief Curator at The Barnes\, begins. \n\n\n\nAbout the exhibition: Mickalene Thomas: All About Love is the first major international tour focused on the work of pioneering artist Mickalene Thomas (American\, b. 1971)\, whose influences range from 19th-century painting to popular culture. All About Love is co-organized by the Hayward Gallery\, London\, and The Broad\, Los Angeles\, and in partnership with the Barnes and Les Abattoirs\, Musée–Frac Occitanie Toulouse. The Barnes presentation of All About Love showcases a selection of vivid artworks—paintings\, collage\, photography\, video\, and site-specific installation—that celebrates Thomas’s distinctive artistic practice from the late 2000s to the present day. Her work is characterized by spectacularly staged\, rhinestoned\, large-scale painted tableaux and bold\, intimate compositions\, decisively foregrounding Black femininity in abundant realms of visual pleasure\, agency\, and kinship. Whether in imaginative dialogue with canonical works from the history of art or playfully reckoning with popular culture\, Thomas’s exuberant portraits offer an empowered vision of beauty and desire\, formulated through a sensual\, Black feminist lens. The Barnes presentation is curated by independent curator and scholar Renée Mussai. \n\n\n\nAbout the Artist: Mickalene Thomas (b. 1971\, Camden\, New Jersey) is one of today’s most influential artists. Her innovative practice has yielded instantly recognizable and widely celebrated aesthetic languages within contemporary visual culture. Thomas completed her MFA at the Yale University School of Art in 2002 and a residency at the Studio Museum in Harlem in 2003\, and soon became known for her large-scale acrylic paintings of Black women in states of leisure and repose. Her confident and assured subjects are often depicted in domestic interiors from Black America\, claiming the agency of womanhood while deconstructing the art historical canon. Outside of her core practice\, Thomas is a Tony Award–nominated co-producer\, curator\, educator\, and mentor to many emerging artists. Thomas’s work has become an undeniable force within the contemporary art world and an indispensable inspiration to younger generations of artists. She lives and works in New York. \n\n\n\nProgram Admission: \n\n\n\n\nArtTable member: $25\n\n\n\nFriend of member: $30\n\n\n\nNot-yet-member: $35\n\n\n\n\nNot a member? Join today!
URL:https://www.arttable.org/event/philadelphia-pa-curator-led-tour-mickalene-thomas-all-about-love-at-the-barnes-foundation/
LOCATION:The Barnes Foundation\, 2025 Benjamin Franklin Parkway\, Philadelphia\, Pennsylvania\, 19130\, United States
CATEGORIES:New York
ATTACH;FMTTYPE=image/jpeg:https://www.arttable.org/wp-content/uploads/2024/10/Afro_Goddess_Looking-Forward.jpg
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DTSTART;TZID=America/New_York:20241119T093000
DTEND;TZID=America/New_York:20241119T103000
DTSTAMP:20260403T133755
CREATED:20241102T035049Z
LAST-MODIFIED:20241102T035244Z
UID:29166-1732008600-1732012200@www.arttable.org
SUMMARY:New York\, NY | Curator-Led Tour of Nicole Eisenman: Fixed Crane at Madison Square Park
DESCRIPTION:Nicole Eisenman (American\, b. France 1965)\, Fixed Crane\, 2024. Crane\, bronze\, plaster\, wire\, and various additional materials. Approximately 12 feet x 12 feet x 102 feet. Courtesy the artist and Hauser & Wirth. Commissioned by Madison Square Park Conservancy\, New York. Photo: Elisabeth Bernstein\n\n\n\n\n \n\n\n\nThis tour with Brooke Kamin Rapaport\, Artistic Director and Martin Friedman Chief Curator of Madison Square Park Conservancy\, explores Nicole Eisenman: Fixed Crane\, the current project in the Conservancy’s field-leading program of contemporary public art.  \n\n\n\n \n\n\n\nAbout the exhibition: Nicole Eisenman – one of the most influential artists working today — assembles a monumental public project for Madison Square Park that destabilizes familiar heroic objects associated with human achievement. Fixed Crane features a toppled industrial crane embellished with handmade sculptural objects. The work marks a significant moment in Eisenman’s practice\, expanding her explorations of the twentieth-century concept of the “readymade\,” created in 1916 by Dada artist Marcel Duchamp to elevate everyday\, mass-produced objects to the status of an artwork\, and pushing the boundaries of her work in figuration. The project is part of the milestone twentieth anniversary of Madison Square Park Conservancy’s art program. \n\n\n\nParkgoers can walk around the deflated machine\, a mighty symbol of construction prowess and urban growth that now rests impotently on the park’s Oval Lawn. Rather than reach valiantly into the sky\, the once imperious 1969 Link-Belt crane has capsized\, provocatively challenging our notions of betterment. Turned on its side\, the operator’s cab reaches nine-feet high; the tracks extend up twelve feet\, and the boom stretches ninety feet. The artist upends an Edenic refuge from the city by placing a rusted relic of presumed advancement center stage. Eisenman questions cycles of progress in public space: how powerful cranes build skyscrapers–and\, lately\, “supertalls”–like those near Madison Square Park. In recent months\, a towering wisp of an 860-foot-high structure has risen to eclipse views of the Empire State Building from in and around the park. Eisenman critiques New York City’s impulse for ever higher ascension\, which advances some lives and compromises others\, and alludes to how the human condition may be endangered by ongoing urban construction. \n\n\n\nAt the apex of the cab is a diminutive explorer. The figure is a symbol of surrender or of occupation. Sculptural bandages placed on the crane’s boom are there to heal the fallen apparatus. A large foot wearing a Birkenstock sandal adjacent to the engine\, is footloose no longer\, an unexpected culprit as the kicker who capsized the crane. Visible through a small portal is a tableau of a solitary seated female figure\, draped in a shawl\, and bathed in the soft light of a chandelier. She sits before a small cast-iron stove. She is now a vision (or a squatter)\, a glowing soul who recently found a haven for a wiener roast\, skewering a sausage with a stick. The crane’s original counterweight and interior mechanisms become benches for seating as the artist daylights what was once hidden in the machine’s interior. Viewers can look at the fallen crane–once a commanding\, necessary force for building\, but now in stasis. \n\n\n\n \n\n\n\n\n\nAdmission: \n\n\n\n\nArtTable Members – $15\n\n\n\nMember Guests – $20\n\n\n\nNon-Members – $25\n\n\n\n\nNot a member? Join today! \n\n\n\n\n\n\n\n\n \n\n\n\n\n\n\n\n\n\n\nAbout the Curator: \n\n\n\nBrooke Kamin Rapaport is Artistic Director and Martin Friedman Chief Curator at New York’s Madison Square Park Conservancy\, where she is responsible for the outdoor public sculpture program of commissioned work by contemporary artists including Diana AI-Hadid\, Tony Cragg\, Abigail DeVille\, Leonardo Drew\, Teresita Fernandez\, Maya Lin\, Josiah McElheny\, Martin Puryear\, Erwin Redl\, Arlene Shechet\, and Krzysztof Wodiczko. She was commissioner and curator of the 2019 US Pavilion at the Venice Biennale with the exhibition Martin Puryear: Liberty/Liberta. She is the founder of Public Art Consortium\, a national initiative of museum\, public art\, and sculpture park colleagues launched in 2017. Rapaport was a curator in the contemporary art department at the Brooklyn Museum and a guest curator at The Jewish Museum. She sits on the boards of three artist-endowed foundations and the Mead Art Museum at Amherst College.
URL:https://www.arttable.org/event/new-york-ny-curator-led-tour-of-nicole-eisenman-fixed-crane-at-madison-square-park/
LOCATION:Madison Square Park\, 11 Madison Ave\, New York\, New York\, 10010\, United States
CATEGORIES:New York,National
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241119T160000
DTEND;TZID=America/New_York:20241119T171500
DTSTAMP:20260403T133755
CREATED:20241102T021841Z
LAST-MODIFIED:20241115T181230Z
UID:29159-1732032000-1732036500@www.arttable.org
SUMMARY:*CANCELED* San Francisco\, CA | Curator-Led Tour of Mary Cassatt at Work at the de Young Museum with Emily Beeny
DESCRIPTION:Mary Cassatt at Work\, Legion of Honor\, 2024. Photo by Gary Sexton.\n\n\n\nJoin ArtTable for a tour of Mary Cassatt at Work with Emily Beeny\, PhD\, Curator in Charge of European Paintings at the de Young Museum. The largest exhibition of Cassatt’s work in the US in decades\, Mary Cassatt at Work was organized by the Philadelphia Museum of Art with the support of the Fine Arts Museums of San Francisco. \n\n\n\nAbout the exhibition: Too often dismissed as a sentimental painter of mothers and children\, Mary Cassatt (1844–1926) was in fact a modernist pioneer. Her paintings\, pastels\, and prints are characterized by restless experimentation and change. Cassatt was the only American to join the French Impressionists\, first exhibiting with the group at Degas’s invitation in 1879\, and quickly emerged as a key member of the movement. Alongside scenes of women at the opera\, visiting friends\, and taking tea\, Cassatt produced many images of “women’s work” — knitting and needlepoint\, bathing children\, and nursing infants. These images suggest parallels between the work of art making and the work of caregiving. The exhibition calls attention to the artist’s own processes of making — how she used her brush\, etching needle\, pastel stick\, and even fingertips to create radical art under the cover of “feminine” subject matter. \n\n\n\n \n\n\n\nAccessibility note: Wheelchairs and lightweight portable stools are available from Coat Check or the Admissions counter on a first come\, first-served basis. A Photo ID must be provided to ensure items are returned prior to leaving the museum. \n\n\n\n \n\n\n\nProgram Registration: \n\n\n\n\nArtTable Member – $30\n\n\n\nArtTable Member with FAMSF membership – $15\n\n\n\nFriend of Member – $35\n\n\n\nNonmember of ArtTable – $40\n\n\n\nNonmember of ArtTable with FAMSF membership – $20\n\n\n\n\n\n\nNot a member? Join today!
URL:https://www.arttable.org/event/san-francisco-ca-curator-led-tour-of-mary-cassatt-at-work-at-the-de-young-museum-with-emily-beeny-2/
LOCATION:de Young Museum\, Golden Gate Park \ 50 Hagiwara Tea Garden Drive\, San Francisco\, California\, 94118\, United States
CATEGORIES:New York,National
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