February 27 | 10:00 am – 1:00 pm
Join ArtTable and the Association of Professional Art Advisors for a preview of DOYLE’s Spring Marquee Sales, including paintings, prints and photographs with works by Mel Bochner, Lynne Drexler, Henri Matisse, Roy Lichtenstein, Scott Kahn, August Herbin, Vik Muniz, Richard Lindner.
For questions about access or to request accommodations please contact us at [email protected].
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March 23 | 2:30 pm – 4:00 pm
Join ArtTable at the Smithsonian’s Archives of American Art to discover collections that document the history of women in American visual arts. During this tour and presentation, attendees will learn about the lives and legacies of Toshiko Takaezu and Hung Liu through archival collections.
For more than 70 years, the Archives has provided researchers worldwide with access to the largest collection of primary source materials collected from artists, galleries, and other art world institutions and professionals. The Archives holds nearly 6,500 collections comprised of more than 30 million primary sources including correspondence, diaries, sketchbooks, photographic, audiovisual, and born-digital materials. As one of the oldest and most respected oral history collections in the world, the Archives’ Oral History Program has preserved the voices of the American art world in more than 2,600 interviews. Learn more about the Archives here.
Toshiko Takaezu (1922–2011) was a pioneering 20 th century ceramic artist known for her signature closed forms and installations. Born in Pepeekeo, Hawai‘i, Takaezu attended Cranbrook Academy in Michigan and taught for decades at Princeton University.
Hung Liu (1948–2021) was a groundbreaking painter whose works drew primarily from historical Chinese photographs of women and children. Born in Changchun, China, Liu studied under Allan Kaprow at the University of California, San Diego and taught for decades at Mills College.
Christina Ayson-Plank is the Asian Pacific American Collections Specialist at the Archives of American Art. She earned her Ph.D. in Visual Studies from the University of California, Santa Cruz.
Jayna Josefson is a project archivist at the Archives of American Art with a focus on processing the papers of women artists. She earned her MA in Public History from Wright State University.
For questions about access or to request accommodations please contact us at [email protected].
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All program registration fees go toward event expenses and administrative costs for the organization.
Image: Evon Streetman. Toshiko Takaezu throwing a ceramic pot, 1974.
Toshiko Takaezu papers, circa 1925-circa 2010. Archives of American Art, Smithsonian
Institution.
February 19 | 3:00 pm – 5:00 pm
Join ArtTable for an artist talk and exhibition walkthrough with Joan Danziger! Joan has two concurrent exhibitions on view at the American University Museum at the Katzen Arts Center.
Spanning 60 years of imaginative artistry, The Magical World of Joan Danziger is the first career retrospective for Joan Danziger, who is actively producing art at the age of 91. Danziger has been a working artist since the 1960s. The retrospective traces her evolution from a surrealist painter to a multimedia artist who transforms her creations into three-dimensional sculptures. Over the decades, she evolved into a sculptor and glass artist who imbues her work with secret meanings from world religions, history and mythology.
A major milestone in her career was transitioning from an artist who worked on canvas to a three-dimensional artist. In 2008, she added glass to her repertoire when she began her Beetles series. She enjoyed the results of working with glass so much that it led to two other series of glass sculptures of horses and her newest creation, ravens.
Ravens: Spirits of the Sky will transform the American University Museum’s Long Gallery into an aviary. Featuring never-before-exhibited artworks, the show is comprised entirely of 21 metal and glass raven sculptures inspired by the bird’s appearance in world mythology. Snow Crystal Raven references a Native American myth that expresses reverence and thankfulness to the Great Spirit. Smoky Raven demonstrates ‘lift’ in the bird’s preparation for flight. Colorful and predatory, Amethyst Raven with Frog depicts a raven gripping a frog in its beak. The iridescent violets and yellow glass contrast to express the struggle of life and death. The ravens are captured in various poses, including flight, with three of the sculptures suspended from the ceiling.
For more than 60 years, Washington, D.C.-based artist Joan Danziger has beguiled audiences with her artworks born of mythology, imagination and fantasy. As an artist, she has metamorphosized from a painter to a sculptor to a glass artist. Danziger began her career as a surrealist painter and the dramatic hues in her paintings fed directly into painted sculptures — from vivid, surreal flowers in vases resting on pigmented patterned, handwoven carpets to large colorful figures of acrobats and musicians, to brilliantly hued figures riding bicycles with parrots.
Her public commissions can be seen along the Eastern Seaboard in Maryland, New Jersey and Washington, D.C. She has exhibited in museums from New York to California, and her work is included in the collections of museums including the Smithsonian American Art Museum and the National Museum of Women in the Arts (Washington, D.C.); New Orleans Museum of Art; National Sporting Library & Museum (Middleburg, Virginia); Grounds For Sculpture (Hamilton Township, New Jersey); Reading Public Museum (Reading, Pennsylvania); New Jersey State Museum (Trenton, New Jersey); Museum of Science & Industry (Jacksonville, Florida); and the San Diego Museum of Art (San Diego, California).
More information about accessibility at the Katzen Art Center can be found here.
Program Admission:
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All program registration fees go toward event expenses and administrative costs for the organization.
March 24 | 12:30 pm – 1:30 pm
Carol Bove will be the first museum survey and largest presentation to date of the work of American artist Carol Bove. The exhibition will trace pivotal shifts across Bove’s 25-year career, ranging from her early drawings to a new, monumental series of her scrap metal and steel tubing compositions known as “collage sculptures.” The artist will also orchestrate a series of design interventions that subtly inflect the experience of navigating Frank Lloyd Wright’s iconic rotunda, reflecting her longstanding interest in the way objects and images are transformed by their surroundings.
Bove’s inventive practice spans many mediums and formal approaches but is unified by an exacting play of material, scale, color, and space. She places these elements in dialogue with cultural histories and the viewer’s imagination to create the conditions for a resonant perceptual encounter—one that will function, in the words of the artist, as “a way of opening the world.”
Katherine Brinson joined the Guggenheim’s curatorial staff in 2005. She has curated and cocurated numerous exhibitions at the Solomon R. Guggenheim Museum, Guggenheim Museum Bilbao, and the former Deutsche Guggenheim in Berlin, including Carol Bove (2026); Alex Katz: Gathering (2022–23); Etel Adnan: Light’s New Measure (2021–22); The Hugo Boss Prize 2020: Deana Lawson, Centropy (2021); The Hugo Boss Prize 2018: Simone Leigh (2019); Danh Vo: Take My Breath Away (2018); The Hugo Boss Prize 2016: Anicka Yi, Life Is Cheap (2017); Doris Salcedo (2015); Storylines (2015); The Hugo Boss Prize 2014: Paul Chan, Nonprojections for New Lovers (2015); Christopher Wool (2013–14); The Hugo Boss Prize 2012: Danh Vo (2013); The Hugo Boss Prize 2010: Hans-Peter Feldmann (2011); The Luminous Interval: The D. Daskalopoulos Collection (2011); Agathe Snow: All Access World (2011); Intervals: Ryan Gander (2010–11); Intervals: Kitty Kraus (2009–10); and Intervals: Julieta Aranda (2009). She is one of the organizing curators for the museum’s International Directors Council. She holds a BA in English literature from University of Oxford and an MA in art history from the Institute of Fine Arts, New York University.
Learn more about accessibility at The Solomon R. Guggenheim Museum here. For questions about access or to request accommodations please contact us at [email protected].
Program Admission:
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All program registration fees go toward event expenses and administrative costs for the organization.
ArtTable’s programs are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.
This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
February 26 | 6:30 pm – 7:30 pm
Join ArtTable in New York City for a Studio Visit with Marilyn Minter.
Marilyn Minter (b. 1948, USA) is an artist based in New York. Recent solo exhibitions include Marilyn Minter, Lehmann Maupin, Seoul, South Korea (2024). Marilyn Minter, LGDR, New York, NY (2023); Marilyn Minter, Lehmann Maupin, Hong Kong, China (2021); All Wet, Montpellier Contemporary (Mo.Co), Montpellier, France (2021); Smash, MoCA Westport, Westport, CT (2021); Fierce Women, The Cube, Moss Arts Center, Virginia Polytechnic Institute and State University, Blacksburg, VA (2020); Nasty Woman, SCAD Museum of Art, Savannah GA (2020); among others. From 2015 through 2017, her retrospective, Marilyn Minter: Pretty/Dirty, traveled to the Contemporary Arts Museum, Houston (TX); the Museum of Contemporary Art, Denver (CO); the Orange County Museum of Art, Newport Beach (CA); and the Brooklyn Museum, Brooklyn (NY). Her video Green Pink Caviar was on view at The Museum of Modern Art, New York from 2010-2011.
Minter is the recipient of numerous prestigious awards, including the Louis Comfort Tiffany Grant (2006) and the Guggenheim Fellowship (1998). Minter’s work is in the collections of many museums globally, including the the Museum of Contemporary Art, Los Angeles (CA); San Francisco Museum of Modern Art, San Francisco (CA); (MA); the Museum of Modern Art, New York (NY); the Perez Art Museum, Miami (FL); the Tate Modern, London (U.K); the Solomon R. Guggenheim Museum, New York (NY); and the Whitney Museum of American Art, New York (NY), among many others.Minter is represented by Salon 94, New York, Regen Projects, Los Angeles, Lehmann Maupin, Hong Kong/Seoul.
For questions about access or to request accommodations please contact us at [email protected].
Program Admission:
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All program registration fees go toward event expenses and administrative costs for the organization.
Image credits:
Image 1: Headshot of Marilyn Minter, Photo by Ryan McGinley
Image 2: After Guston, #23 (Lightbulb), 2024, Enamel on Wood Panel, 30 x 20 inches
February 20 | 12:30 pm – 1:30 pm
Join ArtTable at The Museum at FIT for a curator-led tour of Art X Fashion.
“This exhibition will garner strong opinions and spark lively dialogue, but whether you decide that fashion is art or not, fashion’s strong and mutual relationship with fine art is undeniable.” – Elizabeth Way, MFIT Curator of Costume and Accessories
The exhibition highlights how fashion is utilized as an expressive tool for artists, such as Salvador Dalí, Pablo Picasso, and Sonia Delaunay, alongside designers like Scott Barrie and Hussein Chalayan who root their concepts deeply in their art education, while Fabrice Simon and Ralph Rucci are both painters as well as designers. Contemporary figures such as Cat Chow, Mary Ping, and Tavares Strachan exemplify the fluid, modern boundary that exemplifies how these worlds can merge.
Art X Fashion equally surveys the ways in which fashion has been inspired by fine art. Through examples from designers such as Gianni Versace and Franco Moschino, the exhibition spotlights ways that fashion has used odes to Pop Art classics as a means of commenting on consumer and celebrity culture. These replications of famous artworks on garments and accessories democratized these priceless masterpieces for a mass audience, lending value, recognition, and even humor to fashion pieces, but also adding cultural capital to the artworks. In some cases, such as with Grace Wales Bonner, the application of fine art to fashion extends the message of the original artist.
Elizabeth Way is curator of costume and accessories at The Museum at FIT, where her recent exhibitions include Black Fashion Designers (2016), Fabric In Fashion (2018), Head to Toe (2021), Fresh, Fly, and Fabulous: Fifty Years of Hip Hop Style (2023), Food & Fashion (2023), and Africa’s Fashion Diaspora (2024). She guest-curated Ann Lowe: American Couturier at Winterthur Museum Garden & Library (2023) and edited the books Black Designers in American Fashion (2021) and Ann Lowe: American Couturier (2023). Way holds an M.A. in costume studies from New York University and a doctorate in fashion curation from Central Saint Martins, University of the Arts London.
Learn more about accessibility at the Museum at FIT here. For questions about access or to request accommodations please contact us at [email protected].
Program Admission:
Not a member? Join today!
All program registration fees go toward event expenses and administrative costs for the organization.
ArtTable’s programs are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.
This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
March 31 | 6:00 pm – 7:00 pm
Join ArtTable at Pace Gallery for an exhibition walkthrough of Maysha Mohamedi: Maysha the Fool with Isabel Ross and Oliver Shultz.
Vibrant and playful, Maysha Mohamedi’s (b. 1980, Los Angeles) innovative practice points toward a new mode of atmospheric abstraction that registers certain conditions specific to Los Angeles—and American life as a whole—in the early twenty-first century. Reflecting her personal history and key constellations in her own cultural matrix, her palette is both purely abstract and directly connected to the patchwork of landscapes, objects, and environments that comprise her life. These range from an Ojai, California, playground the artist visited with her children to clippings from cookbooks and magazines and sea glass found on the shore. Mohamedi’s works are reflections of her own thinking, crystallized as moments of haptic communion. The artist’s academic background in neuroscience is found in the liveliness and expansiveness of her paintings. Liberated from the constraints and dictates of the three-dimensional world, her immersive works exude a sense of freedom and illimitability. For Mohamedi, the viewer is an equal creator in this shared universe of boundless possibilities.
For questions about access or to request accommodations please contact us at [email protected].
Program Admission:
Not a member? Join today!
All program registration fees go toward event expenses and administrative costs for the organization.
ArtTable’s programs are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.
This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
Image credit:
Mohamedi, Maysha
Absolute Zero, 2025
oil on canvas
49″ × 41″ (124.5 cm × 104.1 cm)
No. 97415
February 20 | 12:00 pm – 2:00 pm
ArtTable invites you to join Cierra Britton for a curator-led walkthrough of her exhibition, The Dance, at Abigail Ogilvy Gallery in the Downtown Arts District, LA. Food and drinks will be provided.
Curated by Cierra Britton (Cierra Britton Gallery), The Dance is a meditation on the politics and poetics of bodily movement. Rooted in the visual language of classical forms and experimental gesture, the exhibition explores the significance of femme movement as both ritual and resistance. From ballet to voguing, to gestural abstract painting while listening to music, movement has long transcended the stage and dancefloor—becoming a vital tool for self-expression, community formation, and the preservation of bodily autonomy.
Founded in 2021, the Cierra Britton Gallery is the first NYC-based gallery dedicated to representing BIPOC womxn artists whose work contributes to the contemporary cultural dialogue across the globe. The gallery’s mission is to make space for artists who are creating exploratory work, inclusive of all mediums such as painting, photography, drawing, and performance. Starting as a nomadic and online gallery, our programming has focused on a diverse roster of artists making work that is rooted in storytelling, exploration, and cultural commentary.
Cierra Britton Gallery is creating a safe and much-needed space for BIPOC womxn artists who have historically been marginalized from the mainstream art world. We aim to uphold artists and create community through dialogue and support for the arts.
Cierra Britton (b.1996, Baltimore, MD) is a curator and art dealer living and working in New York City. As the director of the Cierra Britton Gallery, her mission is to make space for artists who are creating exploratory work across all mediums.
Limited parking is available on site at the gallery. Additional street parking is available. For questions about access or to request accommodations please contact us at [email protected].
Program Admission:
Not a member? Join today!
All program registration fees go toward event expenses and administrative costs for the organization.
January 21 | 4:00 pm – 5:00 pm
This program will take an in-depth look at the full lifecycle of an artwork in transit, from the moment it leaves a studio, gallery, or collection, to its arrival, installation, and long-term placement and storage. This presentation can include real-world logistics case studies and showcase complex and high-value art movements, including monumental public artworks, fragile historical pieces, and challenging site-specific installations. The purpose being to demonstrate creative problem-solving, innovative packing solutions, collaboration with art collectors and professionals to ensure works remain protected and accessible for the future. Some sub-topics the talk will focus on are:
•Provenance Research: Understanding the importance of historical ownership, authenticity, and cultural due diligence.
•Condition Reporting: How to create thorough, objective documentation to safeguard the value and integrity of artworks.
•Inventory & Documentation Best Practices: Maintaining accurate, accessible records for collection management and institutional accountability.
•Safe Handling & Transport Protocols: Standards for packing, climate control, insurance, and coordination with specialized art shippers.
The zoom link will be provided upon registration.
Yudelka Tavera is a Project Manager for the Contemporary Art and Museums Department at Gander and White Miami, where she oversees complex domestic and international art movements, high-value collections, and large-scale museum installations. She has more than twenty years of experience in arts education, curation, collection management, and fine art logistics, and has worked as an art advisor and consultant for private collections in the United States and internationally. Her diverse experience in education, curation, advisory, and logistics gives her a hands-on understanding of the full lifecycle of an artwork: from acquisition and transportation, to installation and long-term maintenance and care.
Yudelka has previously held roles at Evelyn Aimis Fine Art and the Clark Art Institute and is recognized as a liaison among artists, collectors, conservators, galleries, auction houses, and museums. She holds a Bachelor of Fine Arts from the State University of New York atAlbany, completed coursework in fine art and conservation practice at Scuola Lorenzo de’ Medici in Florence, and has earned graduate certificates in Art Management and Visual Communications from the Massachusetts College of Liberal Arts and Columbia University. She currently is also completing her Master’s degree in Art Business from Sotheby’s Institute of Art.
Program Admission:
Not a member? Join today!
All program registration fees go toward event expenses and administrative costs for the organization.
ArtTable’s programs are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.
This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
February 9 | 5:00 pm – 6:00 pm
This professional development program will explore the intersection of AI, cultural policy, and the evolving global art market, providing arts professionals with practical insights on navigating innovation, strategy, and governance. Drawing on Noh’s experience as Chairman of the AI Art Forum, Art Market Strategy & Partnership Director at Niio Art, and legislative work with the Korean National Assembly, this session will cover:
How AI is transforming art creation, curation, and market practices.
Understanding policy and regulatory frameworks affecting digital and physical art markets.
Strategies for artists and arts professionals to engage with technology ethically and effectively.
Best practices for international partnerships, collaborations, and exhibitions in a rapidly evolving art ecosystem.
Attendees will gain actionable insights to enhance their professional practice, navigate digital innovation, and expand global networks, particularly in areas of AI, technology, and cultural policy. The session will include time for Q&A to address participants’ specific challenges and interests.
The zoom link will be provided upon registration.
Program Admission:
Not a member? Join today!
All program registration fees go toward event expenses and administrative costs for the organization.
Mika (Jaeyun) Noh is a cultural policy strategist, legal scholar, and curator specializing in the intersection of technology, governance, and the arts. She has over a decade of experience working with Korea’s National Assembly and Ministry of Culture, Sports and Tourism, where she contributed to policy development on digital innovation, cultural infrastructure, and artist welfare.
As a Co-founder and Chair of the AI Art Forum (AiAF), Mika leads international dialogue on AI ethics, authorship, and cultural trust in machine-mediated creativity. She also serves as Strategy & Partnership Director at Niio Art, a global media art platform, and Co-founder of Space Ba, a curatorial studio advancing cross-sector collaborations that bridge urban regeneration, media art, and public engagement.
Her initiatives include developing AI-driven systems for aesthetic classification and content governance through Realsnap, and spearheading AMFM (Audio, Music & Further More), a creative consortium promoting K-Audio and sound design as new pillars of the global creative economy.
Mika’s writing has appeared in Artsy, ENCATC Magazine, and Harvard Art Law Organization, and she has presented her research at international venues such as UNESCO-affiliated forums, Frieze Seoul, and Cinema for Peace Foundation. She holds an M.A. in Arts Management from the Korea National University of Arts and an LL.B. in Law from Ewha Womans University.
Through her multidisciplinary work, Mika explores how AI and digital systems reshape cultural production, authorship, and governance, bridging the gap between policy innovation and creative practice to envision inclusive and sustainable futures for art and society.
ArtTable’s programs are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.
This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
