Exhibition Tour – Page 4

Los Angeles, CA | Guided Tour of ‘Diane von Furstenberg: Woman Before Fashion’ at the Skirball Cultural Center

February 4 | 3:30 pm – 4:30 pm

Installation view of Diane von Furstenberg: Woman Before Fashion. Courtesy Skirball Cultural Center.

Join ArtTable for an exclusive tour of Diane von Furstenberg: Woman Before Fashion at the Skirball Cultural Center with Chief Curator Cate Thurston. Organized by the Fashion & Lace Museum in Brussels, where von Furstenberg was born, the exhibition uncovers the fascinating life story of a woman whose business transformed the world of fashion – and whose designs have empowered and celebrated the women who wear them. Program registration includes admission to the Skirball, with time to explore the galleries until the Center closes at 5:00 pm.

About the exhibition: Diane von Furstenberg: Woman Before Fashion explores the remarkable life and work of fashion designer Diane von Furstenberg. This expansive, multidisciplinary exhibition, enriched by a lavishly illustrated catalogue featuring interviews and scholarly essays, invites visitors to discover the extraordinary features of von Furstenberg’s career, from the 1970s to the present day.

Organized in four thematic sections, Diane von Furstenberg: Woman Before Fashion includes a selection of over sixty pieces drawn from the DVF archives along with ephemera, fabric swatches, media pieces, and information on her philanthropic work. The Skirball’s presentation of this exhibition will also include new images and audio that shed light on von Furstenberg’s personal biography as the daughter of a Holocaust survivor and a war refugee, offering additional perspective on the factors that shaped her life and work. Diane von Furstenberg: Woman Before Fashion was organized by the Fashion & Lace Museum in von Furstenberg’s native city of Brussels, Belgium.

Parking and Accessibility (please see the Skirball’s website for full details):

Parking at the Skirball Cultural Center is free. ADA accessible parking is available in the South Parking garage, with a limited number of additional ADA accessible spaces available in the North and East garages.

All indoor and outdoor spaces are accessible to mobility devices, with heelchairs available for check-out from the Main Entrance lobby desk and North Parking Garage security kiosk on a first-come, first-served basis.

Program Admission:

ArtTable Members – $25
Member Guests – $30
Non-Members – $35

Not a member? Join today!

Skirball Cultural Center

2701 N. Sepulveda Blvd
Los Angeles, California 90049 United States + Google Map

ArtTable extends its sincerest thanks to Felice Axelrod for coordinating this program.

About the Curator:

Cate Thurston, Chief Curator, joined the Skirball team in 2015 and is the coordinating curator for Diane von Furstenberg: Woman Before Fashion. She is also the co-curator of the Skirball exhibition “I’ll Have What She’s Having”: The Jewish Deli, which is currently traveling on a five-city national tour. Thurston previously curated the acclaimed exhibition Notorious RBG: Ruth Bader Ginsburg (2018). She was the managing curator for the Skirball’s presentations of Blacklist: Hollywood’s Red Scare (2023) Sara Berman’s Closet (2018), Future Aleppo (2018), Paul Simon: Words & Music (2017), Chasing Dreams: Baseball and Becoming American (2016), and the curator for The Unauthorized History of Baseball in 100-Odd Paintings: The Art of Ben Sakoguchi (2016). Prior to joining the Skirball, Thurston worked at the Autry Museum of the American West for five years in a variety of exhibition, education, and visitor experience-related positions, culminating in a hybrid curatorial role. Thurston holds a B.A. in American History from Franklin Pierce University in New Hampshire and an M.A. in History from California State University, Northridge.

New York, NY | Author Talk: ‘Mothers of Invention: The Feminist Roots of Contemporary Art’

January 29 | 6:00 pm – 8:00 pm

Join ArtTable for an Author Talk exploring Mothers of Invention: The Feminist Roots of Contemporary Art (Lund Humphries, 2024), written by Eleanor Heartney, Helaine Posner, Nancy Princenthal, and Sue Scott. This talk will be generously hosted in the home of Joyce Pomeroy Schwartz, a founding Board member of ArtTable.

This program will begin with light refreshments and conversation, with the Author Talk beginning at 6:30 PM. Seating will be provided.

About the book: Offering a radical rewriting of the history of contemporary art from a feminist perspective, four distinguished authors explore the lineages of performance, abstraction, craft and ecofeminism in ways that reveal the debt these important genres owe to the work of pioneering women artists. Tracing these influences over time, Mothers of Invention underscores the enormous impact of feminist ideas on the work of contemporary artists of all genders.

The painters, sculptors and performance artists featured here have shaped ideas now dominating the art world: the vulnerability of the environment, the rise of activist art, the challenge to the reign of high technology (including digital culture), and the development of a new language of abstraction. Having demolished the linear narrative of modernism, the privileging of a white male ethnocentric vision, the division of high and low art and the separation of art from larger social issues, feminist artists laid the groundwork for the globalised, multi-media, postmodern art world of today.

Illustrated with a spread of work from the last sixty years (and including contextual discussion of earlier practitioners), this book makes a compelling case for placing feminist art and artists at the heart of contemporary art.

Program Admission:

ArtTable Members – $25
Member Guests – $30
Non-Members – $35

Not a member? Join today!

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.

Skirball Cultural Center

2701 N. Sepulveda Blvd
Los Angeles, California 90049 United States + Google Map

About the Authors:

Eleanor Heartney is Contributing Editor to Art in America and Artpress. Recent publications include: Doomsday Dreams: the Apocalyptic Imagination in Contemporary Art (2019).

Helaine Posner is Chief Curator Emerita at the Neuberger Museum of Art, SUNY, Purchase College, New York. She is the author of monographs on the artists Kiki Smith, Louise Fishman, and, most recently, Donna Dennis: A Poet in Three Dimensions (2023).

Nancy Princenthal is a writer whose most recent book Unspeakable Acts: Women, Art, and Sexual Violence in the 1970s (2019) was named one of the best art books of the year by the New York Times. She is also the author of Agnes Martin: Her Life and Art (2015), which won a PEN America award for biography.

Sue Scott is an independent curator and writer. She was Adjunct Curator of Contemporary Art at the Orlando Museum of Art from 1989 to 2008 and founder and director of Sue Scott Gallery in New York City. All four writers are co-authors of the award-winning book After the Revolution: Women Who Transformed Contemporary Art (2007) and of The Reckoning: Women Artists of the New Millennium (2013).

New York, NY | Curator-Led Tour of ‘Make Way for Berthe Weill: Art Dealer of the Parisian Avant-Garde’ at the NYU Grey Art Museum

January 8 | 5:30 pm – 6:30 pm

*This program has reached capacity. To join the waitlist, please cick “Register” below. An ArtTable staff member will contact you if a space becomes available.*

Join ArtTable for our first event of 2025! Join us at NYU’s Grey Art Museum for a tour of Make Way for Berthe Weill: Art Dealer of the Parisian Avant-Garde with Lynne Gumpert, Director of the Grey and co-curator of the exhibition. This tour covers a pivotal chapter in the history of modern art: the career of Berthe Weill, who broke boundaries as the first woman in her profession and as the dealer who recognized and cultivated the talents of many of the most influential artists of the 20th century.

Make Way for Berthe Weil is the second exhibition presented in the Grey Art Museum’s new and expanded home on Cooper Square, where NYU’s campus museum moved in 2024 after nearly fifty years as the Grey Art Gallery on Washington Square East.

About the Exhibition: Make Way for Berthe Weill: Art Dealer of the Parisian Avant-Garde surveys the groundbreaking career of the first woman modern art dealer. Berthe Weill (1865–1951) championed many fledgling masters of modern art early on—such as Pablo Picasso, Henri Matisse, and Amedeo Modigliani—as well as numerous others who did not achieve wide acclaim. Yet her role in early 20th century modernism has been omitted from most historical accounts.

The exhibition will feature some 110 paintings, drawings, prints, and sculpture—many of which were shown at her gallery during the first four decades of the 20th century. The exhibition also includes archival documents—such as letters, exhibition catalogs, photographs, and journals—that reveal her deep relationships with a range of artists. Examining Weill’s contributions to the history of modernism as a gallerist, a passionate advocate of contemporary art, and a Jewish woman, it brings to light the remarkable achievements of a singular figure who overcame sexism, antisemitism, and economic struggles in her quest to promote emerging artists.

Co-organized by NYU’s Grey Art Museum, the Montreal Museum of Fine Arts, and the Musée de l’Orangerie, the exhibition’s curatorial team includes Grey Director Lynn Gumpert, Marianne Le Morvan, founder of the Berthe Weill Archives in Paris, Anne Grace, curator of modern art at the Montreal Museum of Fine Arts, and Sophie Eloy, collections administrator and coordinator of the Contrepoints installations at the Musée de l’Orangerie. The exhibition will tour to the Montreal Museum of Fine Arts May 10–September 7, 2025, and the Musée de l’Orangerie in Paris October 8, 2025–January 25, 2026.

Visitor Policies and Accessibility: Please note that large bags and backpacks must be checked in a secure locker, and food & drink (including water bottles) are not permitted. The Grey is fully walker- and wheelchair-accessible, and several portable stools are available to borrow for use within the galleries.

Program Admission:

ArtTable Members – $15
Member Guests – $20
Non-Members – $25

Not a member? Join today!

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.

Skirball Cultural Center

2701 N. Sepulveda Blvd
Los Angeles, California 90049 United States + Google Map

About the Curator:

Lynn Gumpert is the Director of NYU’s Grey Art Museum, formerly known as the Grey Art Gallery. During her tenure, the Grey has presented over 75 exhibitions. Among them are: Make Way for Berthe Weill: Art Dealer of the Parisian Avant-Garde (2024); Taking Shape: Abstraction from the Arab World (2020); and The Beautiful Brain: The Drawings of Santiago Ramón y Cajal (2018). Lynn received a BA from the University of California at Berkeley and an MA in art history from the University of Michigan. The French government honored Gumpert with the distinction of Chevalier of the Order of Arts and Letters in 1999.

ArtTable would like to thank Dorothea Basile, Riva Blumenfeld, and Donna Harkavy for coordinating this event, and to acknowledge the late Julie Saul‘s contributions to the ArtTable community as well as to the NYU Grey Art Museum.

New York, NY | Curator-Led Tour of Nicole Eisenman: Fixed Crane at Madison Square Park

November 19, 2024 | 9:30 am – 10:30 am

This 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.

About 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.

Parkgoers 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.

At 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.

Admission:

ArtTable Members – $15
Member Guests – $20
Non-Members – $25

Not a member? Join today!

About the Curator:

Brooke 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.

Skirball Cultural Center

2701 N. Sepulveda Blvd
Los Angeles, California 90049 United States + Google Map

CANCELED San Francisco, CA | Curator-Led Tour of Mary Cassatt at Work at the de Young Museum with Emily Beeny

November 19, 2024 | 4:00 pm – 5:15 pm

*Mary Cassatt at Work*, Legion of Honor, 2024. Photo by Gary Sexton.

Join 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.

About 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.

Accessibility 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.

Program Registration:

ArtTable Member – $30
ArtTable Member with FAMSF membership – $15
Friend of Member – $35
Nonmember of ArtTable – $40
Nonmember of ArtTable with FAMSF membership – $20

Not a member? Join today!

Skirball Cultural Center

2701 N. Sepulveda Blvd
Los Angeles, California 90049 United States + Google Map

San Francisco, CA | Guided Tour of ‘Amy Sherald: American Sublime’ at SFMOMA

December 12, 2024 | 4:00 pm – 5:15 pm

Amy Sherald, *Michelle LaVaughn Robinson Obama* (detail), 2018; National Portrait Gallery, Smithsonian Institution. The National Portrait Gallery is grateful to the following lead donors for their support of the Obama portraits: Kate Capshaw and Steven Spielberg; Judith Kern and Kent Whealy; Tommie L. Pegues and Donald A. Capoccia. Courtesy of the Smithsonian’s National Portrait Gallery.

Join ArtTable at SFMOMA an exclusive guided tour of Amy Sherald: American Sublime with Auriel Garza, Curatorial Assistant, Painting & Sculpture.

About the exhibition: Amy Sherald: American Sublime invites you to breathe. Come and be taken in by the colors, shapes, and forms painted by one of America’s defining contemporary portraitists. This exhibition presents nearly 50 of Amy Sherald’s luminous paintings, including her iconic portraits of Michelle Obama and Breonna Taylor, poetic early works, and new works on view for the first time. Sherald’s artworks convey the quiet power in everyday people and invite viewers to participate in a more complex debate about accepted notions of American identity. In the spirit of great American artists like Edward Hopper, Alice Neel, and Kerry James Marshall, Sherald’s works reframe our understanding of American culture. American Sublime is organized thematically, with each gallery presenting a crucial idea in her work and explaining her detailed approach to making paintings. Learn more about Sherald’s central themes.

Accessibility note: SFMOMA offers gallery stools, wheelchairs, and canes at the Coat Check on Floor 1 as you enter at 151 Third Street. Benches are installed at several points in the galleries.

Program Registration (includes admission):

ArtTable Member – $20
Friend of Member – $25
Non-Member – $35

Not a member? Join today!

Skirball Cultural Center

2701 N. Sepulveda Blvd
Los Angeles, California 90049 United States + Google Map

San Francisco, CA | Walkthrough of Forms Unbound: Peter Young and Maren Hassinger at Gallery Wendi Norris

November 12, 2024 | 5:00 pm – 6:00 pm

[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.

Join 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.

Enjoy conversation and a glass of wine following the tour!

Accessibility note: There no stairs leading into or within the main gallery space and Carriage House. Limited seating is available for guests who need.

Program Registration:

ArtTable Member – $15
Friend of Member – $20
Non-Member – $25

Not a member? Join today!

Skirball Cultural Center

2701 N. Sepulveda Blvd
Los Angeles, California 90049 United States + Google Map

Maren 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.

Peter 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.

About 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.

Los Angeles, CA | Tour of ‘Life on Earth: Art & Ecofeminism’ with Catherine Taft at The Brick

October 29, 2024 | 4:45 pm – 6:00 pm

Meech Boakye (1997- ), *Untitled (Biomaterial Research)*, 2020. Roundup contaminated wild violets, wild onions, purple dead nettle and dandelions suspended in gelatin bioplastic. Courtesy of the artist. Meech Boakye (1997- ), *Untitled (Sloppy Bondage Test)*, 2021. Cherry blossom wild yeast loaves. Courtesy of the artist.

Join ArtTable for an exclusive tour of The Brick in its new home in East Hollywood! With Catherine Taft, Deputy Director and Curator of The Brick (formerly LAXART), we will explore Life on Earth: Art & Ecofeminism, one of over 70 exhibitions and programs supported by The Getty as part of PST ART: Art & Science Collide. This inagural exhibition at The Brick, where a pivotal institution in Los Angeles’ art scene embarks on its next chapter, explores the interwoven histories of feminst and environmental thought and platforms a wide array of contemporary artists expanding the boundaries of these fields in the 21st century.

About the Exhibition: Life on Earth: Art & Ecofeminism, on view through December 21, 2024, is inspired by four decades of ecofeminist thought and action in art. Ecofeminism is a theoretical and activist movement that locates critical connections between gender oppression and the exploitation of natural resources. In the U.S., it developed from the environmental, anti-nuclear, and feminist movements in the late 1970s and 1980s; in addition to their primary concerns around the subordination of nature and women, ecofeminists sought to resist racism, homophobia, and the capitalist patriarchy. As quickly as the movement was developed, artists began adopting an ecofeminist position, producing ambitious, often site-specific work that addressed the systemic subjection of women and the environment.

Life on Earth uses ecofeminism as a both a lens and departure point, bringing together eighteen international artists and collectives who present new methodologies for thinking-with our natural environment in the twenty-first century. These artists challenge anthropocentric notions around both gender and ecology to call for new positions that embrace communality, intersectionality, mythmaking, joy, and reparative action. Installations, mixed-media sculptures, video and performance art address themes including social ecologies, the commons, indigenous cosmologies, deep time, witchcraft, hydrofeminism, plant knowledge, science fiction, and speculative futures, among other threads. Participating artists include Alliance of the Southern Triangle (A.S.T.), Alicia Barney Caldas, Meech Boakye, Carolina Caycedo, Francesca Gabbiani, Masumi Hayashi, Institute of Queer Ecology, Kite, Leslie Labowitz Starus, Maria Maea, Otobong Nkanga, yétúndé olagbaju, Alicia Piller, Aviva Rahmani, Tabita Rezaire, Yo-E Ryou, Emilija Škarnulytė, and A.L. Steiner.

About The Brick: The Brick is a nonprofit visual art space that promotes developments in contemporary culture through exhibitions, publications, and public programs. It was founded as LAXART by art historian and curator Lauri Firstenberg in 2005, LAXART was created as a platform for emerging and under-recognized talent in Los Angeles. Evolving under the directorship of Hamza Walker, who took the helm of the organization in 2016, The Brick has expanded its mission to encompass thematic exhibitions that engage with a range of local and international artists at every stage of their careers. Through a range of free, accessible offerings, The Brick contextualizes contemporary art both socially and discursively.

Parking: The Brick recommends parking on Western Ave (metered), or on the side streets adjacent to The Brick.

Program Registration:

ArtTable Member – $15
Friend of Member – $20
Non-Member – $25

Not a member? Join today!

Skirball Cultural Center

2701 N. Sepulveda Blvd
Los Angeles, California 90049 United States + Google Map

West Palm Beach, FL | Private Tour of The Bunker Artspace

December 2, 2024 | 2:00 pm – 4:30 pm

Image credit: The Bunker Artspace – The Collection of Beth Rudin DeWoody

*Registration for this event is at capacity. To join the waitlist, please click Register Here.*

To gather our members and kick off a very busy arts week, we will gather in West Palm Beach for visits to two private collections.

ArtTable will be one of the first to experience The Bunker Artspace, the new home of the Beth Rudin DeWoody Collection, located in a historic Art Deco building in downtown West Palm Beach. Featured work includes over three hundred leading modern and contemporary artists, from Lynda Benglis, Robert Mapplethorpe, Betye Saar, Mickalene Thomas, Rirkrit Tiravanija, and Cy Twombly. Many of these works entered the DeWoody Collection early in an artist’s career, a testament to DeWoody’s vision as a collector and curator. The Collection has been the subject of exhibitions at the Norton Museum of Art in West Palm Beach and the Parrish Museum in Southampton, among others. Our guide will take us through the space, highlighting stories about the history of the collection.

After the tour, ArtTable member Eileen Ekstract invites us to her home (fifteen minutes from The Bunker Artspace) for a cocktail reception. We will also be treated to a viewing of Eileen’s private collection, featuring works by Alison Zuckerman, vanessa german, Jessie Makinson, and Lisa Roy.

This program is open to ArtTable members and their guests. Space is limited, so we encourage you to reserve your spot early!

Program admission:

ArtTable Member: $55
Friend of Member: $65

Not yet a member? Join us today!

Skirball Cultural Center

2701 N. Sepulveda Blvd
Los Angeles, California 90049 United States + Google Map

Parking will be available immediately in front of The Bunker and across Webster Avenue (at the intersection with Bunker Rd).

Miami Beach, FL | ArtTable’s Art Law Series, Part II | Panel Discussion & VIP Lounge Reception at Untitled Art

December 4, 2024 | 4:00 pm – 6:00 pm

From Purchase to Patronage: Stewarding Your Growing Collection

With generous support from Private Client Select, SRI Fine Art Services, and Patterson Belknap Webb & Tyler LLP, ArtTable presents an engaging discussion of the roles of steward and patron that the collector assumes upon purchasing a work of art. This second program in ArtTable’s Art Law Series, appropriate for new and seasoned collectors alike, covers multiple dimensions of stewardship each collector must consider to ensure the long-term integrity and care of works of art. Meticulous planning for insurance, shipping, and protection from natural disasters is paramount to maintaining the physical safety of the collection, but the collector’s actions following the sale—ascertaining holding periods, loaning works to museums, and exploring the resale market—must also be conducted diligently, with the sustainability of the artist’s career in mind. This panel brings together experts from the insurance, shipping, legal, and curatorial fields to cover collectors’ contractual, financial, and ethical responsibilities to the artists they work with, setting up all participants for success.

Speakers include:

Barbara Chamberlain, Director, Art Services, Private Client Select
Amani Lewis, Artist and Co-Founder, Artists First Collective
Shamim Momin, Curator; former Director of Curatorial Affairs, Henry Art Gallery; and co-founder, LAND (Los Angeles Nomadic Division)
Melissa Osterwind, President, SRI Fine Art Services
Moderator: Samantha Anderson, Attorney, Art and Museum Law, Patterson Belknap Webb & Tyler LLP

Program Itinerary:

4:00–5:00 PM: Panel Discussion, Untitled Art Podcast Lounge
5:00 PM Onward: Networking Reception, Untitled Art VIP Lounge

Join us on the beach as the sun sets, and connect with friends and colleagues between stops on your busy Miami calendar! Please note that seating is limited for the panel discussion – we encourage you to arrive early to secure your seat.

Registration for this program includes a pass to Untitled Art Miami Beach.

Program Registration:

ArtTable Member – $45
Friend of Member – $55
Non-Member – $65

Skirball Cultural Center

2701 N. Sepulveda Blvd
Los Angeles, California 90049 United States + Google Map

Our sincere thanks to Samantha Anderson of the Art Law Group at Patterson Belknap Webb & Tyler LLP and Andrea Zorrilla of AMZ Art Advisory + Appraisals LLC for coordinating this event.

About the Panelists

Barbara Chamberlain has more than 25 years of experience in private, public, and corporate collections, museums, and galleries, plus knowledge of library and archival science. She started her career managing works of art in a contemporary art gallery in New York City, after which she was assistant curator of The FORBES Magazine Collection, and the registrar at the Appleton Museum of Art in Ocala, Florida. Since 2008, she has provided collections management and care, risk management, and claims support services to hundreds of Private Client Select (formerly AIG Private Client Group) policyholders with private collections, museums, and/or foundations. Today, Barbara is also a member of the Association of Registrars and Collections Specialists (ARCS) Board of Directors and an Executive Board member of the Friends of the Uffizi Gallery. Barbara earned a BA in Art History and Psychology from Smith College and an MA in Museum Studies at Johns Hopkins University where she now teaches the first course in private collectors, collections, and museums.

Amani Lewis is a Miami-based artist, known for their powerful explorations of identity, community, and social justice. Amani holds a BFA from the Maryland Institute College of Art (MICA), where they graduated in 2016 with a focus on painting and printmaking. Amani has been featured in several prominent exhibitions, including “Amani Lewis: Subjective Nature” at the August Wilson African American Cultural Center in Pittsburgh, “It’s from the light that we are found, blessed and guided” at Lévy Gorvy Dayan (2021), “Amani Lewis: Nothing Remains the Same” at Salon 94, and “Unapologetic WomXn” at The Venice Biennale in 2024. Their work often combines vibrant color, photography, and mixed media to challenge narratives around marginalized communities. Amani’s work has been extensively covered by publications such as Hyperallergic, Juxtapoz, and The New York Times, which have praised their ability to combine social activism with artistic expression. As co-founder of Artist First Collective, Amani is dedicated to advocating for artist-friendly business models, ensuring transparency, and providing resources that support artists in their studio practices.

Shamim M. Momin currently lives and works in New York. She is the former Director of Curatorial Affairs at the Henry Art Gallery. In this role from 2018-2024, she has overseen the Curatorial Department, and organized numerous exhibitions, including the museum-wide group exhibition In Plain Sight, as well as major commissions by Tala Madani, Gary Simmons, Kelly Akashi, Donna Huanca, Diana Al-Hadid, and others. Prior to joining the Henry, she was director, curator, and co-founder of LAND (Los Angeles Nomadic Division), a nonprofit public art organization committed to curating site- and situation-specific contemporary art projects. Previously, Momin served for more than ten years at the Whitney Museum of American Art, co-curating the 2004 and 2008 Whitney Biennials and overseeing the Contemporary Projects series. Momin was Adjunct Professor of Contemporary Art for Williams College for the 2007 and 2008 Semester in New York program, and is currently Affiliate Professor of Art at the School of Art, Art History and Design, University of Washington. [Photo credit: Stefanie Fink]

Melissa Osterwind, President at SRI Fine Art Servives, joined the SRI team in 2013 and brings over two decades of financial management and operations experience to our table. Prior to SRI, Melissa was the Controller at the NYC Department of Health and Mental Hygiene and oversaw their $1.6 billion expense budget. In addition to her extensive managerial experience and financial expertise, Melissa is visionary team builder. She has guided SRI through record growth; doubling the staff, storage footprint and gross sales over the past decade. She recently navigated SRI through the Covid-related shutdowns without layoffs or furloughs. Melissa is currently a Trustee at The Bronx Museum of Art and Project for Empty Space. She holds a Masters Degree in Public Administration from Syracuse University, with a concentration in finance.

Samantha Anderson (Moderator) is an Attorney in Patterson Belknap Webb & Tyler’s Art and Museum Law practice. Prior to joining the firm, Ms. Anderson served as in-house counsel to an international Art Advisory, and Sotheby’s auction house where she was Vice President in their Fiduciary Client Group. Ms. Anderson advises clients on a broad range of issues in the Art industry including transactional matters such as private sales and consignments, as well as commissions of art, artist representation, and various estate, planning and philanthropic matters surrounding complex collections, including valuation issues. Ms. Anderson is a frequent speaker on Art Law topics and holds various leadership and board positions. She teaches Law and the Arts at both Columbia University and Cardozo School of Law.