Tag: Exhibition Tour

Please join us for a tour of the group exhibition “See Me, Hear Me: Native Cultures,” the inaugural exhibition at the new ArtNexus Space in North Miami. The exhibition delves into the creative production of members of Indigenous communities, artists of Indigenous descent, and contemporary visual artists who have addressed issues related to the cosmogonies of various Indigenous peoples of Latin America and the problems they have faced over time. Artists on view include Claudia Andújar, Lastenia Canayo García (Pecón Quena), Sandra Gamarra, Santiago Yahuarcani, Sheroanawe Hakihiiwë, Zoila Andrea Coc-Chang, and many others. ArtNexus Space Executive Director & Chief Curator, Francine Birbragher-Rozencwaig, Ph.D., will lead us through the space and exhibition. Light refreshments will be provided.

The new ArtNexus Space will expand the work the organization has been doing for 48 years to promote the dissemination, knowledge, and study of art from Latin America and the Caribbean. ArtNexus Space will present two annual shows drawn from private collections to which the public does not usually have access. In many cases, early works by important artists, acquired shortly after their production, will be on view. These projects will be accompanied by curatorial studies and publications that will become valuable reference documents.

The ArtNexus Space has a small elevator that can accommodate up to 2 people or a wheelchair. Benches are located throughout the gallery.

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.

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.

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.

*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.

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.