POP Montreal 2021will be a hybrid festival, in-person and virtual. For in-person concerts, the current Covid-19 protocols will be applied and a health pass will be required at the entrance of the concerts. If you are planning to attend a performance, you must purchase your tickets online in advance. There will be no tickets available at the door.
We will also have our Art POP exhibition on the third floor of the Rialto, Puces POP at Église Saint-Denis, conferences and discussions with POP Symposium at the Rialto, Film POP at Cinéma Moderne and at L’Entrepôt77 (ciné-concert) as well as Kids POP at Parc Saint-Viateur.
This year, Art POP will be hosting its annual group exhibition as well as several satellite events that will bring live performances, sound installations and poster campaigns into the public spaces surrounding POP’s headquarters at the Rialto Theatre complex. POP Reads, Montreal’s bilingual reading event, will be back again for a third edition with another great lineup of local writers and readers.
This year’s group show, Cover Story, will be mounted at Studio Rialto, the former dance studio turned temporary exhibition space. The exhibition will position the artist as an interrogative and investigative body that seeks to uncover lies, debunk cultural myths, and expose half truths.
As a visitor to the exhibition space, you will interact with research made visible, historical reenactments, and illusory installations attempting to demonstrate the internal processes behind artistic truth telling. Once you’ve made your rounds of the exhibition, head up to the rooftop to catch an immersive audiovisual performance by artists Peter Hernández, Suzanne Kite and John-Elio Reitman.
Outside the walls of the Rialto complex, Art POP expands into the Mile End to bring the public Calling Planet Earth! Ligne d’alerte!, a series of roving, site-specific radio interventions curated by artists Emmanuel Madan and Martín Rodríguez. While walking through the neighbourhood, keep your eyes peeled for SEEKING, a public series of posters by artist Florence Yee, acting as playful advertisements that allude to what we may seek from our community: an old tradition, a memory, a feeling, justice.
Just narrowly escaping the streaming fate of many 2021 festivals, this edition of Film POP returns to Cinéma Moderne for an explosive big-screen showcase of the year’s best in music cinema. From portraits of contemporary icons and all-but-forgotten pioneers to deeply personal, political and experimental works, this year’s programming is all about coming together and finding ways to look forward, beyond the past 18 months.
This year’s highlights include David Wexler’s Disintegration Loops (2021), a documentary about William Basinski’s seminal album series on the 20th anniversary of the 9/11 attacks, Bobbi Jo Hart’s Fanny: The Right To Rock (2021), about one of the first all-female rock bands to know critical and commercial success, Les Blank’s newly restored I Went to the Dance (1989), the definitive film on South Louisiana’s Cajun and Creole/Zydeco music scene, and Jeremy Ungar & Ivaylo Getov’s Soy Cubana, about the Cuban acapella group the Vocal Vidas’ historic trip to perform in Los Angeles.
This year’s POP Symposium aims to envision a post-pandemic future for the music industry and the performing arts at large and will move between big ideas, like how to create socially ethical arts industries, to the specifics, like how did anyone successfully release music without touring last year?
Along with many practical panels on artist development, Symposium will also be exploring ideas around liminality. Can lectures look like performances? Can histories be written through art? How can artists embody anti-gentrification in their practices?
Overall, we are excited for another hybrid edition of POP Symposium and we hope our audiences both at home and in the beautiful Rialto Hall will find a hopeful space for learning and sharing knowledge.
This year, Kids POP takes place Sunday, September 26th. Please join us and bring the noise!
Join children’s publisher The Secret Mountain for a picnic in the sun, a paper bag puppet parade, and an animated family concert! This activity-packed day will celebrate the release of a new musical picture book, A Picnic in the Sun by Christiane Duchesne, Jérôme Minière, and Marianne Ferrer.
Start the day at Saint Viateur Park with a picnic and a paper bag puppet-building workshop. Then hit the road with your puppets for a festive puppet parade down Bernard Avenue—complete with a mini-marching band! And then, last but not least, settle in for the main event: a children’s concert at Rialto Theatre with performances by Clerel, Geneviéve Toupin, Jérôme Minière, and José Major! Plus, share a picture of your paper bag puppet with The Secret Mountain for a chance to see your creation brought to life—as a stuffed toy—by the studio-boutique Raplapla!
Flying Horse Editions Selects Mira Lehr For 2021 Visiting Artist Residency Program
Lehr’s New Editions of Original Works Created in Residency will Debut During Art Basel Miami Beach 2021 at INK Miami
Nationally Acclaimed Studio Invites World’s Leading Artists to Push Boundaries with Cutting-Edge Technology Flying Horse Editions, the nationally acclaimed printmaking studio that invites some of the world’s leading artists for its Visiting Artist Residency Program, has chosen Mira Lehr for their select roster of artists for 2021. The studio is celebrated for cutting-edge technology and inspiring artists to push the boundaries of printmaking, in a kinetic setting among its team of master printmakers. In her new series, Lehr, now at the bold age of 86, is experimenting with explosives, fuses, plexiglass, watercolor, and inks ‒ exploring new ways to use nontraditional materials in the art of printmaking. Mira Lehr is a force of nature to be reckoned with, said Theo Lotz, the Director of Flying Horse Editions. She is a fearless explorer. Lehr’s body of work spans all media, not bound by one process. Her artistic energy and spirit are boundless. We knew that her bold approach to artmaking would lead to a great collaboration. Lehr thrives in our studio, which relishes the unexpected. Lehr’s new work created at this residency will debut during Miami Art Week/Art Basel Miami Beach 2021, at the INK Satellite Fair (December 1-5 at the Dorchester Hotel). This fair is produced by the International Fine Print Dealers Association, and is recognized worldwide as one of the leading presentations of works on paper by internationally renowned artists. Lehr’s new limited editions will then tour nationwide with Flying Horse throughout 2022 at several art fairs across the U.S. and internationally. Her new work will also be presented at an opening reception at the studio, featuring live demonstrations of her process of igniting gunpowder and fuses to create her artworks. Flying Horse Editions was established in 1990 at the University of Central Florida. The artists invited to participate in the residency has included: Diana Al-Hadid, Elia Alba, Chakaia Booker, Will Cotton, Ke Francis, Luis Gispert, Eddie Martinez, Odili Donald Odita, and Toyin Ojih Odutola. Lehr completed the first part of her studio residency in the spring, and will return to Flying Horse later this year to complete her new editions there. Every artwork in Lehr’s new editions will each be an original work of art that was created exclusively during the residency. They were each imagined with these trailblazing printmaking techniques in mind, and are each one of a kind. So far, Lehr has created a series of monotypes with watercolor prints created on plexiglass. She has also created a new lithograph with collage pieces that will be burned and ignited using the artist’s signature technique with fuses and gunpowder, for a new varied edition. My experience at Flying Horse Editions has been a powerful new adventure in artmaking for me. I am honored to have been invited to their artist residency this year, said Mira Lehr. Their passionate commitment to the craft of printmaking is evident, they really put their hearts into the visiting artist’s experience . I was able to experiment with great freedom ‒ they encourage the artists to take risks, while remaining true to your voice. This research space houses professional visiting artists for short term residencies with assistance from master printmakers and students. The artists’ drawings are scanned, manipulated digitally, and then put on a copper plate similar to what would have been used during Rembrandt’s time. Lehr’s nature-based imagery includes painting, design, sculpture and video installation. Her processes include innovative usage of resin, gunpowder, fire, Japanese paper, dyes and welded steel. Her paradoxically destructive yet creative fire techniques burn holes and leave imprints in her prints resulting in an even more layered and complicated final artwork. The resident artists invited to Flying Horse Editions have the benefit of working with a massive 300-ton hydraulic press that is dramatically colored red. This behemoth machine produces complex relief prints that expand the creative possibilities of what artists may have previously envisioned. Unlike traditional presses, this hydraulic press applies an immense amount of pressure, downward onto the printed area, yielding much more precise images, with several blocks in multiple colors. Because the printer requires such fine tuning, Siemens donated a sophisticated electronic system that tricks out the controls enabling unparalleled precision. Watch the high-tech colossus in action here. The Visiting Artist Residency Program at Flying Horse Editions is made possible by the members of the institution, a grant from the Winifred Johnson Clive Foundation, and with funding by the Judith and David Albertson Endowment in the Arts. The goal of the program is to create a world-class initiative that promotes creative interaction between professional artists and students, while also creating sustainability within the printmaking field ‒ training the next generation of artists and printmakers. Flying Horse Editions is a collaborative research center in the College of Arts and Humanities at the University of Central Florida, and a non-profit publisher of limited-edition prints, artist books, and art objects by internationally renowned artists.
About the Artist Mira Lehr’s solo and group exhibitions number more than 300. She is a graduate of Vassar College (1956) with a degree in Art History, under the mentorship of Linda Nochlin, the renowned feminist art historian. Lehr will be the subject of a new, 420-page international monograph by the leading art book publisher Skira Editore, to be published in the spring of 2022. She has been invited to present a solo exhibition at the Deering Estate in the fall of 2021. Lehr has been collected by major institutions across the U.S., including the Smithsonian Museum of American Art (Washington), the Getty Museum Research Center (Los Angeles), the Boca Raton Museum of Art, the Perez Art Museum Miami, the Frances Lehman Loeb Art Center (NY), the Margulies Collection, the Mennello Museum of American Art, MOCA North Miami, the Jewish Museum of Florida-FIU, and the Orlando Museum of Art. Her work is in the private collections of Elie and Marion Wiesel, Jane and Morley Safer, and Judy Pfaff, among others. She is included in the Leonard Lauder Corporate Collection in New York. Thirty of her paintings were commissioned for the collection of Mount Sinai Hospital. Her work can be seen in American Embassies around the world and is permanently on view in the Sloan Kettering Memorial Center. Lehr’s 2020 solo museum show at the Mennello Museum of American Art was selected by The New York Times as one of the leading museum exhibitions nationwide in the U.S. in the 2020 special Museums Section. Her solo museum exhibition headlined Art Basel Miami Beach 2019 at the Jewish Museum of Florida-FIU, and also received national and international critical acclaim. Her museum-wide exhibition at the MOCA North Miami spanned across 10,000 square feet of installations. She has currently been chosen by Flying Horse Editions as an invited artist for the Visiting Artist residency. Mira Lehr’s nature-based work encompasses painting, sculpture, and video. She uses nontraditional media such as gunpowder, fire, fuses, Japanese paper, dyes, and welded steel. Lehr is known for igniting and exploding fuses to create lines of fire across her paintings. Critics are calling Lehr the Godmother of Miami’s art scene because in 1960 she created one of the nation’s first co-ops for women artists. At the age of 86 and with a career that spans more than six decades of artmaking, Lehr is creating more new work now than at any other point in her life ─ with a heightened sense of urgency about the planet and climate change. In the 1950s, Lehr studied and worked in New York as an artist, where she met some of America’s most prominent masters including: Joan Mitchell, Lee Krasner, and Helen Frankenthaler. She studied with James Brooks, Ludwig Sander, Robert Motherwell, and within the Hans Hofmann circle. When Lehr moved back to Florida in 1960, she was shocked at the lack of an art scene, especially for women. She convinced many of the masters from New York to visit and lead workshops for her league of women artists. This helped the evolution of art in Florida. She was selected in 1969 by Buckminster Fuller, as one of only two artists, to participate in his World Game Project about sustainability and his groundbreaking Spaceship Earth concept which preceded the world’s very first Earth Day in 1970. Lehr’s video installation, V1 V3, was on view at the New Museum, NY. Her work has been included in numerous art fairs during Art Basel Miami Beach. She was the recipient of the Vizcaya Museum Lost Spaces Commission, where she was commissioned to create a site-specific installation for Vizcaya Museum and Gardens as part of the Museum’s centennial celebrations.
Pyer Moss First Couture Show WAT U IZ: Historic Tribute To Black Inventors
By: Kai Yeo
“We are an invention inside of an invention. Inside of the creation of race, we made blackness. Uprooted from home and put in a foreign land, we made culture. And when they tried to strip our humanity, we made freedom so tethered to each other that it still shapes the world today.” – Pyer Moss show notes.
Kerby-Jean Raymond’s Pyer Moss label has unveiled his first-ever couture collection. The award-winning designer and creative director is the first Black American designer to be invited to present during Haute Couture Week, a historical achievement made even more successful by making his collection a tribute to Black inventors. All Pyer Moss shows attract interest, but this show had more buzz because of his exclusive invite by France’s Chambre Syndicale to show a collection, with officials in Paris extending the length of Couture Week to accommodate the rescheduled show due to Hurricane Elsa.
The Pyer Moss Couture 1 couture show, WAT U IZ, was opened by the last surviving member of Black Panther leadership and civil rights champion Elaine Brown. The setting was deeply significant: Villa Lewaro, an early 20th century mansion in Irvington, NY, built by Madam CJ Walker. Madam CJ Walker was American’s first self-made female millionaire and her estate served as a gathering place for leaders of the renaissance (her story is also on Netflix). Now, Elaine Brown’s words herald another landmark moment for black culture while celebrating the Black Panther’s 55th Anniversary.
The 28,000-square-foot estate, designed by Vertner Woodson Tandy (the first licensed black architect in New York State, and one of the seven founders of Alpha Phi Alpha fraternity at Cornell University), was recently purchased by the New Voices Foundation for an undisclosed amount. The foundation is the nonprofit branch of the New Voices Fund, a $100 million investment fund dedicated to entrepreneurs following in Walker’s footsteps. Both the fund and the foundation were created by Richelieu Dennis, who was seated at the front row at Pyer Moss.
“Where do we go from here? Where does the freedom movement go from here?” activist Elaine Brown opens the show quoting Dr. Martin Luther King Jr., but she also seemed to be reflecting on the history being made at the very moment. Jean Raymond, whose shows always entwine his ideas about fashion with those about culture, race, and society, said in an interview that his goal was “to highlight inventions by Black people and show them in a non-traditional way,” involving 3D construction and sculpture.
And so, there was the peanut butter dress, literally a huge, soft sculpted jar honoring George Washington Carver. The stunning roller cape that took two weeks to create, featuring hot rollers from head to toe. Each one wound round and round with strands of fake hair. An air-conditioning unit, a kitchen mop, an old-fashioned mobile phone he remembers his father carrying, a childhood ice cream cone. There was a pastel pink lampshade dress with beaded fringes, a metal folding chair, every single costume a sophisticated work of culture. And there was a refrigerator with magnets that spelled out, “But who invented Black trauma?” Each soft sculpture in the Pyer Moss couture show correlated to an invention on a list that designer Jean-Raymond had seen at the Library of Congress attributed to a Black individual. All the inventions Jean-Raymond chose from to celebrate spoke to his lived experiences, a beautiful show reminiscent of a masquerade ball or art installation.
Jean Raymond talks about paying homage to his Black culture, “I want people to experience Black wealth in not a dirty thing. It is one of several means to an end – this house, inventions, creativity, ingenuity, all of those things are pathways to that sort of economic independence. I’ve said a lot of things at my shows. I’ve talked about mental health, multiple prong approaches to liberation, and this is just one of them.” Richelieu Dennis will help oversee the transition of restoring the villa and making it an incubator and center for Black women artists and women-run businesses. Just as once upon a time the villa was a center for the artists and intellectuals of the Harlem Renaissance, the sculptured garments of Pyer Moss will eventually be part of an exhibit inside Villa Lewaro.
An internationally acclaimed artist and a figure central to the German minimalist movement, Charlotte Posenenske (1930-1985) worked mainly with sculpture and received numerous accolades in Germany and from the international scene up until her decision, in 1968, to dedicate her life to sociology.
From B to E and more is her first retrospective in Italy, and it traces the evolution of this artist, who died prematurely, by concentrating on a series of some of her best-known works that were created in the span of just over a year. Her artwork is distinguished by its radically open-ended nature: embracing concepts of repetition and industrial fabrication, Posenenske developed a form of minimalism that, unlike her American contemporaries, addressed the socioeconomic and political concerns of 1968 in order to redesign the status quo of the art market and reject the established cultural hierarchies.
In these years of pandemic and social protests driven by an ever-increasing apprehension of economic polarization, Fondazione Antonio Dalle Nogareis exhibiting Charlotte Posenenske:from B to E and more with the aim of confronting the dynamics that govern the world’s economic structures and especially those of the contemporary art system. It does this through the work of an artist who focused on these issues over 50 years ago, indicating that, despite the progress of our civilization, cyclically we face the same concerns, even if they are generated by events of a profoundly different nature.
The exhibition is staged with the kind support of Provincia autonoma di Bolzano.
NEW ULTRA-LIMITED-EDITION HAMBURGER 20-INCH DUNNY FROM KIDROBOT X THE ANDY WARHOL FOUNDATION
Kidrobot and The Andy Warhol Foundation for the Visual Arts are excited to announce a new addition to the Kidrobot x Andy Warhol collection with the Andy Warhol 20-Inch Hamburger Dunny Sculpture. This extremely limited edition is capped at twenty (20) pieces worldwide and is available exclusively at Kidrobot.com. Two previous limited-edition Warhol 20-inch Dunny art pieces sold out immediately upon release.
Part of a 1985 series called Ads and Illustrations; Warhol’s “Hamburger” focused on one of the most popular manifestations of Americana. Originally in black and white, Warhol would also experiment with other color combinations, most famously this red-and-yellow version.
Each Dunny sculpture is 20 inches tall, made of premium fiberglass with no articulation, and is hand-painted in North America using high-quality paint for enhanced clarity and long-lasting quality. Packaged in a premium Kidrobot x Andy Warhol wooden crate with a Certificate of Authenticity.
This design is limited to just twenty (20) pieces worldwide. $2500 USD.
Founded in 2002, Kidrobot is acknowledged worldwide as the premier creator and dealer of limited-edition art toys, signature apparel and lifestyle accessories. An innovative cross between sculpture and conceptual art Kidrobot offers not only a powerful medium for today’s international designers, illustrators and artists, but also the creative canvas for emerging street trends and pop art. Our products can be found online at Kidrobot.com and in select retailers worldwide.
About The Andy Warhol Foundation for the Visual Arts, Inc.
As the preeminent American artist of the 20th century, Andy Warhol challenged the world to see art differently. Since its founding in 1987, in accordance with Warhol’s will, The Andy Warhol Foundation has established itself among the leading funders of contemporary art in the United States. The Foundation has distributed over $200,000,000 in cash grants which support the creation, presentation and documentation of contemporary visual arts, particularly work that is experimental, under-recognized or challenging in nature. The Foundation’s ongoing efforts to protect and enhance its founder’s creative legacy ensure that Warhol’s inventive, open-minded spirit will have a profound impact on the visual arts for generations to come. Proceeds the Foundation receives from licensing projects such as this contribute to the Foundation’s endowment from which these grants are distributed.
360 Magazine is live at the NYBG KUSAMA Cosmic Nature Media Preview featuring Japanese artist Yayoi Kusama. The KUSAMA Garden and Gallery Pass include access to all of the outdoor and indoor installations (1-9), Haupt Conservatory, Everett Children’s Adventure Garden, Tram Tour, and Garden grounds. The installations include:
Pumpkins Screaming About Love Beyond Infinity
Mertz Library Building Gallery
Paintings, collages, early sketches, other works
Haupt Conservatory Galleries
Horticultural displays, tropical and desert collections
KUSAMA Garden Pass includes access to all outdoor installations (6-9), Everett Children’s Adventure Garden, and Garden grounds:
I Want to Fly to the Universe
Ascension of Polka Dots on the Trees
In addition, Infinity Mirrored Room – Illusion Inside the Heart: Exterior now on view to all ticket holders; interior access planned to begin this summer; separate timed-entry ticket required for interior access. More information is available on the NYBG website.
Garden Navigator – Explore the one million plants across NYBG’s 250 acres and find what you want to see. Visit the website for the navigation tool.
Forest Bathing: A meditative audio experience – Be fully present on this self-guided tour. Bathe your senses in the sights, smells, sounds, and sensations of the Thain Forest.
Audio Tours – Look for signs with instructions at stops throughout the Garden to learn about specific plants, gardens, and collections.
My Day At The Garden: Family Guide – Embark on an adventure with their kids and family activity guide, available at any ticket window or on the website.
Spring For Nature – 10 a.m. – 5:30 p.m. Kids of all ages can take a closer look at the wonders of plants and animals across the Everett Children’s Adventure Garden.
Bloomberg Connect App – Featuring audio tours, detailed plant images, and more; there’s something for everyone to enjoy. Free download available here.
Tickets Go on Sale to the Public on March 16, 2021, for The New York Botanical Garden’s Exclusive Presentation of KUSAMA: Cosmic Nature Featuring New Work by Celebrated Artist Yayoi Kusama
The exhibition, related programs, and accompanying publication reveal Kusama’s lifelong fascination with the natural world and its countless manifestations beginning in her childhood spent in the greenhouses and fields of her family’s seed nursery in Matsumoto, Japan. The exhibition includes works from throughout Kusama’s prolific career and multifaceted practice. By integrating seasonal horticultural displays, KUSAMA: Cosmic Nature further illuminates the power of nature that pervades the artist’s practice and dynamic body of work.
Multiple outdoor installations, including monumental sculptures of flora transform the Garden’s 250-acre landscape and the visitor experience. Her signature polka-dotted organic forms and mesmerizing paintings of plants and flowers are also represented. Recent vivid observations of nature, shown alongside earlier works that have never been publicly exhibited and those that are presented for the first time in the United States, trace Kusama’s connection to the natural world throughout her career.
Among the works created for and debuting in the exhibition are:
Dancing Pumpkin (2020), a monumental sculpture presented on the Haupt Conservatory Lawn.
I Want to Fly to the Universe (2020), a 13-foot-high biomorphic form presented in the Visitor Center; and,
Infinity Mirrored Room Illusion Inside the Heart(2020), an outdoor installation reflecting its environs.
Spectacular seasonal displays complement the artworks on view, making each visit unique as new plantings, textures, and palettes are introduced. Glorious outdoor displays of tulips and irises in spring give way to dahlias and sunflowers in summer, and masses of pumpkins and autumnal flowers in fall. In and around the Conservatory, Kusama’s plant-inspired polka-dotted sculptures are nestled among meadow grasses, bellflowers, water lilies, and other plantings. Stunning floral presentations bring to life one of Kusama’s paintings on view in the Mertz Library Building through a seasonal progression of violas, salvias, zinnias, and other colorful annuals. In fall, displays of meticulously trained kiku (Japanese for chrysanthemum), one of that country’s most heralded fall-flowering plants) will create a dramatic finale for the Conservatory displays.
KUSAMA: Cosmic Nature guest curator Mika Yoshitake, Ph.D., said, Kusama, cosmic nature is a life force that integrates the terrestrial and celestial orders of the universe from both the micro- and macrocosmic perspectives she investigates in her practice. Her explorations evoke meanings that are both personal and universal. Nature is not only a central source of inspiration, but also integral to the visceral effects of Kusama’s artistic language in which organic growth and the proliferation of life are made ever-present.
In the Garden
On the Conservatory Lawn, visitors encounter the monumental Dancing Pumpkin, a 16-foot-high bronze sculpture painted in black and yellow. Both playful and powerful, it is sited in an immersive landscape of river birches, flowering plants, grasses, and ferns. The setting is inspired by the sculpture itself and the birch forests near Kusama’s childhood home.
Visitors can marvel at the bright, purple-tentacled floral form with a vivid yellow primordial face of I Want to Fly to the Universe in the Visitor Center Reflecting Pool, and then behold Ascension of Polka Dots on the Trees (2002/2021), where soaring trees adorned in vibrant red with white polka dots pop in the landscape along Garden Way.
Narcissus Garden (1966/2021), 1,400 stainless steel spheres each nearly 12 inches in diameter, is installed in the 230-foot-long water feature of the Native Plant Garden. The reflective orbs float on the water’s surface, moved by wind and currents, each mirroring the environment around them to captivating effect.
With interior access planned to begin this summer, Kusama’s new Infinity Mirrored Room will operate per New York State and City guidelines for social distancing and visitor safety. The installation, Infinity Mirrored Room Illusion Inside the Heart (2020), responds to natural light through colored glass throughout the day and seasons. Reflecting the seasonality of NYBGߣs landscape, the exterior will be on view with the opening of the exhibition. A separate timed-entry ticket will be required for limited-capacity access.
In the Galleries
In Flower Obsession, visitors may apply coral-colored floral stickers to the furniture and household objects. Over the course of the exhibition, the accumulating stickers will transform the greenhouse. Through works like this, Kusama employs the repeating patterns and forms of flowers to represent the concepts of obliteration, infinity, and eternity.
Three galleries in the Conservatory feature a horticultural celebration of Kusama’s self-proclaimed biophilia. My Soul Blooms Forever (2019), colossal polka-dotted flowers made of stainless steel and painted in dramatic colors, greet visitors under the recently restored dome of the Palms of the World Gallery.
In the Seasonal Exhibition Galleries, the pink-and-gold mosaic Starry Pumpkin (2015) is featured in a woodland garden of foliage and flowers chosen to harmonize with the sculpture’s pink polka dots. Using Kusama’s vibrant painting Alone, Buried in a Flower Garden (2014) as inspiration, NYBG horticulturists have designed a living work of art to mimic the painting’s bold shapes and colors, with plantings changed seasonally. The patchwork of shapes in the painting reads as garden beds seen from above.
In the Conservatory Courtyard Hardy Pool, the exuberantly colored and patterned sculpture Hymn of Life Tulips (2007) depicting outsized, fiberglass flowers are positioned among water lilies and other seasonal aquatic plantings. The Courtyard also features plantings including an array of tulips in spring and colorful annuals in summer that complement the dynamic sculpture on display.
Pumpkins Screaming About Love Beyond Infinity (2017) comprises a glass cube reflecting an infinity of glowing polka-dotted pumpkins within it. The work, one of Kusama’s signature mirrored environments, is installed in the Visitor Center Gallery. Viewed from the outside, the installation changes over time as pumpkins illuminate and then fade to darkness in a meditative choreography. Kusama has said of pumpkins, My pumpkins, beloved of all the plants in the world. When I see pumpkins, I cannot efface the joy of them being my everything, nor the awe I hold them in.
On display in the Library Building, Kusama’s 1945 sketchbook reveals the 16-year-old artist’s keen eye for detail in some 50 drawings capturing the bloom cycle of tree peonies. This work is an early product of a lifelong connection with the natural world that has inspired her practice across mediums. It also portends avant-garde ideas she developed while living in New York City between 1958 and 1973, as a contemporary of Joseph Cornell, Eva Hesse, Donald Judd, and Claes Oldenburg, and continues to explore rigorously today.
The Library Building presentation also features examples of her botanical drawings, works on paper, biomorphic collages, assemblage boxes, sculptures, and paintings on canvas depicting flora and its limitless variety of patterns.
Kusama’s considerable body of performance works is represented in the Ross Gallery by a projection of Walking Piece (ca. 1966/2021), a performance in which Kusama walked the streets of New York City wearing a bright-pink floral kimono and carrying an umbrella decorated with artificial flowers. Art historians have analyzed Walking Piece as a carefully calculated representation of the artist’s ethnicity and gender, one that was intended to demand attention.
From monumental polka-dotted pumpkin sculptures to abstract paintings that resemble cells magnified thousands of times, Kusama’s works suggest the patterns that can be observed all around us. The self-guided Patterns in Nature Tour, featured on the Bloomberg Connects mobile app, examines the visible and microscopic patterns found in nature. Visitors will discover what the patterns of leaf placement, flower petals, and magnified laboratory specimens reveal about what makes species unique as well as how all living things are connected at the genomic level.
Karen Daubmann, Vice President for Exhibitions and Audience Engagement at the Garden, said, “We are delighted to mount this very special exhibition this year, having postponed it in 2020 due to the pandemic. Yayoi Kusama kindly shared a message with us. On March 6, 2021, she wrote, in part, Dancing through our universe are noble souls whose magnificent forms are saturated with mystery. I invite you to explore the endlessly expanding ode to the beauty of love that is my art. We look forward to sharing her singular vision at the nexus of art, nature, and the cosmos at the Garden site uniquely suited for this once-in-a-lifetime presentation.
Programs and Publication
KUSAMA: Cosmic Nature is accompanied by a roster of public programs for all ages, including pop-up performances by musicians, jugglers, and puppeteers; self-guided Kids Get Cosmic; activities in the Everett Children’s Adventure Garden; and more. Signature exhibition merchandise is available for purchase at NYBG Shop.
Coming in summer 2021, a fully illustrated exhibition catalogue, co-published with Rizzoli Electa, will include essays by KUSAMA: Cosmic Nature guest curator Mika Yoshitake, art historian Jenni Sorkin, curator Alexandra Munroe, and other contributors, including curators and a scientist from NYBG. The publication will focus on Kusama’s lifelong engagement with nature and the ways her interest in nature and plants has formed her career-long investigation of themes of the cosmos and the interconnectedness of all living things. Images of works displayed in The New York Botanical Garden landscape will be featured.
Since reopening July 28, 2020, the Garden has incorporated safety measures based on best practices and guidelines from health authorities and government agencies. Admission to the Garden is currently available through the advance purchase of timed tickets. Visit the website for more information.
KUSAMA: Cosmic Nature has a new, limited, timed-entry ticketing system to stagger visitors arrivals and promote social distancing. Advance purchase of timed tickets is required and will be confirmed by e-mail with the option to print or download a mobile ticket.
The following options are available:
KUSAMA Garden & Gallery Pass includes access to all KUSAMA: Cosmic Nature outdoor installations across the grounds and access to the Enid A. Haupt Conservatory, installations in the LuEsther T. Mertz Library Building and Ross Gallery, as well as interior access to Flower Obsession and Pumpkins Screaming About Love Beyond Infinity in the Visitor Center Gallery, plus the Tram Tour and Garden features including the Everett Children’s Adventure Garden and outdoor collections.
KUSAMA Garden Pass (Non-NYC Residents) includes access to all KUSAMA: Cosmic Nature outdoor installations across the grounds, plus Garden features including the Everett Children’s Adventure Garden and outdoor collections.
KUSAMA Garden Pass (NYC Residents) includes access to all KUSAMA: Cosmic Nature outdoor installations across the grounds, plus Garden features including the Everett Children’s Adventure Garden and outdoor collections.
A separate timed-entry ticket will be required to access the interior of Infinity Mirrored Room Illusion Inside the Heart. More information will be provided as it becomes available.
NYBG welcomes Bronx Health Care Heroes and Bronx Neighbors to KUSAMA: Cosmic Nature with complimentary tickets. Communities in the Bronx are among the most severely impacted by COVID-19 in New York City. Through these community access initiatives, the Garden seeks to acknowledge, with gratitude, the dedication, strength, and resilience of Bronx frontline health care workers and residents. Additional information about these initiatives is available at this website.
Visit NYBG for additional ticketing information and pricing and to sign up for e-mail alerts about the exhibition.
Exhibition on view April 10—October 31, 2021. Tickets available at nybg.org/kusama
Advance, timed tickets go on sale to the public on March 16 for The New York Botanical Garden (NYBG) 2021 exhibition KUSAMA: Cosmic Nature, featuring work by internationally celebrated Japanese artist Yayoi Kusama. NYBG is the exclusive venue for KUSAMA: Cosmic Nature. On view April 10 through October 31, 2021, the exhibition will be installed across the Garden’s 250-acre landscape, in and around the Enid A. Haupt Conservatory, and in the LuEsther T. Mertz Library Building. Highlights include new works made especially for NYBG. Spectacular seasonal horticultural displays will complement the artworks and an array of programs and activities will make each visit unique. Pictured above, Hymn of Life-Tulips, 2007, will be displayed in the Conservatory Courtyard Hardy Pool.
Visit this website for additional ticketing information and information about NYBG’s offerings.
About The New York Botanical Garden
Founded in 1891, The New York Botanical Garden is the most comprehensive botanical garden in the world and an integral part of the cultural fabric of New York City, anchored in the Bronx. Visitors come to the Garden to connect with nature for joy, beauty, and respite, and for renowned plant-based exhibitions, music and dance, and poetry and lectures. Innovative children’s education programs promote environmental sustainability and nutrition awareness, graduate programs educate the next generation of botanists, while engaging classes inspire adults to remain lifelong learners. The 250-acre verdant landscape—which includes a 50-acre, old-growth forest—and the landmark Enid A. Haupt Conservatory support living collections of more than one million plants. Unparalleled resources are also held in the LuEsther T. Mertz Library, the world’s most important botanical and horticultural library with 11 million archival items spanning ten centuries, and William and Lynda Steere Herbarium, the largest in the Western Hemisphere with 7.8 million plant and fungal specimens. Committed to protecting the planet’s biodiversity and natural resources, Garden scientists work on-site in cutting-edge molecular labs and in areas worldwide where biodiversity is most at risk.
The New York Botanical Garden Announces Updates on Major Exhibition
KUSAMA: Cosmic Nature, Featuring New Work by Renowned Artist Yayoi Kusama
New block of advance, timed tickets and separate, limited-capacity tickets to Infinity Mirrored Room Illusion Inside the Heart for August 3–October 31 go on sale June 24
New richly illustrated catalogue documents landmark exhibition KUSAMA: Cosmic Nature on view exclusively at The New York Botanical Garden through October 31
The New York Botanical Garden (NYBG) announces its release of a new block of timed tickets beginning on June 24 for admission to KUSAMA: Cosmic Nature from August 3 through October 31, 2021. The acclaimed exhibition features work by internationally celebrated Japanese artist Yayoi Kusama, including four new sculptures and mirrored environments created especially for this presentation. The exhibition showcasing the artist’s lifelong fascination with the natural world is installed across the Botanical Garden’s landscape, in and around the Enid A. Haupt Conservatory, and in the LuEsther T. Mertz Library Building and includes seasonal horticultural displays. NYBG is the exclusive venue for KUSAMA: Cosmic Nature, which is on view through October 31, 2021. Advance, timed, limited-capacity tickets for the landmark presentation are required and are on sale at this website.
The exterior of Kusama’s new Infinity Mirrored Room Illusion Inside the Heart (2020) has been on view since the opening of the exhibition, reflecting the seasonality of NYBG’s landscape. Interior access will begin on August 3, with separate limited-capacity tickets that will also go on sale on June 24. The immersive experience responds to varying natural light through colored glass throughout the day and seasons.
KUSAMA: Cosmic Nature Catalogue
The hardbound, 176-page catalogue, KUSAMA: Cosmic Nature–published by Rizzoli Electa in association with The New York Botanical Garden–features essays, little-known work by Yayoi Kusama, archival images, and installation photography. It will be available at NYBG Shop beginning June 15, 2021. Edited by the exhibition’s guest curator Mika Yoshitake and Joanna L. Groarke, Director of Public Engagement and Library Exhibitions Curator, NYBG, contributors include Barbara Ambrose, Director of Laboratory Research and Associate Curator of Plant Genomics, NYBG; Karen Daubmann, Vice President for Exhibitions and Audience Engagement, NYBG; Alex A. Jones, writer and independent scholar; Alexandra Munroe, Senior Curator, Asian Art, and Senior Advisor, Global Arts, Solomon R. Guggenheim Museum; and Jenni Sorkin, Associate Professor, History of Art & Architecture, University of California, Santa Barbara.
La Grande Dame by Veuve Clicquot Partnership
NYBG announces its partnership with Veuve Clicquot, the French champagne house with which Yayoi Kusama has previously collaborated. In September 2020, Veuve Clicquot unveiled the results of their latest collaboration Kusama’s exceptional reinterpretation of the newly released La Grande Dame 2012 vintage champagne with her signature polka dot and floral motifs. The floral creation was reprised in My Heart That Blooms in The Darkness of The Night, a sculpture inspired by La Grande Dame champagne honoring Madame Clicquot, an industry visionary. Images of the collaboration are available here.
Following its presentation at NYBG’s annual Spring Gala on June 3, a large-scale version of My Heart That Blooms in The Darkness of The Night will be on view to diners in NYBG’s Hudson Garden Grill through the close of the exhibition on October 31. Veuve Clicquot’s La Grande Dame and Yellow Label champagne will be available for purchase.
“We are excited to offer special champagne and food pairings at the Hudson Garden Grill featuring Veuve Clicquot La Grande Dame as part of the champagne house’s collaboration with Yayoi Kusama,”said Nelson Siavichay, Chef de Cuisine. “The vintage pairs beautifully with our farm-to-table cuisine and NYBG’s current exhibition showcasing works by Kusama.”
About The New York Botanical Garden
Founded in 1891, The New York Botanical Garden is the most comprehensive botanical garden in the world and an integral part of the cultural fabric of New York City, anchored in the Bronx. Visitors come to the Garden to connect with nature for joy, beauty, and respite, and for renowned plant-based exhibitions, music and dance, and poetry and lectures. Innovative children’s education programs promote environmental sustainability and nutrition awareness, graduate programs educate the next generation of botanists, while engaging classes inspire adults to remain lifelong learners. The 250-acre verdant landscape which includes a 50-acre, old-growth forest and the landmark Enid A. Haupt Conservatory support living collections of more than one million plants. Unparalleled resources are also held in the LuEsther T. Mertz Library, the world’s most important botanical and horticultural library with 11 million archival items spanning ten centuries, and William and Lynda Steere Herbarium, the largest in the Western Hemisphere with 7.8 million plant and fungal specimens. Committed to protecting the planet’s biodiversity and natural resources, Garden scientists work on-site in cutting-edge molecular labs and in areas worldwide where biodiversity is most at risk.
KUSAMA: Cosmic Nature is presented by:
Major Sponsors: Tom and Janet Montag; MetLife Foundation; and La Grande Dame by Veuve Clicquot
Generous support provided by: Citi and Delta Air Lines
Digital experience provided by: Bloomberg Philanthropies
Additional support provided by: E.H.A. Foundation, Inc.;
Arthur F. and Alice E. Adams Charitable Foundation; and the Japan Foundation
This project is supported in part by an award from the National Endowment for the Arts; and
The New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature
Exhibitions in the Enid A. Haupt Conservatory are made possible by the Estate of Enid A. Haupt.
Exhibitions in the Arthur and Janet Ross Gallery are made possible by the Arthur and Janet Ross Fund.
LuESTHER T. MERTZ CHARITABLE TRUST:
Providing leadership support for year-round programming at NYBG
The New York Botanical Garden is located at 2900 Southern Boulevard, Bronx, New York 10458. For more information, visit this website. The New York Botanical Garden is located on property owned in full by the City of New York, and its operation is made possible in part by public funds provided through the New York City Department of Cultural Affairs. A portion of the Garden’s general operating funds is provided by The New York City Council and The New York State Office of Parks, Recreation, and Historic Preservation. The Bronx Borough President and Bronx elected representatives in the City Council and State Legislature provide leadership funding.
While the London venue is currently under lockdown in keeping with current government regulations, we recommend you the video tours of Paolo Canevari’s exhibition.
Cardi Gallery London
22 Grafton Street | London W1S 4EX
Italian contemporary artist Paolo Canevari is best known for transforming everyday materials and icons into large-scale sculptures that confront his audience with stark, political and philosophical commentary. Throughout his career, Canevari has worked in a variety of media, most notably tyres and inner tubes, painting, drawing, performance, animation and film.
The provocative nature of his works, his connections to contemporary scene, and his active role within the art scene in New York–where he lived and worked for many years–has kept Canevari in the spotlight of both American and Italian media.
Cardi Gallery is proud to present the first major solo show of Canevari’s work in the UK, an extensive survey exploring thirty years of the artist’s practice, the culmination of a decades-long collaboration with the gallery. A museum-scale exhibition occupying four floors at Cardi London in Mayfair, ‘Self-portrait / Autoritratto’ brings together over 30 works including sculptures, drawings and installation that range from the artist’s notorious 1990s rubber sculptures through to his most recent ongoing series ‘Monuments of the Memory: Landscape’ and ‘Constellations’. Many of the exhibits are shown here for the first time.
‘Self-portrait / Autoritratto’ aims to illustrate Canevari’s worldview through the artist’s deeply introspective creative process. It brings to the fore not only a reflection on the self but also, in the artist’s words “…a political reading of making art, intended to measure what Pasolini had defined “the injustice of the world”.
“Art is a democratic, progressive force, so it should ideally serve society, not the powers that be. In my work, the use of icons, symbols, and forms from various cultures is a way of drawing attention to their true meaning, tied to dogmas or other forms of power; they’re a way to open up a dialogue with the viewer and stimulate a reaction. […] The “political” character of my work is just one of many possible interpretations of what I do.”
“What I wish to express is a radical, subversive attitude towards art and the idea of art as it has been conceived and conveyed by globalised consumeristic society, therefore raising the level of moral and ethical perception of the world.”
The ambiguity of Canevari’s artworks, suspended in their brutalist aesthetic between irony and disquiet, is a successful result of both conceptual and formal transformation of industrial materials. Oil and its applications (synthetic rubber, exhaust motor oil, etc) are at the heart of his vocabulary; in his hands they become ambiguous symbols of the systemic violence that permeates today’s declining world where the threat of war–whether in the name of spiritual or monetary values–is constant, and humankind’s memory is tragically too short.
“To me, an artwork is profoundly important when it does not recoil into a one-way structure–whether ideological or technical–but when it opens up to different perspectives for the viewer, therefore broadening their thought.” -Paolo Canevari
“Cardi Gallery believes that art and culture are key for a healthy society and a ray of hope in these tragic times. I am absolutely delighted to bring to London these incredible works by Paolo Canevari, opening an exciting exhibition season for the gallery.” -Nicolo Cardi
The exhibition is accompanied by a catalogue with an essay by the eminent American curator Robert Storr; an interview with Iranian artist Shirin Neshat and a homage to Canevari by the acclaimed Italian novelist, Andrea Camilleri. A series of artist talks, and exhibition tours will be held in conjunction with the show.
Some of the world’s leading contemporary artists are invited to breathe new life into centuries-old glassmaking in Venice ― maestros of glassblowing from the legendary Berengo Studio residency help artists manifest their visions.
Among the 34 artists: Ai Weiwei, Fred Wilson, Joyce J. Scott, Jimmie Durham, Ugo Rondinone, Fiona Banner, Vik Muniz, Monica Bonvicini, Jake & Dinos Chapman, Laure Prouvost, Renate Bertlmann, Thomas Schütte, Loris Gréaud, and Erwin Wurm.
“There is every reason this year to have a world view,” says Irvin Lippman, the Boca Raton Museum of Art’s Executive Director, as South Florida boldly ushers in the new year with the national premiere of Glasstress 2021 Boca Raton.
“Three years in the making, with 2020 being such a challenging year to coordinate an international exhibition of this size and scope, the effort serves as an important reassurance that art is an essential and enduring part of humanity.”
“This is also a tribute to the resilience of Venice’s surviving the floods and continuing to make art through the pandemic,” adds Irvin Lippman.
The new exhibition runs January 27 through September 5, 2021 and the Museum will feature online initiatives for virtual viewing. Watch the video here featuring interviews with some of the artists in the new exhibition. The 34 artists in this new, never before seen edition of Glasstress were all invited by Adriano Berengo to work alongside his master glass artisans at the Berengo Studio on the island of Murano in the Venetian lagoon. Most of these works in glass have never been seen elsewhere, and were handpicked by Kathleen Goncharov, the Museum’s Senior Curator who traveled to Italy in 2019.
With incredible energy, the Studio has brought a new vision on how to stimulate today’s leading artists into thinking how the medium of glass can be made into dramatic and provocative works of contemporary art. Most of these artists have, during their careers, been invited to participate in the Venice Biennale. Some of the works were created during the pandemic lockdowns, with artists collaborating remotely via Zoom with their glass artisan partners after initial on-site work at the studio in Venice.
“Unlike the past and the present, what comes next for our world presents itself as constant possibility, always transforming as we move forward in time,” says Adriano Berengo. “This concept of transformation has always held an affinity with glass, a medium which – as the name Glasstress suggests – exists in a state of constant tension. Life needs tension, it needs energy, and a vibrant exchange of ideas.”
The exhibition presents 34 new works that explore some of today’s pressing subjects, including human rights, climate change, racial justice, gender issues and politics. The Boca Raton Museum of Art has dedicated more than 6,500 square feet of exhibition space to this collection. A fully illustrated catalogue is also available.
The mission of Glasstress is to restore the visibility and reputation of Murano glass, after decades of closures of ancient, centuries-old glass furnaces. Instead of creating decorative objects with glass, these artists are invited to create original works, often on a massive scale. They collaborate with glass masters whose expertise has been developed over generations in Venice. Most of these artists have never worked with glass, so they unite their artistic ideas with the technical expertise of their skilled collaborators.
The results are breathtaking. The first installation visitors to the Museum will encounter is Sala Longhi by Fred Wilson. He created this series at Berengo Studio after the Biennale exhibited his work about Black residents of Venice from the Renaissance to the present. This installation features an ornate white chandelier with 29 glass panels that mirror 18th-century Venetian artist Pietro Longhi’s paintings. Instead of canvases, Wilson shows the viewer only the whites of the eyes of his Black subjects through cutouts in black reflective glass.
“We have brought Glasstress to countries around the world for ten years, seeking to expand and enliven international awareness of the variety and richness of contemporary artists using glass in their creative practices,” adds Adriano Berengo. “In the past, its place in the art world might have seemed uncertain. But now in this latest edition of Glasstress, the first after a global pandemic, one thing we know for certain: glass endures. Life is fragile, just as glass is fragile, yet in this fragility there is also strength.”
“It is in this spirit of experimentation that Glasstress Boca Raton 2021 explores the limitless potential of glassblowing. “We realize how far we have come as we approach the 60th anniversary of the American studio glass movement that launched in 1962 through the efforts of Harvey Littleton and Dominick Labino,” adds Irvin Lippman. “This presentation of Glasstress is also a tribute to them.”
This show also unveils the Museum’s new acquisition for its collection, created in the Berengo Studio – Glass Big Brother, a sculpture by Song Dong, one of contemporary Chinese art’s leading figures. The large-scale ceiling installation is 11 feet long and reaches all the way to the floor. Thirty surveillance cameras are ensconced from top to bottom, looking out at all directions around the chandelier.
The installation Rosemarie’s Divorce, by Renate Bertlmann, unites aspects from Rosemarie’s Baby (1983), her multi-part installation about the ambivalent relationship between mother and child, and Discordo Ergo Sum, a field of knife-roses she exhibited at the Venice Biennale in 2019. The monstrously enlarged glass pacifier is an image she has used since the mid-1970s referencing sexuality and motherhood. It is flanked by two knife-roses made of deep black glass.
The Italian artist Monica Bonvicini’s deeply psychological work addresses themes of sexuality, power, and relationships in male-oriented domains. Her visits to sadomasochist nightclubs with Gay male friends are the inspiration for Bonded. She won the prestigious Golden Lion award at the 1999 Venice Biennale. DNA HAS NO COLOR is a new statement from Nancy Burson that is a powerful work about the illegitimacy of racism. This is a continuation of the project that Zaha Hadid commissioned Burson to develop for the London Millennium Dome. Burson is known for biology-related work, including her use of cutting edge facial morphing technology for art that shows what individuals would look like as a different race.
The Pandemic Oculus, (2020), by Tim Tate, whose work explores the worlds of loss, memory, recovery, and hope. As an HIV-positive man, he lived through the worst of the AIDS epidemic during the 1980s and 1990s, and now through the current pandemic. In the Museum’s exhibition catalogue, the artist states that Pandemic Oculus also honors the many unsung heroes around the world: nurses, teachers, essential employees, grandparents caring for children so that parents can work, and so many more. Tate is the co-founder of the Washington Glass Studio in Washington, DC. He is also the co-moderator, along with William Warmus, of the 21st Century Glass group on Facebook, which has shared and discussed over 10,000 images of sculptural glass from around the world.
Erwin Wurm’s wry sense of humor permeates his most famous works and has served him well in creating a poignant cultural commentary throughout his career. Wurm produced this triad in cold hard glass at the Berengo Studio. They are smaller versions of the massive bronze sculpture of a hot water bottle with legs, Big Mutter, that he created for the Venice Biennale in 2020. In the exhibition catalogue, the show’s curator Kathleen Goncharov describes these “mothers” as neither warm nor comforting . . . their stubby little legs imply flight when called upon to be caregivers.
At the Berengo Studio, Jimmie Durham created a series of eight giant cougar heads suspended on metal armatures. Caught in suspension as they gaze at one another, their collective roar remains frozen between them. The cougar is one of the most sacred animals in Cherokee mythology, and the influence of Native-American culture vs. Western rationalism is evident in his work. The artist’s long trajectory includes his work during the civil rights movement and as a political organizer for the American Indian Movement. In 2019, Durham was the recipient of the GoldenLion for Lifetime Achievement award at the 58th Venice Biennale.
In the Museum’s exhibition catalogue, curator Kathleen Goncharov describes Prune Nourry as no stranger to illness . . . her work always dealing with science and bioethics from a feminist perspective, a focus that has intensified since her breast cancer diagnosis in 2018. At the Berengo Studio, she created River Woman, a transparent skeletal sculpture based on an anatomical drawing of the human vascular system. While its form may be human, the arteries resemble rivers, streams and trees that suffer in their own way too, from human abuse rather than disease.
Ugo Rondinone represented his home country in the Swiss Pavilion at the 52nd Venice Biennale (2007). In this work, the twelve glass horses cast in beautiful shades of blue all face different directions, creating delicate light games with their reflections and shadows in continuous motion. In the context of this installation, the reappearing motif of a horse (which has a long tradition in the history of art), evokes alienation and a subversive twist emblematic of Rondinone’s works.
The Untitled Space is pleased to present a group exhibition and public art series “Art4Equality x Life, Liberty & The Pursuit of Happiness” presented in collaboration with SaveArtSpace and Art4Equality. The two-part exhibition features an empowering public art series of 10 billboards each by different artists launching on September 21, 2020 in a variety of locations throughout New York City, to coincide with a gallery exhibition opening on September 26, 2020 at The Untitled Space featuring the work of over 50 contemporary artists. Revolving around the theme of “Art4Equality x Life, Liberty & The Pursuit of Happiness” the public art series and group exhibition is curated by Indira Cesarine, founder of The Untitled Space and Art4Equality.
The gallery will feature the unique artworks displayed on the billboards (presented by SaveArtSpace) along with an exhibition of many additional works in a variety of mediums including painting, drawing, photography, video, and sculpture inspired by the words “Equality,” “Life,” “Liberty,” and “The Pursuit of Happiness,” which will be on view at the gallery through October 17, 2020. The Untitled Space is honored to collaborate with non-profit SaveArtSpace and support the programming of Art4Equality, an initiative that supports the creation of empowering equality themed exhibitions and public art.
“’What do these words mean to you: “Equality,” “Life,” “Liberty,” “The Pursuit of Happiness”? We live in an unprecedented time, our liberties robbed by a global pandemic, which laid painfully bare the inequities that have plagued the most vulnerable in our society for far too long. Political polarization in the United States is reaching critical mass with a divisive political system at war. Realities of social inequality and racial injustice are challenging our ability to have confidence in a promising future. With the 2020 elections approaching, I felt that it was a crucial time to create an opportunity for artists to respond, with the artwork presented in a public platform where it can reach an audience of millions of people every day and promote an inclusive dialogue.
The billboard transformed into an art display is an innovative, and ultimately accessible way to present contemporary art, transforming spaces normally dedicated to advertising into public art that has power and impact. We received such an overwhelming response to the exhibit opportunity, which was presented via an open call, that I expanded the project to include a gallery group exhibition featuring over 50 artists who created artworks inspired by the theme – most of which were created during quarantine. The public art series and exhibition “Art4Equality x Life, Liberty, & The Pursuit of Happiness” seeks to empower, enlighten, and shed a ray of hope in a city that has been under a dark cloud, in a country that is in tatters not only by an invisible virus, but also by political and civil unrest. As we navigate through this difficult time, “Art4Equality x Life, Liberty, & The Pursuit of Happiness” celebrates art as activism, giving voices to a diverse array of contemporary artists from all backgrounds, ages, and genders. I’m honored to guest curate the public art series for SaveArtSpace and hope viewers will be inspired and motivated by the public art billboards and exhibition artwork.” – Artist & Curator Indira Cesarine
Alexandra Rubinstein, Alison Stinley, Alysia Davis, Ann Lewis, Anne Barlinckhoff, Annika Connor, April Fitzpatrick, Ashley Chew, Buket Savci, Cabell Molina, Coco Dolle, D’nae Harrison, Dan Alvarado, Daniel Aros-Aguilar, Danielle Siegelbaum, Daryl Daniels, David Siever, Dessie Jackson, Devynity Wray, Diana Zipeto, Dolly Faibyshev, Donna Bassin, Egypt H., Fahren Feingold, Faustine Badrichani, Geoffrey Stein, Hana Zhang, Indira Cesarine, Jamia Weir, Jared Freschman, Jodie Herrera, Joel Tretin, Jose Baez, Karen Bystedt, Katya Zvereva, Kim McCarty, Leah Schrager, Linda Friedman Schmidt, Lola Jiblazee, Lynn Bianchi, Meg Lionel Murphy, Michele Pred, Osaze Stigler, Panteha Abareshi, Paolo Morales, Q’shaundra James, Rachel Van Der Nacht, Rebecca Bird, Robin Tewes, Robyn Gibson, Rosemary Meza-DesPlas, Sarupa Sidaarth, Travis Rueckert, Tslil Tsemet, Valerie Carmet, and Vaughan Larsen.
PUBLIC ART BILLBOARDS (in collaboration with SaveArtSpace):
Anne Barlinckhoff – Pulaski Bridge 11th St & 53rd Ave, Queens Ashley Chew – Flushing Ave & Waverly Ave, Brooklyn Donna Bassin – McGuinness Blvd & Calyer St, Brooklyn Fahren Feingold + Indira Cesarine – W 46th St & 12th Ave, Manhattan Jodie Herrera – Hamilton Pl & 12th St, Brooklyn Kim McCarty – Flushing Ave & Spencer St, Brooklyn Meg Lionel Murphy – Myrtle Ave & Cornelia St, Queens Panteha Abareshi – Park Ave & Emerson Pl, Brooklyn Sarupa Sidaarth – McGuinness Blvd & Calyer St, Brooklyn Travis Rueckert – 11th Ave & W 45th St, Manhattan
Founded in 2015, in Brooklyn, NY, SaveArtSpace is a non-profit organization that works to create an urban gallery experience, launching exhibitions that address intersectional themes and foster a progressive message of social change. By placing culture over commercialism, SaveArtSpace aims to empower artists from all walks of life and inspire a new generation of young creatives and activists. Since 2015, SaveArtSpace has installed the artwork of 180 artists on 212 advertising spaces in 10+ major US cities, coast-to-coast. Beyond transforming advertisement space into public art, we work with a variety of community groups including: schools, senior residencies, shelters, youth groups, special needs programs, art collectives, galleries, and museums. Together, we aim to foster community and cultural enrichment through the arts. While supporting underprivileged and emerging artists by providing them the opportunity to display work in the public space.
Art4Equality is an initiative supporting equality themed art exhibitions and special projects including films and public art by female identifying artists and allies. The mission of Art4Equality is to create empowering artwork and exhibitions that can impact social change, raise awareness and inspire our community. Art4Equality additionally facilitates opportunities by providing mentorship to artists, as well as special programming such as panel discussions, performances, and educational art events. Art4Equality empowers by creating a platform for progress. By supporting the work of underrepresented and marginalized artists, Art4Equality demonstrates the value, quality, and diversity of their contributions to the community, encourages an inclusive dialogue, and promotes equality for all.
The Untitled Space is an art gallery located in Tribeca, New York in a landmark building on Lispenard Street. Founded in 2015 by artist Indira Cesarine, the gallery features an ongoing curation of exhibits of emerging and established contemporary artists exploring conceptual framework and boundary-pushing ideology through mediums of painting, sculpture, printmaking, photography, video and performance art. The gallery is committing to exploring new ideas vis-à-vis traditional and new mediums and highlights a program of women in art. Indira Cesarine’s curatorial for The Untitled Space includes solo shows for artists Sarah Maple, Rebecca Leveille, Alison Jackson, Fahren Feingold, Jessica Lichtenstein, Tom Smith, Loren Erdrich, Kat Toronto aka Miss Meatface, Nichole Washington, and Jeanette Hayes among many others. Notable group shows include “IRL: Investigating Reality,” “BODY BEAUTIFUL,” “EDEN” and “(HOTEL) XX” at SPRING/BREAK Art Show, “SHE INSPIRES,” and internationally-celebrated group shows “UPRISE/ANGRY WOMEN,” and “ONE YEAR OF RESISTANCE” responding to the political climate in America, as well as numerous other critically-acclaimed exhibitions. Recent press on Indira Cesarine & The Untitled Space includes Vogue (US), Vogue Italia, CNN, Forbes, Newsweek, W Magazine, Harper’s Bazaar, Teen Vogue, New York Magazine, i-D Magazine, Dazed and Confused, and The New York Times among many others.
“Entertainment Unit” by artist Sarupa Sidaarth, Artwork featured in “Art4Equality x Life, Liberty, The Pursuit of Happiness” Exhibition and Public Art Series Presented by The Untitled Space in collaboration with SaveArtSpace and Art4Equality
“Our Land” by artist Meg Lionel Murphy, Artwork featured in “Art4Equality x Life, Liberty, The Pursuit of Happiness” Exhibition and Public Art Series Presented by The Untitled Space in collaboration with SaveArtSpace and Art4Equality
“Behind The Flag” by artist April Fitzpatrick, Artwork featured in “Art4Equality x Life, Liberty, The Pursuit of Happiness” Exhibition and Public Art Series Presented by The Untitled Space in collaboration with SaveArtSpace and Art4Equality
Born and raised in South Florida – Rhys gravitated toward finding beauty in the unexpected — often creating jewelry and art from things she found in nature.
While attending a small art school in Monessen, Pennsylvania, Rhys Kelly took a course on painting eyes and teeth for creatures that the students sculpted. From that class, Rhys noticed how much detail went into painting one eye – and how no two eyes are the same. This was a perfect representation for what Rhys always knew to be true: The eye represents perspective, uniqueness and individualism.
After school, Rhys started gifting the eye jewelry to friends and family, it gained attention from people beyond her inner circle and she started selling pieces in 2017, thus bringing the Rhys Kelly brand to life. Rhys’s collection of handcrafted pendants, rings and bracelets are timeless one of a kind pieces — each designed around the human eye. The eye has, for all of human existence (and probably beyond) been a symbol of power, protection, knowledge, good, evil and much more. What’s remained consistent is the fact that no two eyes are the exact same.
Rhys’s “What’s Your Perspective,” is a body of work comprising pieces of art and jewelry centered around the human eye. The collection is meant to inspire, fascinate and celebrate the unique perspective of every person. For Kelly’s art installation she casts eye forms using acrylic and acrylic paint, first pouring the acrylic into a mold and then painting. Her jewelry is handmade of precious metals including silver, gold and both semi-precious and precious gemstones. She most recently released her “Drippy Eye” installation – which is a large standing installation. Prices for Kelly’s work start at $195 for jewelry and range from $500 to $5,000 for art.
Rhys is now 24 years old and currently resides in Los Angeles where she continues to expand her following and create her artwork.
email@example.com box 361566los angeles, ca 90036213.841.1841
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