May 2021 Art News

One of three concurrent outings by the artist, and one of two exhibitions at Zwirner venues uptown and down, Chimes is ensconced in the gallery’s W 20th Street space, which has been painted a brooding shade of gray for the occasion.
Joan Mitchell has long been hailed as a formidable creative force—a painter who attained critical acclaim and success in the male-dominated art circles of 1950s New York.
The event unites galleries from across the city, with participants zoned into three areas. London Gallery Weekend will promote a daily focus on a geographical area, though all participating galleries will be open across the three days.
One of the greatest chroniclers of twentieth-century America, Alice Neel was born in a small town near Philadelphia in 1900, but made her mark as a “painter of people,” as she humbly called herself, in New York, where she lived and worked until her death in 1984.

Join Met curators to explore works from the exhibition Selections from the Department of Drawings and Prints: Materials and Techniques. Learn about the broad range of approaches European and American artists from the Renaissance to the present have used to create works on paper, such as mezzotint and engraving.

Theaster Gates: How to Sell Hardware—the artist’s latest installation in Chicago and third solo show at Gray—tells the story of Theaster Gates’s ongoing engagement with a family-owned store formerly located on Chicago’s South Side.
The Hudson River School painter Frederic Edwin Church, traveled from New York State to South America, via dangerous expeditions from April 1853 to September 1853, only to research and execute his breakthrough painting. 
This fall, the Baltimore Museum of Art will present the first comprehensive exhibition to explore the singular forty-three-year friendship between Baltimore collector Etta Cone and French modern master Henri Matisse.
Titled Auvers, painted in 1890, and signed “Vincent” on the back, has not yet been authenticated but, if it is, it will become the largest Van Gogh painting and the only one made on a square canvas.

MoMA development officer Jamie Bergos is brave enough to get up close with Maria Martins’s 1946 sculpture "The Impossible, III," and wonders if its ambiguity—Are the figures fighting? Merging?—is a metaphor for the occasional “impossibility” of intimate relationships.

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