The Bass Museum of Art presents The Haas Brothers’s first solo museum exhibition, Ferngully. The exhibition of new and recent work by the LA-based artists explores the precarity and regenerative possibilities of the natural environment. Ferngully, named after a 1992 animated film of the same title, invites visitors into a utopic setting that exemplifies The Haas Brothers’s return to nature through design.
Jessica Jackson Hutchins's Leaning Figure (2010) is on view at the Museum of Contemporary Art Chicago as part of the group exhibition West by Midwest. The exhibition illuminates the ways that contemporary art practices spread and develop by tracing the intersecting lives of artists who have migrated from the American Midwest to the West Coast since the mid-20th century.
Julia Dault's Untitled 38, 10:30 AM - 2:00 PM, April 4, 2016 (2015) is on view at the Museum of Contemporary Art Chicago in the group show Groundings. The exhibition considers the reciprocal influence between bodies in motion and the invisible forces that govern movement, such as gravity, time, and electricity.
The first retrospective of John Waters's visual arts career in his hometown of Baltimore is on view at the Baltimore Museum of Art, MD. Presenting more than 160 provocative photographs, sculptures, and video and sound works, the exhibition concludes with a gallery devoted to ephemera, including objects from Waters’s home and studio that inspire him, and three peep-shows featuring footage from his rarely seen underground movies of the 1960s.
The Museum of Contemporary Art in Jacksonville, FL presents Frank Stella Unbound: Literature and Printmaking, an exhibition of approximately forty of the artist’s prints, drawn from four ambitious series executed between 1984 and 1999. Each series is named for a literary work with a distinctive narrative structure, including the Passover song Had Gadya, a compilation of Italian Folktales, the epic novel Moby Dick, and the illustrated encyclopedia Dictionary of Imaginary Places.
Diana Al-Hadid’s first major public project, Delirious Matter, which opened to acclaim at the Madison Square Park in New York, travels to Williams College Museum of Art in Williamstown, MA. The exhibition presents large-scale sculptures that suggest archaeological remains and human figures dissolving into cascading forms. The exhibition is on view September 29, 2018 – March 24, 2019.
William J. O’Brien has been selected as a finalist for the Burke Prize. Organized by the Museum of Arts and Design in New York, the award honors artists that are advancing the disciplines that shaped the American Studio Craft movement. An exhibition of the finalists’ work, The Future of Craft Part 2 will be on view October 3, 2018 – March 17, 2019.
NSU Art Museum in Fort Lauderdale, FL has unveiled a new site-specific wall installation by Serge Alain Nitegeka, titled Wall Drawing XIII. The work is included in the exhibition, Remember to React: 60 Years of Collecting, a comprehensive installation of the museum’s permanent collection that will be on view through June 30, 2019.
Barnaby Furnas's Resurrection Magenta (2006) is on view at The Museum of Contemporary Art Tucson in the group show Blessed Be: Mysticism, Spirituality, and the Occult in Contemporary Art. The exhibition, curated by Ginger Shulick Porcella, explores religion, ritual, cult mentality, and the human impulse to belong and participate, as viewed through the lens of cultural production.
Hans Op de Beeck’s video piece, Sea of Tranquility, is now on view at the Het Scheepvaart Museum, Amsterdam. The fictitious cruise liner in the film was designed by Op de Beeck, following a short residence at Saint-Nazaire, France in 2008. During this time, the artist became intrigued by the remarkable story of this harbour town whose shipyards produce the world’s largest cruise liners. It seemed to Op de Beeck that the Queen Mary 2, then just completed, was, like the Burj Khalifa in Dubai, a suitable metaphor for our belief in spurious values and in such concepts as work, leisure time and luxury consumerism.
Sanford Biggers is included in the group show Remember This at the Philbrook Museum. Memory—both individual and collective—is the subject of videos by the five artists featured in this exhibition: Sanford Biggers, Crystal Z Campbell, Reneé Green, Taja Lindley, and Jennifer Zackin. Through found film, family movies, performance, and documentary techniques, these artists reveal and explore aspects of the past. In its capacity to record and replay actions, video mimics the way memories are constructed and recalled, exposing those experiences that would otherwise remain unseen.
Sanford Biggers, a solo exhibition of the artist’s work currently on view at the Contemporary Art Museum in St. Louis, MO, encourages discourse on history and trauma in America through painting, sculpture, film, and performance. Among the featured works are ballistically transformed sculptures from Biggers’ BAM series and painted quilts that together highlight his fluid movement between media and genre. The exhibition will be on view through December 30, 2018.
Reliquary, a solo exhibition of William J. O'Brien's work is on view at the Madison Museum of Contemporary Art. This immersive installation showcases the artist's wide range of material experimentation and reflects his continued interest in challenging the traditional boundaries separating fine art from functional craft. The centerpiece of the exhibition is a tent made from muslin and covered with O'Brien's expressive ink drawings. As suggested by the exhibition's title, this structure is the artist's contemporary version of a reliquary, a container for holy relics.
Jessica Jackson Hutchins’s work is included in the exhibition, The Domestic Plane: New Perspectives on Tabletop Art Objects at The Aldrich Contemporary Art Museum in Ridgefield, CT. Hutchins’s Couple (1999) will be featured as part of the Objects Like Us “chapter” of the exhibition organized by Amy Smith-Stewart, curator at The Aldrich, and David Adamo, which will explore intimately scaled objects that embody a human condition or attribute and that transmit a performative potentiality, aura, or beingness.