{"id":1752,"date":"2023-01-03T18:46:36","date_gmt":"2023-01-03T10:46:36","guid":{"rendered":"https:\/\/www.atelierauction.com\/globalupdates\/?p=1752"},"modified":"2023-01-03T18:51:12","modified_gmt":"2023-01-03T10:51:12","slug":"must-see-museum-shows-for-january","status":"publish","type":"post","link":"https:\/\/www.atelierauction.com\/globalupdates\/uncategorized\/must-see-museum-shows-for-january\/","title":{"rendered":"Must-See Museum Shows for January"},"content":{"rendered":"<p class=\"paragraph larva \/\/ a-font-body-m \">For the annual\u00a0<a href=\"https:\/\/www.atelierauction.com\/globalupdates\/\"><em>Art in America Guide<\/em><\/a>, published in print in January, the editors of\u00a0<em>A.i.A<\/em>. highlight significant and intriguing museum exhibitions throughout the year. Below is a list of noteworthy shows opening in January (or that remain on view after opening late last year).<\/p>\n<div id=\"pmc-gallery-vertical\">\n<div class=\"c-gallery-vertical\">\n<div class=\"c-gallery-vertical__slides\">\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234651160\" data-slide-index=\"0\" data-slide-position-display=\"1\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<div class=\"c-gallery-vertical-details\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">Hear Me Now: The Black Potters of Old Edgefield, South Carolina<\/h2>\n<\/div>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer aligncenter\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/15.-Unrecorded-potter-Face-jug-ca.-1850%E2%80%9370.jpeg?w=437\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 559px, (max-width: 1440px) 559px, (max-width: 2560px) 559px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/15.-Unrecorded-potter-Face-jug-ca.-1850\u201370.jpeg?w=175 175w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/15.-Unrecorded-potter-Face-jug-ca.-1850\u201370.jpeg?w=350 350w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/15.-Unrecorded-potter-Face-jug-ca.-1850\u201370.jpeg?w=437 437w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/15.-Unrecorded-potter-Face-jug-ca.-1850\u201370.jpeg?w=559 559w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/15.-Unrecorded-potter-Face-jug-ca.-1850\u201370.jpeg?w=746 746w\" alt=\"Ceramic vessel in the shape of a head with bulging eyes and a gaping mouth with four teeth and tongue visible.\" width=\"419\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Courtesy Metropolitan Museum of Art, New York<\/span><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">Featuring the work of enslaved African American potters from the 19th-century\u2014along with contemporary artistic responses\u2014 \u201cHear Me Now: The Black Potters of Old Edgefield, South Carolina\u201d features some 50 objects from the pre\u2013Civil War center of stoneware production, from massive storage jars to spirited face jugs. Organized by the Metropolitan Museum of Art and the Boston MFA, the show also includes work by contemporary Black artists that resonates with that of the Edgefield artisans, including Simone Leigh, Adebunmi Gbadebo, Woody De Othello, Theaster Gates, and Robert Pruitt.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\"><em>Metropolitan Museum of Art, New York, through Feb. 5, 2023; Museum of Fine Arts, Boston, Mar. 4\u2013 July 9, 2023; University of Michigan Museum of Art, Ann Arbor, Aug. 26, 2023\u2013Jan. 7, 2024; High Museum of Art, Atlanta, Feb. 16\u2013May 12, 2024\u00a0<\/em><\/p>\n<\/div>\n<\/article>\n<div class=\"c-gallery-vertical__advert\">\n<div id=\"adm-in-list-1\" class=\"admz\">\n<div class=\"adma boomerang\" data-device=\"Desktop\" data-width=\"300\">\n<div class=\"pmc-adm-boomerang-pub-div ad-text\" data-priority=\"8\">\n<div id=\"gpt-dsk-tab-list-inlist1-uid0\" class=\"adw-300 adh-250\" data-is-adhesion-ad=\"\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234651166\" data-slide-index=\"1\" data-slide-position-display=\"2\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<div class=\"c-gallery-vertical-details\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">Nina Chanel Abney<\/h2>\n<\/div>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loading c-gallery-vertical-featured-image__figure--loading\" role=\"presentation\"><img class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" sizes=\"(max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1440px\" srcset=\"undefined undefinedw, undefined undefinedw, undefined undefinedw, undefined undefinedw, undefined undefinedw\" alt=\"\" width=\"0\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\"><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">\u201c<a href=\"https:\/\/www.atelierauction.com\/globalupdates\/\">Big Butch Energy<\/a>\u201d presents new paintings by Nina Chanel Abney, whose vivid large-scale canvases use heavily stylized graphic forms to communicate complex narratives about, for example, gender perception and performance. This series focuses on Black masculine women, while also looking at deeper issues in the culture of Greek student life, including the ongoing challenges and tension that arise from navigating an overwhelming desire for social belonging.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\"><em>Institute of Contemporary Art, Miami, through Mar. 12, 2023\u00a0<\/em><\/p>\n<\/div>\n<\/article>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234651168\" data-slide-index=\"2\" data-slide-position-display=\"3\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<div class=\"c-gallery-vertical-details\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">Oskar Kokoschka<\/h2>\n<\/div>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer aligncenter\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/O-7242-e1671577726831.jpg?w=750\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 960px, (max-width: 2560px) 960px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/O-7242-e1671577726831.jpg?w=300 300w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/O-7242-e1671577726831.jpg?w=600 600w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/O-7242-e1671577726831.jpg?w=750 750w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/O-7242-e1671577726831.jpg?w=960 960w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/O-7242-e1671577726831.jpg?w=1200 1200w\" alt=\"Painted scene with a man's large face on the right and a table to the left with a red egg shape on top and a cat underneath.\" width=\"719\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">National Gallery, Prague \u00a9 Fondation Oskar Kokoschka \/ Adagp, Paris 2022<\/span><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">Subtitled \u201cEnfant Terrible in Vienna,\u201d this show surveys some 150 paintings and drawings spanning the seven-decade career of radical Austrian artist and writer Oskar Kokoschka (1886\u20131980). Famed for his wildly innovative plays, his wounds from World War I, his alleged mental instability, his restless travels, and his obsessive love for Alma Mahler (memorialized in a life-size doll, which he publicly destroyed), the hyperactive polymath was a key figure in the Expressionist movement, along with such artists as Egon Schiele, Emil Nolde, and Ernest Ludwig Kirchner. In the 1930s, the Nazis cited Kokoschka\u2019s emotionally wrought landscapes and portraits as key examples of \u201cdegenerate art.\u201d<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\"><em>Mus\u00e9e d\u2019Art Moderne de Paris, through Feb. 12, 2023; Guggenheim Bilbao, Spain, Mar. 17\u2013Sept. 3, 2023\u00a0<\/em><\/p>\n<\/div>\n<\/article>\n<div class=\"c-gallery-vertical__advert\">\n<div id=\"adm-in-list-x\" class=\"admz\">\n<div class=\"adma boomerang\" data-device=\"Desktop\" data-width=\"300\">\n<div class=\"pmc-adm-boomerang-pub-div ad-text\" data-priority=\"8\">\n<div id=\"gpt-dsk-tab-list-inlistx-uid1\" class=\"adw-300 adh-250\" data-is-adhesion-ad=\"\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234651175\" data-slide-index=\"3\" data-slide-position-display=\"4\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<div class=\"c-gallery-vertical-details\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">Minerva Cuevas<\/h2>\n<\/div>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loading c-gallery-vertical-featured-image__figure--loading\" role=\"presentation\"><img class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" sizes=\"(max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1440px\" srcset=\"undefined undefinedw, undefined undefinedw, undefined undefinedw, undefined undefinedw, undefined undefinedw\" alt=\"\" width=\"0\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\"><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">Minerva Cuevas\u2019s socially engaged practice has involved a range of strategies and mediums to lay bare the complex economic and political structures of contemporary life. The Mexico City artist has enacted mini-sabotages of capitalism as part of her nonprofit Mejor Vida Corp\/Better Life Corporation; she has also performed guerrilla rebranding campaigns to comment provocatively on the tension between such matters as world starvation and capitalistic excess. For Museo Jumex, she has created a site-specific installation that fills the first-floor gallery. It revolves around \u201c200 mammoths, almost 25 camels, [and] five horses\u201d made using\u00a0<em>cartoner\u00eda<\/em>, a Mexican technique similar to papier-m\u00e2ch\u00e9. The work references the thousands of fossilized mammoths found in 2020 during the construction of Mexico City\u2019s new Felipe \u00c1ngeles International Airport.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\"><em>Museo Jumex, Mexico City, through Feb. 26, 2023\u00a0<\/em><\/p>\n<\/div>\n<\/article>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234651177\" data-slide-index=\"4\" data-slide-position-display=\"5\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<div class=\"c-gallery-vertical-details\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">Spirit in the Dark: Religion in Black Music, Activism, and Popular Culture<\/h2>\n<\/div>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loading c-gallery-vertical-featured-image__figure--loading\" role=\"presentation\"><img class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" sizes=\"(max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1440px\" srcset=\"undefined undefinedw, undefined undefinedw, undefined undefinedw, undefined undefinedw, undefined undefinedw\" alt=\"\" width=\"0\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\"><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">The myriad ways that religion has intermingled with the communal activities that surround Black culture are the focus of an exhibition that combines objects from the collection of the <a href=\"https:\/\/www.atelierauction.com\/globalupdates\/\">Smithsonian\u2019s National Museum<\/a> of African American History and Culture\u2014for example, a King James Bible owned by Little Richard and handwritten notes from James Baldwin\u2014with archival offerings from\u00a0<em>Ebony<\/em>,\u00a0<em>Jet<\/em>, and\u00a0<em>Black World\u00a0<\/em>magazines. The names of the musicians featured in \u201cSpirit in the Dark: Religion in Black Music, Activism, and Popular Culture\u201d have been showcased on many a marquee: Aretha Franklin, Duke Ellington, Marvin Gaye, and illustrious others. An eclectic cast of Black cultural figures represented in the show includes Angela Davis, Malcolm X, Maya Angelou, Reverend Ike, and Jesse Jackson.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\"><em>National Museum of African American History and Culture, Washington, D.C., through November 2023\u00a0<\/em><\/p>\n<\/div>\n<\/article>\n<div class=\"c-gallery-vertical__advert\">\n<div id=\"adm-in-list-x-1\" class=\"admz\">\n<div class=\"adma boomerang\" data-device=\"Desktop\" data-width=\"300\">\n<div class=\"pmc-adm-boomerang-pub-div ad-text\" data-priority=\"8\">\n<div id=\"gpt-dsk-tab-list-inlistx-uid2\" class=\"adw-300 adh-250\" data-is-adhesion-ad=\"\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234651179\" data-slide-index=\"5\" data-slide-position-display=\"6\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<div class=\"c-gallery-vertical-details\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">Femme Fatale: Gaze\u2014Power\u2014Gender<\/h2>\n<\/div>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer aligncenter\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/Lassnig_Woman_Power-e1671641701477.jpg?w=412\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 528px, (max-width: 1440px) 528px, (max-width: 2560px) 528px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/Lassnig_Woman_Power-e1671641701477.jpg?w=165 165w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/Lassnig_Woman_Power-e1671641701477.jpg?w=330 330w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/Lassnig_Woman_Power-e1671641701477.jpg?w=412 412w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/Lassnig_Woman_Power-e1671641701477.jpg?w=528 528w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/Lassnig_Woman_Power-e1671641701477.jpg?w=687 687w\" alt=\"Painting of a large female figure walking among and towering over city buildings.\" width=\"395\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">\u00a9 VG Bild-Kunst, Bonn 2022<\/span><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">Throughout mythology, literature, cinema, and popular culture, iconic figures representing a potentially lethal form of female sexuality have played havoc with masculine desires and fears. \u201cFemme Fatale: Gaze\u2014Power\u2014Gender\u201d brings together some 140 works created in diverse media since the late 19th century by artists ranging from Dante Gabriel Rossetti and Gustave Moreau to VALIE EXPORT and Zandile Tshabalala. Depictions of Circe, the Sirens, Medea, Salome, and Judith commingle with publicity shots of Hollywood stars in a show that examines how cultural shifts\u2014includinng the New Woman ideal, feminism, and the #MeToo movement\u2014have affected these purportedly \u201ctimeless\u201d images.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\"><em>Hamburger Kunsthalle, Hamburg, Germany, through Apr. 10, 2023\u00a0<\/em><\/p>\n<\/div>\n<\/article>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234651184\" data-slide-index=\"6\" data-slide-position-display=\"7\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<div class=\"c-gallery-vertical-details\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">Jo\u00ebl Andrianomearisoa<\/h2>\n<\/div>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer aligncenter\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/OUR-LAND-JUST-LIKE-A-DREAM-MACAAL-2022-C.-Omar-Tajmouati-16-e1671641664647.jpg?w=800\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1024px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/OUR-LAND-JUST-LIKE-A-DREAM-MACAAL-2022-C.-Omar-Tajmouati-16-e1671641664647.jpg?w=320 320w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/OUR-LAND-JUST-LIKE-A-DREAM-MACAAL-2022-C.-Omar-Tajmouati-16-e1671641664647.jpg?w=640 640w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/OUR-LAND-JUST-LIKE-A-DREAM-MACAAL-2022-C.-Omar-Tajmouati-16-e1671641664647.jpg?w=800 800w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/OUR-LAND-JUST-LIKE-A-DREAM-MACAAL-2022-C.-Omar-Tajmouati-16-e1671641664647.jpg?w=1024 1024w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/OUR-LAND-JUST-LIKE-A-DREAM-MACAAL-2022-C.-Omar-Tajmouati-16-e1671641664647.jpg?w=1200 1200w\" alt=\"A gallery space with a suspended rack of clothes and a painting on the wall, with another gallery visible beyond.\" width=\"863\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\"><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\"><a href=\"https:\/\/www.facebook.com\/AtelierAuctionsg\">The Museum of African Contemporary Art Al Maaden<\/a> (MACAAL) on the outskirts of Marrakesh has turned over the entirety of its gallery space to Jo\u00ebl Andrianomearisoa. He is using the space to explore traditional Moroccan techniques\u2014wickerwork, metalwork, ceramics, and embroidery\u2014that he learned during a residency, working alongside artisans to create personal interpretations of Morocco\u2019s artistic heritage. Titled \u201cOur Land Just Like a Dream,\u201d the exhibition will also include a selection of works from MACAAL\u2019s collection and on-site collaborations with contemporary artists.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\"><em>Museum of African Contemporary Art Al Maaden, Marrakesh, through July 16, 2023\u00a0<\/em><\/p>\n<\/div>\n<\/article>\n<div class=\"c-gallery-vertical__advert\">\n<div id=\"adm-in-list-x-2\" class=\"admz\">\n<div class=\"adma boomerang\" data-device=\"Desktop\" data-width=\"300\">\n<div class=\"pmc-adm-boomerang-pub-div ad-text\" data-priority=\"8\">\n<div id=\"gpt-dsk-tab-list-inlistx-uid3\" class=\"adw-300 adh-250\" data-is-adhesion-ad=\"\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234651187\" data-slide-index=\"7\" data-slide-position-display=\"8\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<div class=\"c-gallery-vertical-details\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">Kidlat Tahimik: Indio-Genius<\/h2>\n<\/div>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loading c-gallery-vertical-featured-image__figure--loading\" role=\"presentation\"><img class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" sizes=\"(max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1440px\" srcset=\"undefined undefinedw, undefined undefinedw, undefined undefinedw, undefined undefinedw, undefined undefinedw\" alt=\"\" width=\"0\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\"><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">Often regarded as the father of Filipino indie-cinema, the 80-year-old filmmaker and artist Kidlat Tahimik has had an outsize effect on filmmaking in his home country. After earning a master\u2019s degree at the Wharton School of Business, he returned to the Philippines and began making films about indigenous struggle in a neocolonial state. He went on to create art objects using materials he found in nature, and even designed and built the Ili-Likha Artists Village in the Philippines. \u201cINDIO-GENIUS: 500 Years of War on Culture (1521\u20132021)\u201d includes films shot with his signature bamboo camera and imaginative artworks made with organic matter and found objects, all inspired by a flowing, intuitive method of working that he calls \u201ckapa-kapa,\u201d named after a flowering plant native to the Philippines.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\"><em>National Museum of the Philippines, Manila, through March 2023\u00a0<\/em><\/p>\n<\/div>\n<\/article>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234650795\" data-slide-index=\"8\" data-slide-position-display=\"9\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<div class=\"c-gallery-vertical-details\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">Beyond the Light: Identity and Place in Nineteenth-Century Danish Art<\/h2>\n<\/div>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer aligncenter\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/Constantin-Hansen_A-Group-of-Danish-Artists-in-Rome-1837-e1671225038607.jpg?w=729\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 933px, (max-width: 2560px) 933px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/Constantin-Hansen_A-Group-of-Danish-Artists-in-Rome-1837-e1671225038607.jpg?w=291 291w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/Constantin-Hansen_A-Group-of-Danish-Artists-in-Rome-1837-e1671225038607.jpg?w=583 583w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/Constantin-Hansen_A-Group-of-Danish-Artists-in-Rome-1837-e1671225038607.jpg?w=729 729w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/Constantin-Hansen_A-Group-of-Danish-Artists-in-Rome-1837-e1671225038607.jpg?w=933 933w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/Constantin-Hansen_A-Group-of-Danish-Artists-in-Rome-1837-e1671225038607.jpg?w=1200 1200w\" alt=\"Painting of seven men in tall hats sitting and standing around open French doors. \" width=\"698\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Statens Museum for Kunst, \u00a9SMK Photo\/Jakob Skou<\/span><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">Geopolitical disaster sometimes gives rise, paradoxically, to cultural resurgence. In the aftermath of the Napoleonic Wars, Denmark was reduced from a major power to a peripheral nation. Yet, as attested by \u201cBeyond the Light: Identity and Place in Nineteenth-Century Danish Art,\u201d it also grew rich in literature, music, philosophy, architecture, and the visual arts. Featured here are nearly 100 paintings and drawings, many troubled by a Romantic ambivalence toward history and rootedness, by Danish Golden Age artists such as Christoffer Wilhelm Eckersberg, Constantin Hansen, Johan Thomas Lundbye, and Heinrich Gustav Ferdinand Holm.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\"><em>Metropolitan Museum of Art, New York, Jan. 26\u2013Apr. 16, 2023; J. Paul Getty Museum, Los Angeles, May 23\u2013Aug. 20, 2023<\/em><\/p>\n<\/div>\n<\/article>\n<div class=\"c-gallery-vertical__advert\">\n<div id=\"adm-in-list-x-3\" class=\"admz\">\n<div class=\"adma boomerang\" data-device=\"Desktop\" data-width=\"300\">\n<div class=\"pmc-adm-boomerang-pub-div ad-text\" data-priority=\"8\">\n<div id=\"gpt-dsk-tab-list-inlistx-uid4\" class=\"adw-300 adh-250\" data-is-adhesion-ad=\"\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234651188\" data-slide-index=\"9\" data-slide-position-display=\"10\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<div class=\"c-gallery-vertical-details\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">Trinh T. Minh-ha<\/h2>\n<\/div>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loading c-gallery-vertical-featured-image__figure--loading\" role=\"presentation\"><img class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" sizes=\"(max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1440px\" srcset=\"undefined undefinedw, undefined undefinedw, undefined undefinedw, undefined undefinedw, undefined undefinedw\" alt=\"\" width=\"0\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\"><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">\u201c<a href=\"https:\/\/www.facebook.com\/AtelierAuctionsg\">Traveling in the Dark<\/a>\u201d features a selection of film, images, music, and text by Trinh T. Minh-ha, who since the 1980s has produced radical feature-length films that, while centering on real-life communities, skewer ethnographic content that essentially \u201cothers\u201d its subjects. Spread across four floors of the museum, the exhibition is the culmination of a three-year collaboration between the Rockbund Art Museum and the artist, who teaches at the University of California, Berkeley. Her films are often set in transit: a long, dreamy ride on a night train, for\u00a0example, or a race down a multilayered spaceway through the fourth dimension, with sporadic stops in Japan.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\"><em>Rockbund Art Museum, Shanghai, through Feb. 5, 2023\u00a0<\/em><\/p>\n<\/div>\n<\/article>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234651190\" data-slide-index=\"10\" data-slide-position-display=\"11\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<div class=\"c-gallery-vertical-details\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">The Peruvian Amazon Rainforest<\/h2>\n<\/div>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loading c-gallery-vertical-featured-image__figure--loading\" role=\"presentation\"><img class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" sizes=\"(max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1440px\" srcset=\"undefined undefinedw, undefined undefinedw, undefined undefinedw, undefined undefinedw, undefined undefinedw\" alt=\"\" width=\"0\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\"><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">This major group show at the Museum of Contemporary Art, Lima, brings together artworks that respond to or are informed by the Peruvian Amazon rainforest. \u201cRivers can exist without water but not without shores\u201d\u2014the title inspired by a quote in a C\u00e9sar Calvo novel\u2014features works in a variety of mediums by more than 60 artists, including many members of indigenous Peruvian tribes. The exhibition seeks to push back against stereotypical visions of the rainforest as a place outside of civilization stuck in a vegetal, Edenic past\u2014visions that rationalized the ravaging of its resources\u2014and offers new perspectives based on the indigenous knowledge of people who live with and around it.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\"><em>Museum of Contemporary Art, Lima, through\u00a0Apr. 30, 2023\u00a0<\/em><\/p>\n<\/div>\n<\/article>\n<div class=\"c-gallery-vertical__advert\">\n<div id=\"adm-in-list-x-4\" class=\"admz\">\n<div class=\"adma boomerang\" data-device=\"Desktop\" data-width=\"300\">\n<div class=\"pmc-adm-boomerang-pub-div ad-text\" data-priority=\"8\">\n<div id=\"gpt-dsk-tab-list-inlistx-uid5\" class=\"adw-300 adh-250\" data-is-adhesion-ad=\"\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234651191\" data-slide-index=\"11\" data-slide-position-display=\"12\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<div class=\"c-gallery-vertical-details\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">Jasmina Cibic<\/h2>\n<\/div>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer aligncenter\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/Jasmina-Cibic-DPAG-image-4.jpg?w=800\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1024px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/Jasmina-Cibic-DPAG-image-4.jpg?w=320 320w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/Jasmina-Cibic-DPAG-image-4.jpg?w=640 640w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/Jasmina-Cibic-DPAG-image-4.jpg?w=800 800w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/Jasmina-Cibic-DPAG-image-4.jpg?w=1024 1024w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/Jasmina-Cibic-DPAG-image-4.jpg?w=1280 1280w\" alt=\"Two dancers atop rows of long white tables under a translucent domed ceiling.\" width=\"1022\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Courtesy Dunedin Public Art Gallery, New Zealand<\/span><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">The Yugoslav-born, London-based artist Jasmina Cibic explores different relationships between culture and political power, using art and architecture to scrutinize notions of soft power, nation-building, and the deployment of political agendas and ideologies. Her films and installations are striking and elegant but also reveal dark backstories. In her Slovenia Pavilion presentation at the 2013 Venice Biennale, chic wallpaper featuring a beetle print turned out to depict an insect named\u00a0<em>Anophthalmus hitleri\u00a0<\/em>by a Nazi-supporting scientist. Cibic frequently films in stunning modernist buildings that play home to political proceedings; her resulting works show how seductive architecture can turn \u201cstatecraft into stagecraft,\u201d as Cibic herself frequently puts it. Her 2021 film\u00a0<em>The Gift<\/em>, filmed largely in Oscar Niemeyer\u2019s French Communist Party Headquarters in Paris, is on view here, in addition to a new site-specific work,\u00a0<em>Charm Offensive<\/em>, that looks at the history of botanical naming conventions as acts of colonization and political coding.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\"><em>Dunedin Public Art Gallery, Dunedin, New Zealand, through Feb. 12, 2023\u00a0<\/em><\/p>\n<\/div>\n<\/article>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234651193\" data-slide-index=\"12\" data-slide-position-display=\"13\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<div class=\"c-gallery-vertical-details\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">James Castle<\/h2>\n<\/div>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer aligncenter\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/CAS-14-0281-Farmscape.jpg?w=800\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1024px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/CAS-14-0281-Farmscape.jpg?w=320 320w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/CAS-14-0281-Farmscape.jpg?w=640 640w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/CAS-14-0281-Farmscape.jpg?w=800 800w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/CAS-14-0281-Farmscape.jpg?w=1024 1024w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/CAS-14-0281-Farmscape.jpg?w=1280 1280w\" alt=\"A dark drawing of a house on the horizon with other buildings in the distance.\" width=\"978\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Courtesy James Castle Collection and Archive<\/span><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">Titled \u201c<a href=\"https:\/\/www.facebook.com\/AtelierAuctionsg\">The Private Universe of James Castle<\/a>,\u201d this selection of some 90 drawings demonstrates how James Castle, a self-taught artist who grew up in rural Idaho unable to hear or speak, used his visual acuity, innate graphic skills, and whatever materials he could secure\u2014including charcoal from burnt matchsticks, scrap paper, and spit\u2014to engage passionately with both the natural world and the built environment. Many of the images\u2014 farmyards with rough-hewn barns and fences, deserted roads with sagging power lines, rustic unpeopled interiors\u2014convey a haunting sense of uninterpretable presences.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\"><em>Santa Barbara Museum of Art, through Sept. 17, 2023\u00a0<\/em><\/p>\n<\/div>\n<\/article>\n<div class=\"c-gallery-vertical__advert\">\n<div id=\"adm-in-list-x-5\" class=\"admz\">\n<div class=\"adma boomerang\" data-device=\"Desktop\" data-width=\"300\">\n<div class=\"pmc-adm-boomerang-pub-div ad-text\" data-priority=\"8\">\n<div id=\"gpt-dsk-tab-list-inlistx-uid6\" class=\"adw-300 adh-250\" data-is-adhesion-ad=\"\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234651196\" data-slide-index=\"13\" data-slide-position-display=\"14\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<div class=\"c-gallery-vertical-details\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">I have not loved (enough or worked)<\/h2>\n<\/div>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loading c-gallery-vertical-featured-image__figure--loading\" role=\"presentation\"><img class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" sizes=\"(max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1440px\" srcset=\"undefined undefinedw, undefined undefinedw, undefined undefinedw, undefined undefinedw, undefined undefinedw\" alt=\"\" width=\"0\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\"><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">Can you prove the existence of love or wrangle it into vision like an atom under a microscope? It\u2019s an impossible task, but the artists in this show try in different ways. Under the title \u201cI have not loved (enough or worked),\u201d the exhibition assembles video, photography, painting, and sculpture by such artists as Hai-Hsin Huang, Daisuke Kosugi, and Pixy Liao. Their works tell tales of love and its inevitables: loss, longing, and loneliness. As they do in life in general, visitors navigate all sorts of encounters for uncertain rewards.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\"><em>Art Gallery of Western Australia, Perth, through Apr. 23, 2023\u00a0<\/em><\/p>\n<\/div>\n<\/article>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234651197\" data-slide-index=\"14\" data-slide-position-display=\"15\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<div class=\"c-gallery-vertical-details\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">The PELMAMA Collection<\/h2>\n<\/div>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loading c-gallery-vertical-featured-image__figure--loading\" role=\"presentation\"><img class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" sizes=\"(max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1440px\" srcset=\"undefined undefinedw, undefined undefinedw, undefined undefinedw, undefined undefinedw, undefined undefinedw\" alt=\"\" width=\"0\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\"><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">In memory of Fernand F. Haenggi (1934<em>\u2013<\/em>2022), the Pretoria Art Museum features a selection of 30 works donated to the museum by his PELMAMA (Pelindaba Museums of African and Modern Art) Permanent Art Collection. Haenggi was a well-known art dealer in South Africa between 1961 and 1993, and played an important role in the Johannesburg art scene. In 1978 Haenggi also established a foundation to collect and promote Black artists. The PELMAMA collection was divided among South African museums before Haenggi moved to Switzerland.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\"><em>Pretoria Art Museum, South Africa, through Apr. 23, 2023\u00a0<\/em><\/p>\n<\/div>\n<\/article>\n<div class=\"c-gallery-vertical__advert\">\n<div id=\"adm-in-list-x-6\" class=\"admz\">\n<div class=\"adma boomerang\" data-device=\"Desktop\" data-width=\"300\">\n<div class=\"pmc-adm-boomerang-pub-div ad-text\" data-priority=\"8\">\n<div id=\"gpt-dsk-tab-list-inlistx-uid7\" class=\"adw-300 adh-250\" data-is-adhesion-ad=\"\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234651199\" data-slide-index=\"15\" data-slide-position-display=\"16\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<div class=\"c-gallery-vertical-details\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">Forecast Form: Art in the Caribbean Diaspora, 1990s\u2013Today<\/h2>\n<\/div>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/an-oceans-cradle-2022-vintage-saris-fabric-and-ghungroo-bells-10x-15-1-e1671640904375.jpg?w=800\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1024px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/an-oceans-cradle-2022-vintage-saris-fabric-and-ghungroo-bells-10x-15-1-e1671640904375.jpg?w=320 320w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/an-oceans-cradle-2022-vintage-saris-fabric-and-ghungroo-bells-10x-15-1-e1671640904375.jpg?w=640 640w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/an-oceans-cradle-2022-vintage-saris-fabric-and-ghungroo-bells-10x-15-1-e1671640904375.jpg?w=800 800w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/an-oceans-cradle-2022-vintage-saris-fabric-and-ghungroo-bells-10x-15-1-e1671640904375.jpg?w=1024 1024w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/an-oceans-cradle-2022-vintage-saris-fabric-and-ghungroo-bells-10x-15-1-e1671640904375.jpg?w=1200 1200w\" alt=\"Multicolored fabric that is mostly reds and purples on the left and blues on the right, with stringy white pieces across both.\" width=\"862\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\"><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-slide__photo-credit-wrapper\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Wes Magyar\/Courtesy of the artist and Kavi Gupta<\/span><\/div>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">The pivotal decade of the 1990s ushered in profound global socioeconomic and political changes that were reflected in the art world, which became more concerned with casting light on previously \u201cmarginal\u201d artists and communities, including those of the Caribbean. Using the weather as a metaphor and the region as a bellwether for our rapidly changing times, \u201cForecast Form: Art in the Caribbean Diaspora, 1990s\u2013Today\u201d looks at how those changes affected art in and from the diaspora. Among the 36 artists in the show are Ebony G. Patterson, Lorraine O\u2019Grady, Cosmo Whyte, and Teresita Fern\u00e1ndez.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\"><em>Museum of Contemporary Art, Chicago, through Apr. 23, 2023; Institute of Contemporary Art, Boston, Oct. 5, 2023\u2013Feb. 24, 2024\u00a0<\/em><\/p>\n<\/div>\n<\/article>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234651126\" data-slide-index=\"16\" data-slide-position-display=\"17\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<div class=\"c-gallery-vertical-details\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">African Modernism in America<\/h2>\n<\/div>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loading c-gallery-vertical-featured-image__figure--loading\" role=\"presentation\"><img class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" sizes=\"(max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1440px\" srcset=\"undefined undefinedw, undefined undefinedw, undefined undefinedw, undefined undefinedw, undefined undefinedw\" alt=\"\" width=\"0\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\"><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">This exhibition examines the many complex connections between modern African artists and American patrons, artists, and cultural organizations amid the struggle for civil rights in the US, decolonization in Africa, and the Cold War. Established in 1921, the Harmon Foundation was a major supporter of African and African American artists, and in 1961 organized the landmark exhibition \u201cAfrican Modernism in America.\u201d When the Foundation closed in 1967, its collection was distributed among major US museums, as well as Fisk University in Nashville. This exhibition of more than 70 works by 50 artists draws primarily from Fisk\u2019s holdings. It explores the Harmon Foundation\u2019s activities and the transcontinental network of artists, galleries, journals, and educational programs that promoted postcolonial art. In addition, a new commissioned work by Nigeria-based sculptor Ndidi Dike will examine collecting practices that she uncovered during her research in the archives of Fisk and the Harmon Foundation.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\"><em>Fisk University Galleries, Nashville, through Feb. 11, 2023; Kemper Art Museum, St. Louis, Mar. 10\u2013Aug. 6, 2023; Phillips Collection, Washington, D.C., Oct. 7, 2023\u2013Jan. 7, 2024; Taft Museum of Art, Cincinnati, Feb. 10\u2013May 19, 2024<\/em><\/p>\n<\/div>\n<\/article>\n<div class=\"c-gallery-vertical__advert\">\n<div id=\"adm-in-list-x-7\" class=\"admz\">\n<div class=\"adma boomerang\" data-device=\"Desktop\" data-width=\"300\">\n<div class=\"pmc-adm-boomerang-pub-div ad-text\" data-priority=\"8\">\n<div id=\"gpt-dsk-tab-list-inlistx-uid8\" class=\"adw-300 adh-250\" data-is-adhesion-ad=\"\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234650792\" data-slide-index=\"17\" data-slide-position-display=\"18\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<div class=\"c-gallery-vertical-details\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">Simone Forti<\/h2>\n<\/div>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/6_stedelijk-4.jpg?w=795\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1018px, (max-width: 2560px) 1018px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/6_stedelijk-4.jpg?w=318 318w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/6_stedelijk-4.jpg?w=636 636w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/6_stedelijk-4.jpg?w=795 795w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/6_stedelijk-4.jpg?w=1018 1018w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/6_stedelijk-4.jpg?w=1280 1280w\" alt=\"Three figures standing on and hanging from an angled plywood board with the aid of knotted ropes.\" width=\"762\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\"><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-slide__photo-credit-wrapper\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Courtesy of Stedelijk Museum and The Box, Los Angeles.<\/span><\/div>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">Billed as the first in-depth survey of Simone Forti on the West Coast, this show sets its sights on an era-defining figure who came of age at a time when the lines between dance (her primary mode of expression) and other art forms began to blur. Beginning in the 1950s, Forti moved in the orbits of Fluxus, \u201cHappenings,\u201d and the experimental performance-art scene with expansive choreographer peers like Yvonne Rainer and Trisha Brown. She also worked in multiple other mediums that will come to bear in this show focused chiefly on her dance career but that also includes works on paper, videos, holograms, and performance ephemera and documentation.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\"><em>Museum of Contemporary Art, Los Angeles, Jan. 15\u2013Apr. 2, 2023<\/em><\/p>\n<\/div>\n<\/article>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234650816\" data-slide-index=\"18\" data-slide-position-display=\"19\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<div class=\"c-gallery-vertical-details\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">Modern Finnish Ryijy Textiles from the Tuomas Sopanen Collection<\/h2>\n<\/div>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loading c-gallery-vertical-featured-image__figure--loading\" role=\"presentation\"><img class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" sizes=\"(max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1440px\" srcset=\"undefined undefinedw, undefined undefinedw, undefined undefinedw, undefined undefinedw, undefined undefinedw\" alt=\"\" width=\"0\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\"><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">Ryijy tapestries were developed as folk art in Finland in the 19th century, when they were full of geometric shapes, animals, and recurring motifs, like the tree of life. Often resembling Color Field paintings, the modern ryijy going on view at the National Museum of Modern Art in Kyoto, Japan, date from the 1950s to later times. All of them come from the collection of Tuomas Sopanen, a botanist and retired professor who owns the largest private collection of ryijy rugs in Finland, some 500 examples spanning 200 years.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\"><em>The National Museum of Modern Art, Kyoto, Jan. 28\u2013Apr. 16, 2023<\/em><\/p>\n<\/div>\n<\/article>\n<div class=\"c-gallery-vertical__advert\">\n<div id=\"adm-in-list-x-8\" class=\"admz\">\n<div class=\"adma boomerang\" data-device=\"Desktop\" data-width=\"300\">\n<div class=\"pmc-adm-boomerang-pub-div ad-text\" data-priority=\"8\">\n<div id=\"gpt-dsk-tab-list-inlistx-uid9\" class=\"adw-300 adh-250\" data-is-adhesion-ad=\"\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234651314\" data-slide-index=\"19\" data-slide-position-display=\"20\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<div class=\"c-gallery-vertical-details\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">When We See Us: A Century of Black Figuration in Painting<\/h2>\n<\/div>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/Mickalene-Thomas_Never-Change-Lovers-in-the-Middle-of-the-Night_2016_Rhinestones-acrylic-and-enamel-on-wood-panel_182.8-x-182.8cm-e1671653372410.jpg?w=612\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 783px, (max-width: 1440px) 783px, (max-width: 2560px) 783px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/Mickalene-Thomas_Never-Change-Lovers-in-the-Middle-of-the-Night_2016_Rhinestones-acrylic-and-enamel-on-wood-panel_182.8-x-182.8cm-e1671653372410.jpg?w=245 245w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/Mickalene-Thomas_Never-Change-Lovers-in-the-Middle-of-the-Night_2016_Rhinestones-acrylic-and-enamel-on-wood-panel_182.8-x-182.8cm-e1671653372410.jpg?w=489 489w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/Mickalene-Thomas_Never-Change-Lovers-in-the-Middle-of-the-Night_2016_Rhinestones-acrylic-and-enamel-on-wood-panel_182.8-x-182.8cm-e1671653372410.jpg?w=612 612w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/Mickalene-Thomas_Never-Change-Lovers-in-the-Middle-of-the-Night_2016_Rhinestones-acrylic-and-enamel-on-wood-panel_182.8-x-182.8cm-e1671653372410.jpg?w=783 783w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/Mickalene-Thomas_Never-Change-Lovers-in-the-Middle-of-the-Night_2016_Rhinestones-acrylic-and-enamel-on-wood-panel_182.8-x-182.8cm-e1671653372410.jpg?w=1044 1044w\" alt=\"Two Black bodies on a red-covered bed with a yellow wall and green wall behind them.\" width=\"586\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\"><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-slide__photo-credit-wrapper\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Courtesy Zeitz Museum of Contemporary Art Africa, Cape Town\/\u00a9Artists Rights Society (ARS), New York and DACS, London<\/span><\/div>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">This exhibition\u2019s ambitious framework is backed by extensive conversations that the Zeitz Museum of Contemporary Art Africa undertook in a series of webinars hosted by the University of Cape Town exploring topics from the \u201cBlack queering of the canon\u201d to a \u201cglobal hierarchy of Blackness.\u201d A project of the museum\u2019s chief curator Koyo Kouoh, \u201cWhen We See Us: A Century of Black Figuration in Painting\u201d outlines those and many other developments, tensions, and politics of figurative painting by artists from Africa and its diaspora since 1920. It is important that the 200-plus works here not only foreground well-known proponents of self-representation and documentarians of Black histories such as Amoako Boafo, Jacob Lawrence, Cassi Namoda, and Mickalene Thomas; they also trace the impact of larger groups and movements, from the British Black Arts Movement to the Federated Union\u00a0of Black Artists founded in Johannesburg.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\"><em>Zeitz Museum of Contemporary Art Africa, Cape Town, South Africa, through Sept. 3, 2023\u00a0<\/em><\/p>\n<\/div>\n<\/article>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234651320\" data-slide-index=\"20\" data-slide-position-display=\"21\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<div class=\"c-gallery-vertical-details\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">Judith Lauand<\/h2>\n<\/div>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/Judith-Lauand-Acervo-29-Concreto-33-1956.-Foto_-Eduardo-Ortega-e1671653357651.jpg?w=540\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 691px, (max-width: 1440px) 691px, (max-width: 2560px) 691px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/Judith-Lauand-Acervo-29-Concreto-33-1956.-Foto_-Eduardo-Ortega-e1671653357651.jpg?w=216 216w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/Judith-Lauand-Acervo-29-Concreto-33-1956.-Foto_-Eduardo-Ortega-e1671653357651.jpg?w=432 432w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/Judith-Lauand-Acervo-29-Concreto-33-1956.-Foto_-Eduardo-Ortega-e1671653357651.jpg?w=540 540w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/Judith-Lauand-Acervo-29-Concreto-33-1956.-Foto_-Eduardo-Ortega-e1671653357651.jpg?w=691 691w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/Judith-Lauand-Acervo-29-Concreto-33-1956.-Foto_-Eduardo-Ortega-e1671653357651.jpg?w=921 921w\" alt=\"Black square with a grid of circular openings revealing white, red and green behind.\" width=\"517\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\"><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-slide__photo-credit-wrapper\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Courtesy Museu de Arte de S\u00e3o Paulo<\/span><\/div>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">As part of its acclaimed \u201cHistories\u201d series of programming (in this case focused on Brazilian history), the Museu de Arte de S\u00e3o Paulo presents the first major retrospective of Judith Lauand, one of Brazil\u2019s most important Concrete artists, who turned 100 in 2022. The only female member of the influential Grupo Ruptura, Lauand created a rigorous body of work that explored the relationships between line, shape, color, and the picture plane. Curated by\u00a0<a href=\"https:\/\/www.artnews.com\/art-in-america\/interviews\/adriano-pedrosa-talks-about-curating-1234650528\/\">Adriano Pedrosa<\/a>\u00a0and Fernando Oliva, the exhibition also looks at underknown aspects of the artist\u2019s oeuvre, including her shifts to figuration and back to abstraction, as well as the political nature of her work as it responded to the effects of Brazilian\u00a0 dictatorship, the Vietnam War, feminism, and other social matters. It features 124 works as well as related documents from her archive.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\"><em>Museu de Arte de S\u00e3o Paulo, Brazil, through\u00a0Apr. 2, 2023\u00a0<\/em><\/p>\n<\/div>\n<\/article>\n<div class=\"c-gallery-vertical__advert\">\n<div id=\"adm-in-list-x-9\" class=\"admz\">\n<div class=\"adma boomerang\" data-device=\"Desktop\" data-width=\"300\">\n<div class=\"pmc-adm-boomerang-pub-div ad-text\" data-priority=\"8\">\n<div id=\"gpt-dsk-tab-list-inlistx-uid10\" class=\"adw-300 adh-250\" data-is-adhesion-ad=\"\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234651322\" data-slide-index=\"21\" data-slide-position-display=\"22\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<div class=\"c-gallery-vertical-details\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">Adri\u00e1n Villar Rojas<\/h2>\n<\/div>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/AVR_TEOI_AGNSW__s4__0082-copy-e1671653330111.jpg?w=800\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1024px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/AVR_TEOI_AGNSW__s4__0082-copy-e1671653330111.jpg?w=320 320w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/AVR_TEOI_AGNSW__s4__0082-copy-e1671653330111.jpg?w=640 640w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/AVR_TEOI_AGNSW__s4__0082-copy-e1671653330111.jpg?w=800 800w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/AVR_TEOI_AGNSW__s4__0082-copy-e1671653330111.jpg?w=1024 1024w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/AVR_TEOI_AGNSW__s4__0082-copy-e1671653330111.jpg?w=1200 1200w\" alt=\"A darkened space with stone pillars and futuristic forms\" width=\"767\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\"><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-slide__photo-credit-wrapper\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">J\u00f6rg Baumann\/\u00a9Adri\u00e1n Villar Rojas<\/span><\/div>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">The best way to assert yourself as a pioneering artist might be to invent a new world to work in, as Argentine-Peruvian artist Adri\u00e1n Villar Rojas has attempted with his \u201cTime Engine\u201d software. After creating simulated environments, he places virtual sculptures that \u201cage\u201d for hundreds to thousands of years, and then translates the results into physical works. Five of these faux artifacts will inaugurate a new space similarly defined by its anachronism: a former fuel bunker used during World War II that is part of a new complex that almost doubles the amount of exhibition space at the Art Gallery of New South Wales. Rojas has responded to politically charged sites before, including the former home of Leon Trotsky during his exile on a Turkish island. These latest efforts, featuring elements resembling oversize barnacles, dinosaur bones, car parts, and things that can\u2019t be named, give the artist\u2019s signature apocalyptic style broader implications.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\"><em>Art Gallery of New South Wales, Sydney, through July 2023\u00a0<\/em><\/p>\n<\/div>\n<\/article>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234651324\" data-slide-index=\"22\" data-slide-position-display=\"23\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<div class=\"c-gallery-vertical-details\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">Isaac Julien\u00a0x 2<\/h2>\n<\/div>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loading c-gallery-vertical-featured-image__figure--loading\" role=\"presentation\"><img class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" sizes=\"(max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1440px\" srcset=\"undefined undefinedw, undefined undefinedw, undefined undefinedw, undefined undefinedw, undefined undefinedw\" alt=\"\" width=\"0\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\"><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">Two exhibitions this year focus on the work of British film and video artist Isaac Julien, who is known for multiscreen installations that address issues of race, class, sexuality, and history. Showing at the Virginia Museum of Fine Arts,\u00a0<em>Lessons of the Hour\u2014Frederick Douglass\u00a0<\/em>weaves together some of the American abolitionist\u2019s best-known writings with filmed reenactments and contemporary protest footage that make Douglass\u2019s lasting relevance undeniable. In London, at Tate Britain, the largest survey of Julien\u2019s work in the UK to date will span the 1980s to the present.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\"><em>Virgina MFA, Richmond, through July 9, 2023; Tate Britain, London, Apr. 26\u2013Aug. 20, 2023\u00a0<\/em><\/p>\n<\/div>\n<\/article>\n<div class=\"c-gallery-vertical__advert\">\n<div id=\"adm-in-list-x-10\" class=\"admz\">\n<div class=\"adma boomerang\" data-device=\"Desktop\" data-width=\"300\">\n<div class=\"pmc-adm-boomerang-pub-div ad-text\" data-priority=\"8\">\n<div id=\"gpt-dsk-tab-list-inlistx-uid11\" class=\"adw-300 adh-250\" data-is-adhesion-ad=\"\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234651327\" data-slide-index=\"23\" data-slide-position-display=\"24\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<div class=\"c-gallery-vertical-details\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">Matthew Wong<\/h2>\n<\/div>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/Matthew-Wong_11-e1671653319259.jpg?w=607\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 777px, (max-width: 1440px) 777px, (max-width: 2560px) 777px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/Matthew-Wong_11-e1671653319259.jpg?w=243 243w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/Matthew-Wong_11-e1671653319259.jpg?w=486 486w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/Matthew-Wong_11-e1671653319259.jpg?w=607 607w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/Matthew-Wong_11-e1671653319259.jpg?w=777 777w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/Matthew-Wong_11-e1671653319259.jpg?w=1036 1036w\" alt=\"Blue, stylized landscape with a large tree on the left and a winding river receding toward the horizon.\" width=\"582\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\"><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-slide__photo-credit-wrapper\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">\u00a9Matthew Wong Foundation\/Artists Rights Society (ARS), New York<\/span><\/div>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">Languid brushstrokes, moody washes, and vibrant palettes punctuated by dot patterns characterize the evocative canvases of painter Matthew Wong, who died in 2019 at age 35. With historical references ranging from the Fauvists to 17th-century Qing period ink painters to contemporary artists, Wong created scenes rife with nostalgia and grief. His first museum retrospective includes more than 50 vivid paintings and ink drawings produced during his brief but prolific career. A conservation study examining several\u00a0oils on canvas that were painted over earlier works offers further insight into Wong\u2019s practice.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\"><em>Dallas Museum of Art, through Feb. 19, 2023\u00a0<\/em><\/p>\n<\/div>\n<\/article>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234651329\" data-slide-index=\"24\" data-slide-position-display=\"25\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<div class=\"c-gallery-vertical-details\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">Gego<\/h2>\n<\/div>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/3-e1671653304950.jpg?w=800\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1024px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/3-e1671653304950.jpg?w=320 320w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/3-e1671653304950.jpg?w=640 640w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/3-e1671653304950.jpg?w=800 800w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/3-e1671653304950.jpg?w=1024 1024w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/3-e1671653304950.jpg?w=1200 1200w\" alt=\"Black and white image of a woman in a gallery handling mesh forms that fill the space.\" width=\"841\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\"><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-slide__photo-credit-wrapper\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Christian Belpaire\/Courtesy Archivo Fundaci\u00f3n Gego<\/span><\/div>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">Gertrud Goldschmidt, known as Gego, fled Nazi persecution in 1939 and immigrated to Venezuela, where she became one of the region\u2019s foremost postwar artists and a leading figure of both geometric abstraction and kinetic art. A survey of Gego\u2019s work from the early 1950s through the early 1990s brings together more than 120 examples of her intricate line studies in architecture, design, sculpture, drawing, printmaking, textiles, and site-specific installations. Highlights include 18 pieces from her best-known series, among them her suspended wire sculptures.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\"><em>Museo Jumex, Mexico City, through Feb. 5, 2023; Solomon R. Guggenheim Museum, New York,\u00a0<\/em>\u00a0<em>Mar. 31\u2013Sept. 12, 2023\u00a0<\/em><\/p>\n<\/div>\n<\/article>\n<div class=\"c-gallery-vertical__advert\">\n<div id=\"adm-in-list-x-11\" class=\"admz\">\n<div class=\"adma boomerang\" data-device=\"Desktop\" data-width=\"300\">\n<div class=\"pmc-adm-boomerang-pub-div ad-text\" data-priority=\"8\">\n<div id=\"gpt-dsk-tab-list-inlistx-uid12\" class=\"adw-300 adh-250\" data-is-adhesion-ad=\"\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234651331\" data-slide-index=\"25\" data-slide-position-display=\"26\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<div class=\"c-gallery-vertical-details\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">Walter De Maria: Boxes for Meaningless Work<\/h2>\n<\/div>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/1-Installation-view-of-Walter-De-Maria-Boxes-for-Meaningless-Work-at-the-Menil-Collection-Houston.-Photo-by-Paul-Hester-e1671653282276.jpg?w=800\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1024px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/1-Installation-view-of-Walter-De-Maria-Boxes-for-Meaningless-Work-at-the-Menil-Collection-Houston.-Photo-by-Paul-Hester-e1671653282276.jpg?w=320 320w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/1-Installation-view-of-Walter-De-Maria-Boxes-for-Meaningless-Work-at-the-Menil-Collection-Houston.-Photo-by-Paul-Hester-e1671653282276.jpg?w=640 640w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/1-Installation-view-of-Walter-De-Maria-Boxes-for-Meaningless-Work-at-the-Menil-Collection-Houston.-Photo-by-Paul-Hester-e1671653282276.jpg?w=800 800w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/1-Installation-view-of-Walter-De-Maria-Boxes-for-Meaningless-Work-at-the-Menil-Collection-Houston.-Photo-by-Paul-Hester-e1671653282276.jpg?w=1024 1024w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/1-Installation-view-of-Walter-De-Maria-Boxes-for-Meaningless-Work-at-the-Menil-Collection-Houston.-Photo-by-Paul-Hester-e1671653282276.jpg?w=1200 1200w\" alt=\"A group of variously sized boxy artworks arranged on a plinth with some more art installed on the wall behind.\" width=\"862\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\"><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-slide__photo-credit-wrapper\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Paul Hester\/Courtesy Menil Collection, Houston<\/span><\/div>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">To navigate Walter De Maria\u2019s first museum survey, \u201cBoxes for Meaningless Work,\u201d one might need to understand what he meant by \u201cmeaningless\u201d: he wanted to make art that invited arbitrary, sometimes humorous actions that lacked any productive outcome but could lead to larger considerations. This tension between the pointless and the philosophical comes through in lesser-known works such as\u00a0<em>Mile Long Drawing\u00a0<\/em>(1968), in which two white chalk lines stretch into the desert horizon, as much as in his permanent installation\u00a0<em>The New York Earth Room\u00a0<\/em>(1977), a gallery empty save for its raised floor of dirt\u2014both of which are represented here through documentation. Also on view are earlier pieces inviting viewers to perform or imagine open-ended situations, from the self-explanatory wooden container\u00a0<em>Walk Around the Box\u00a0<\/em>(1961) to the equally plain but wonderfully enigmatic cube\u00a0<em>In This Box is Contained the Spirit of a Young Man\u2019s Heart\u00a0<\/em>(1964).<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\"><em>Menil Collection, Houston, through Apr. 23, 2023\u00a0<\/em><\/p>\n<\/div>\n<\/article>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234651334\" data-slide-index=\"26\" data-slide-position-display=\"27\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<div class=\"c-gallery-vertical-details\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">Rosemarie Trockel<\/h2>\n<\/div>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/MMK_Rosemarie_Trockel_Misleading_Interpretation_2014-Kopie-e1671653263199.jpg?w=451\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 577px, (max-width: 1440px) 577px, (max-width: 2560px) 577px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/MMK_Rosemarie_Trockel_Misleading_Interpretation_2014-Kopie-e1671653263199.jpg?w=180 180w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/MMK_Rosemarie_Trockel_Misleading_Interpretation_2014-Kopie-e1671653263199.jpg?w=360 360w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/MMK_Rosemarie_Trockel_Misleading_Interpretation_2014-Kopie-e1671653263199.jpg?w=451 451w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/MMK_Rosemarie_Trockel_Misleading_Interpretation_2014-Kopie-e1671653263199.jpg?w=577 577w, https:\/\/www.artnews.com\/wp-content\/uploads\/2022\/12\/MMK_Rosemarie_Trockel_Misleading_Interpretation_2014-Kopie-e1671653263199.jpg?w=769 769w\" alt=\"An overall red photo of a woman with a bloody nose and a black bar over her eyes.\" width=\"432\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\"><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-slide__photo-credit-wrapper\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">\u00a9VG Bild-Kunst\/Courtesy Spru\u0308th Magers<\/span><\/div>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">German conceptual artist Rosemarie Trockel is perhaps best known for her machine-knitted \u201cpaintings\u201d that incorporate conventional textile patterns like houndstooth and checks, political symbols such as the hammer and sickle, and brand logos like the\u00a0<em>Playboy\u00a0<\/em>bunny, a number of which were on view in the main exhibition at the 2022 Venice Biennale. Working in a variety of mediums, Trockel has long been interested in power structures in patriarchal society, as well as the relationship between gender and violence. This retrospective highlights more than 400 videos, ceramics, collages, and drawings spanning Trockel\u2019s career, from the 1970s through the present, and includes new works made for the show.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\"><em>Museum f\u00fcr Moderne Kunst, Frankfurt, through June 18, 2023\u00a0<\/em><\/p>\n<\/div>\n<\/article>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>For the annual\u00a0Art in America Guide, published in print in January, the editors of\u00a0A.i.A. highlight significant and intriguing museum exhibitions throughout the year. Below is a list of noteworthy shows opening in January (or that remain on view after opening late last year). Hear Me Now: The Black Potters of Old Edgefield, South Carolina Photo\u00a0:\u00a0Courtesy [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":1755,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[1],"tags":[],"class_list":{"0":"post-1752","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-uncategorized"},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.9 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Must-See Museum Shows for January - Investable Art Auctioneer<\/title>\n<meta name=\"description\" content=\"For the annual\u00a0Art in America Guide, published in print in January, the editors of\u00a0A.i.A. highlight significant and intriguing museum exhibitions throughout the year.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.atelierauction.com\/globalupdates\/uncategorized\/must-see-museum-shows-for-january\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Must-See Museum Shows for January - Investable Art Auctioneer\" \/>\n<meta property=\"og:description\" content=\"For the annual\u00a0Art in America Guide, published in print in January, the editors of\u00a0A.i.A. highlight significant and intriguing museum exhibitions throughout the year.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.atelierauction.com\/globalupdates\/uncategorized\/must-see-museum-shows-for-january\/\" \/>\n<meta property=\"og:site_name\" content=\"Investable Art Auctioneer\" \/>\n<meta property=\"article:published_time\" content=\"2023-01-03T10:46:36+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-01-03T10:51:12+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.atelierauction.com\/globalupdates\/wp-content\/uploads\/2023\/01\/Must-See-Museum-Shows-for-January-\u2013-ARTnews.com-www.artnews.com_.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"815\" \/>\n\t<meta property=\"og:image:height\" content=\"807\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Chloe Nicholls\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Chloe Nicholls\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"22 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.atelierauction.com\/globalupdates\/uncategorized\/must-see-museum-shows-for-january\/\",\"url\":\"https:\/\/www.atelierauction.com\/globalupdates\/uncategorized\/must-see-museum-shows-for-january\/\",\"name\":\"Must-See Museum Shows for January - 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