Paintings and prints from the JSMA's permanent collection explore archetypal ideals of feminine virtues, the objectification of the female form and woman as model and muse.
The artworks in What Will Have Being draw the relics of fallen empires into discourse with contemporary political and environmental instabilities, considering the legacy of our species on this planet. Creating a throughline between ancient past and possible future, the works suggest a museological exhibition of antiquities that has been forgotten and reclaimed by nature.
Our identity is dictated to us from the moment we are born, but as we grow up, identity is what we actually choose to be. I do believe that our circle of friends is what makes us who we are. We are all outsiders, Asian artists living abroad, and their deep friendship has offered me a ground on where I can stand and embrace my own identity.
Through the use of autonomous aerial cameras, air-monitoring sensors, and sound detectors, Rowell gathers and contextualizes media and data from the field. His presentation of this nonhuman documentation of animal behavior, plant cycles, waste, displacement, erosion, and other elements of the human-altered landscape investigates how we understand, perceive, and experience the environment through technology.
Congress Yard Projects’ first exhibition of 2021, hard & SOFT will submit the artworks to continuous display outside, throughout the wet dragging days of late winter. This turns our previous format on its head from the summer series of weekend long exhibitions where artworks susceptible to the elements are moved inside nightly. Rather, hard & SOFT will run for 1344 hours, from late January til Spring Equinox, showcasing works that stand resolute under the weight of the grey dripping sky, alongside works that embrace weathering transformation and decay.
Anastacia-Reneé’s poetry and performances are an assertion of presence that counteract the erasure of those who have been marginalized by American society. With an unflinching focus on collective liberation, her work is rooted in the Black feminist and womanist traditions, and their intersectional approach to addressing racism, sexism, homophobia, ageism, and class.
The Jordan Schnitzer Museum of Art is pleased to host Nkame, a solo exhibition dedicated to the work of the late Cuban printmaker Belkis Ayón (1967-1999). During her short but fertile career, she produced an extraordinary body of work central to the history of contemporary printmaking in Cuba and abroad.
Their newest series of video, print and large-scale textile banners focus on the social, racial and environmental upheaval during the summer of 2020. Led by the ideals of Black Lives Matter, Antifa and their own background as a radical educator, Vo’s solo show investigates the multitudes of activism and is a call for social justice and global solidarity.