About

Posts by :

Clemson’s first annual indigenous artist talk

By in Native

Clemson’s first annual indigenous artist talk

On Friday, April 21, Clemson partnered with Cherokee artists for the first-ever Indigenous Annotations Lab Spring Symposium. The symposium included the artist talk event where Cherokee artists Skye Tafoya, Jakeli Swimmer and Jamison Chas Banks discussed their art and gave readings.

“When I enter rooms, I see patterns; that’s where artistically I bring things from. I look at a space, and I’m able to see lines. And when I see a landscape, I see things that have a sense of belonging to my experiences,” Tafoya shared with the audience when discussing the art of basketry.

“I don’t feel too much of a connection to them because I see it so often, and I see it through tattoos, and I see it through people who don’t even have basketry in their family or understand what it takes to make a basket or what it takes to harvest to make a basket, and so with my own design work I want to be able to connect personally with all of the things I make,” Tafoya stated when asked about deviating from traditional designs.

“For me, I can be academic sometimes and write and write and write, and it takes a lot to sensitize an idea and get it out there, but then when you’re writing things in that academic sense, you’re excluding the people that you’re trying to talk for and what cartooning does for me is allow that imagery to speak more than words can. It’s a reflection of what you see,” Swimmer, a cartoonist, shared.

While discussing creating a positive learning environment, especially through Native collaboration, Banks discussed his previous project with another contemporary artist where he created a space “treated like a sanctuary.” The sanctuary was filled with flowers, plants and screen-printed scrolls and was open to the public.

“It’s an offering. We’re not asking for anything in return. There is nothing required of you but to participate. I like to focus more on not what can be seen, but what can be felt,” Banks states.

Friday’s events were organized by Clemson faculty, Matt Hooley and Santee Frazier of the English department, and Kelsey Sheaffer from the library.

10 Great Album Covers, Chosen by Anthony Wolch of Beyond Marketing Group

By in Art World News

10 Great Album Covers, Chosen by Anthony Wolch of Beyond Marketing Group

“Ladies and Gentlemen, Here’s Grace!”

Every inch of this cover art screams Grace. To this day, the mere sight of art is like discovering lost treasure. From the near-impossible contortion and superhuman form, to her sculpted-by-the-G-d’s shape, there is no mistaking this album hides a sound that echoes the outstanding achievement that was capturing Grace Jones in her prime. Interestingly, Island Life is a compilation album by Jones released in 1985, summing up the first nine years of her musical career. The cover art showcasing this well-oiled goddess was created by long-time creative partner, designer Jean-Paul Goude, an illustrator, photographer and graphic designer.

As Goude was once quoted on the creation of this historic image: “I photographed her in a variety of positions, which I combined into a montage that made it possible to show her simultaneously full frontal and in profile, like an Egyptian bas-relief. Then, having transferred the montage to photographic paper, I used it as the preliminary sketch for a painting meant to give the photographic illusion that she is alone, like a contortionist, though on closer look you can see that from a strictly anatomical point of view the pose is impossible to achieve.” The impact is staggering.

Joe Jackson
Night and Day (1982)

5 Questions to Danielle Jagelski (conductor, composer)

By in Native

5 Questions to Danielle Jagelski (conductor, composer)

Danielle Jagelski is a prime example of socially responsive artistry in the 21st century. Based in New York and Portland, her unique professional profile encompasses opera conducting, vocal composition, modern operatic adaptation, as well as research in mixed-race studies and classical music. She is the music director and co-founder of Renegade Opera, an organization dedicated to making opera more accessible and inclusive for modern audiences.

As an enrolled member of the Oneida Nation of Wisconsin and Redcliff Band of Ojibwe, Jagelski has worked with Native artists to “further the visibility of Indigenous peoples in the fine arts realm.” In March she conducted the U.S.-premiere performances of Missing with Anchorage Opera. The chamber opera, by composer Brian Current and librettist Marie Clements, tells the story of the missing and murdered Indigenous women and girls (MMIWG) crisis in Alaska.

As someone who balances a career as a conductor, composer, and arts administrator, what are some of the benefits and challenges of being in these worlds simultaneously?

Living in these three worlds is a shared experience by many musicians, and though there are some challenges (such as time management), there is also a novel magic to this type of hybrid career. In my musical identity, these roles do not exist separately, but are all part of the same artistic practice. I don’t consider myself a “composing conductor” or a “conducting composer” — for me, one cannot exist without the other. Both conducting and composing teach me so much about music, and where I fit within this incredible space. I value collaboration above all else, and truly believe that we are a reflection of everyone around us. Being able to work with musicians in these two capacities continues to inspire and shape me with every new project.

When it comes to being an admin, I am grateful for the experience of being on both sides of what it takes to make performances happen. As a co-founder of Renegade Opera, the team and I set a goal at the beginning of our company to create an artistic space that is as productive as it is equitable, and the only way to do that is through intentional organization and planning on the administrative side. Having these skills allows me the freedom to work on music that I otherwise would not have had the opportunity to conduct or compose. Similar to composing and conducting, producing and performing cannot exist without each other, so I feel very lucky to know about both sides of the coin.

Danielle Jagelski leads Temple University Opera Theater in a November 2022 performance of Nico Muhly’s “Dark Sisters” — Photo by Joseph V. Labolito

You have developed a long-term relationship with the Cincinnati-based choral ensemble Hear Us Hear Them. Would you tell us about this collaboration and your upcoming premiere of An Anthem?

I am so happy you brought up Hear Us Hear Them (HUHT)! This ensemble is truly something special. An Anthem is a collaborative piece written with Cincinnati’s Poet Laureate, Yalie Saweda Kamara. HUHT began the conversation with us in search of a piece that was thought-provoking as well as hopeful. HUHT is a choir focused on telling the stories of underrepresented musicians, and as it currently stands, much of the existing repertoire telling those stories is sad, slow, and even painful. When we all discussed what we would like to create, we came to the realization that we need music that is not just thought-provoking and true, but also uplifting and emboldened. We wanted music that was joyful, while not pushing the “hard stuff” under the rug.

Yalie’s words are so true to this concept, so I took the approach of staying true to the rhythm and musical elements that already existed within it. This was such a wonderful project, and really allowed me to work through some of the conversations many composers have with themselves, such as, “Is this writing ‘academic’ enough?” Yalie had also been told these things earlier in her career — that “you don’t want to be a sentimental writer.” But, truly, what does that mean? Does it mean that our music has to be difficult to understand in order to be ‘high art’?

I had a great conversation recently with HUHT Artistic Director Harry Mathurin-Cecil and Executive Director Jaime Sharp about serialism after WWII, how it was so needed after the atrocities, that it reflected the needs of the people after that difficult time. So we came to the question: What do we need now, here? I don’t know the answer exactly, but I know that — for me, at least — writing from the heart and writing from the mind do not have to be mutually exclusive.

I was fortunate to be at Samantha Williams’ American Patriots concert, where she premiered your song cycle gichi-mookomaan-aki. Could you talk about writing this cycle and the musical elements that inspired you?

This song cycle was born out of Samantha’s goal to explore what it means to be American from three different perspectives: Indigenous, Black Americans, and working-class white Americans. She conducted over 50 interviews with people from those communities, then commissioned composers of the corresponding identity. Writing this cycle was a unique process because our goal was to leave the text of the interviews as unaltered as possible.

There are 574 federally recognized tribes within the boundaries of the U.S., each with distinct and unique cultures. I am a citizen of the Oneida Nation and Red Cliff Band of Ojibwe on my mother’s side, and from Polish Catholic settler communities from my father’s side, and the interviewees were from a wide range of tribes, communities, and backgrounds. The goal of the project was not to try to represent the “Native American Experience” as a whole, because that would be impossible, but rather to dive deeper into each individual’s experience.

I took elements from the patterns of speech, and the subjects they discussed. For one of the songs, the interviewee spoke about being raised on a military base, describing the care that the military takes when raising and lowering the flag, and the care that is absent for many people who live in the U.S. I chose to take the melody of “Taps” and transform it with consideration to the duration of his answers to the questions, the number of words he chose to use, and where he paused within his descriptions to form the song. Other songs focus heavily on repetition; the words people shared with Samantha and me often repeated or circled back in the conversation, so I used music to make this more obvious to the audience. I think that when speaking, repetition can often be experienced as a distraction, but in music, repetition is a powerful device to invite people to listen a bit more carefully.

[embedded content]

Much of your work is dedicated to promoting visibility for Indigenous artists. What are some clear and actionable ways that arts organizations can help?

This is an interesting question, and it has a giant/multifaceted answer that I am definitely not equipped to answer for the entire Indigenous community by myself. However, I am happy to steer people to some great work others are doing. In my opinion, each organization should take the time to analyze where they are when it comes to working with Indigenous performers, and where they would like to be. Native people are not a monolith, and neither is each arts community. Everything depends on the people in your community, the land you are living on, and the education level of the organization and audience.

A great place to start would be to engage with the Indigenous community from your local area, and then contact some existing organizations to educate your company on next steps,  such as Indigenous Direction (Ty Defoe and Larissa Fasthorse), or First Nations Performing Arts (Emily Johnson and Ronee Penoi).

I will speak from my own experience and the experiences of my close collaborators — when you hire or commission a Native musician, do not do it with expectations of *Indigenous* work (cue ‘eagle cry’ sound effect); rather, focus on the work the artist wants to bring to you, which very well could have audible Traditional Native elements, but also may not. Do not commission them for what your audience and organization expect to hear from a Native artist, but rather for what they will bring from their own artistic practice. Put care into working with and hiring the musician, not the musician’s ethnic/racial, etc. identity. I believe this is a powerful way to fight tokenism.

Danielle Jagelski – Photo by Rachel Hadiashar

Danielle Jagelski — Photo by Rachel Hadiashar

What are some other upcoming projects that you are looking forward to?

Upcoming conducting engagements include Don Giovanni at Aquilon Music Festival on July 21-23; the live premiere of Adams Run by Ruby Fulton and Baynard Woods on Sept. 7-10, in Portland, with Renegade Opera; and Scalia/Ginsburg by Derrick Wangwith, on Sept. 23, with Opera Ithaca.

In composer land, I have two ongoing projects with a couple of my closest friends and collaborators. The first is a cello suite in collaboration with Philip Kettler (made possible by New Native Theatre) based on the original music I wrote for This Is How We Got Here by Keith Barker. The second is for solo percussion in collaboration with Colleen Bernstein, focusing on natural and artificially created patterns. Both of these humans have such generosity and curiosity in their work, as well as a physicality with their instruments that is so inspiring to me. With these two pieces, I am interested in writing for the specific player — I want someone to look at the score and recognize that this was written specifically for them. This type of writing takes time and care from everyone involved, but really allows us to “let the Ferrari out of the garage” and create a piece that is deeply connected to the player, the composer, and the relationship we’ve built.

I CARE IF YOU LISTEN is an editorially-independent program of the American Composers Forum, and is made possible thanks to generous donor and institutional support. Opinions expressed are solely those of the author and may not represent the views of ICIYL or ACF.

You can support the work of ICIYL with a tax-deductible gift to ACF. For more on ACF, visit the “At ACF” section or composersforum.org.

Pittsburgh-native sax star brings tour home

By in Native

Pittsburgh-native sax star brings tour home

This is WESA Arts, a weekly newsletter by Bill O’Driscoll providing in-depth reporting about the Pittsburgh area art scene. Sign up here to get it every Wednesday afternoon.

The career of acclaimed baritone saxophonist Leo Pellegrino and his group Too Many Zooz was launched with a combination of an ancient form of public entertainment — busking — and one of the newest, the viral video.

But for Pellegrino, the path that led the group to European tours and even a national TV appearance with Beyoncé began in his hometown of Pittsburgh, where Too Many Zooz returns next week.

Pellegrino — stage name: “Leo P.” — remembers in childhood playing a clarinet his mother, Mary Shea, gave him, and accompanying his father, musician and performance artist Steve Pellegrino, on a dance classic or two. “I kinda got my chops together with ‘The Clarinet Polka,” he said, by phone from his home, in Jersey City, N.J. “That one’s really tough.”

Pellegrino also still touts Pittsburgh’s High School for the Creative and Performing Arts. “That was an amazing school,” he said. “The teachers are top-notch. I got my own private lesson for free. I feel super lucky!”

Too Many Zooz formed 10 years ago this coming August, while Pellegrino was studying at the Manhattan School of Music. He’d actually had some trepidation about risking the pursuit of music as a career. His earliest gigs in New York City subway stations with drummer David “King of Sludge” Parks and trumpeter Matt “Doe” Muirhead cured that anxiety.

“Within the first few times of playing in the subway, I wasn’t scared any more about having a career,” he said. “I knew I was legit. Because I was making as much money or more money than anyone who was down there, even [who]had been there for 10, 20 years. That was the first time I was like, ‘Aw, no, I have an undeniable talent.’”

Too Many Zooz call their infectious, all-instrumental blend of jazz, funk and house music “brass house,” and they play it with a verve honed on subway platforms, accented by neon-colored threads (and, in Pellegrino’s case, hair) along with Pellegrino’s crazy-legs dance moves.

Their show translates online: YouTube videos — like a train-hopping rendition of their tune “Bedford” — have drawn millions of views each. In 2015, the group toured, and fielded a call from Beyoncé’s musical director, who asked them to cut some accompaniment for her album “Lemonade.” (That’s Doe blowing trumpet on “Formation.”) In 2016, they released their debut album, and accompanied Beyoncé and the Dixie Chicks on stage at the Country Music Awards.

There’s been more, including Pellegrino’s first solo album (2022’s jazz-leaning “Coming Up Aces”); readers of Downbeat magazine voting him 2022’s best baritone saxophonist; and Pellegrino playing sax on the soundtrack of “Babylon.” (Justin Hurwitz, composer of the film’s score, is a big Zooz fan.)

Next week, Too Many Zooz begin their latest tour, starting May 4, in Harrisburg, and the next night hit Mr. Smalls Theatre (where they headlined the venue’s first mainstage show after the pandemic shutdown, way back in July 2021).

The short tour of the Northeastern U.S. is a joint effort with like-minded, horn-driven outfits Lucky Chops (Pellegrino’s previous band) and Moon Hooch. Too Many Zooz’s eclectic set typically includes lots of originals, as well as covers as apparently far afield as AC/DC’s “TNT.” This show will be a bit different: In deference to the lung power demanded of horn players, the three bands will split six 20-minute sets evenly between them.

They’re calling the package Lucky Moon Zooz. Find more information is here.

A sign for the Pittsburgh Cultural Trust Gallery Crawl downtown while people walk by.

Pittsburgh Cultural Trust

/

The next Pittsburgh Cultural Trust Gallery Crawl is Fri., April 28.

WESA’s Weekend Picks

  1. Celebrated South African choreographer Gregory Maqoma’s Vuyani Dance Theatre makes its Pittsburgh debut with “Cion: A Requiem of Ravel’s Bolero,” at the Pittsburgh Playhouse. The full-length work inspired by Ravel’s music and South African author Zakes Mda’s novel “Cion” gets two performances, 7 p.m. Thu., April 27, and 7 p.m. Fri., April 28.
  2. The Pittsburgh Cultural Trust’s quarterly Gallery Crawls routinely draw thousands. At the spring crawl, attractions at more than one dozen venues include: art-making with a soundtrack at BOOM Concepts’ Trap + Paint series; a WPTS radio local-music showcase; new exhibits at Wood Street Galleries and 937 Gallery; street magicians; and an after-hours silent disco. The Cultural District event runs 5:30 p.m. to midnight Fri., April 28.
  3. Are you up for Pittsburgh’s biggest uncurated art free-for-all? Anytime between 4 p.m. Sat., April 29 and 2 p.m. Sun., April 30, Art All Night has you covered. The 26th annual incarnation will draw thousands of visitors to experience work by hundreds of visual artists and music acts at 31st Street Studios, 77 31st St., in Lawrenceville.
  4. The Mattress Factory’s latest artist-in-residence, Shohei Katayama, takes over parts of two of the museum’s floors for his new installation, titled “As Above, So Below.” The work, which “invites viewers to challenge their perceived reality and consider their place in a complex and ever-changing world,” opens with a free reception 6-8 p.m. Sat., April 29.
  5. The venerable Hemingway’s Summer Poetry Series returns. A large sampling of Pittsburgh’s poets will read at White Whale Bookstore over the next eight Tuesdays, and it starts May 2 with a lineup of Lisa Alexander, Doralee Brooks, Sheila Squillante and Steffan Triplett. 7 p.m. Bloomfield.

The Nonbinary Lens: Photographers in Conversation

By in Photography

The Nonbinary Lens: Photographers in Conversation

Photography has long been used to challenge mainstream cultural narratives and create new ones. For artists living in a world that often denies their existence, photography can be a tool of empowerment, revealing beauty, vulnerability, and humanity.

Join artists Jaypix Belmer, Jess T. Dugan, and C. Rose Smith for a virtual conversation moderated by visionary curator theo tyson. Each artist will discuss how they use the photographic image to construct queer visual histories through intimate representations of individuals with nonbinary, transgender, and gender-expansive identities. 

This program will have automated captions and is hosted via Zoom webinar. Registration is required.

REGISTER NOW

ABOUT THE PARTICIPANTS

theo tyson (she/they) is a curator who invites conversations about the sociocultural implications of race, gender, identity, and sexuality through a lens of fashion, art, and culture. Their practice focuses on creating sartorial spaces of reclamation and authority to share the powerful stories of Black women and those on the LGBTQI+ spectrum. theo privileges noncanonical ways of seeing, offering audiences poignant new perspectives from which to view the rich diversity of our humanity. Their previous posts include Spelman College Museum of Fine Art, SCAD FASH Museum of Fashion + Film, and the Boston Athenæum. Most recently, tyson co-curated the exhibition Being Muholi: Portraits as Resistance at the Isabella Stewart Gardner Museum and served as an advising scholar for Patrick Kelly: Runway of Love at the Peabody Essex Museum. Currently, she is the Penny Vinik Curator of Fashion Arts at the Museum of Fine Arts Boston.

Jaypix Belmer (they/them) is a non binary black, indigenous person of color who uses the lens as a tool for storytelling. Born and raised in Boston, MA, Belmer is a graduate of New England Art Institute with a B.A. in Photography and has worked with clients in both private and commercial industries, delving into the subtle intricacies of class, capturing the unconsidered people and places who inhabit the urban landscape while attempting to bring light to the voiceless.

Jess T. Dugan (they/them) is an artist whose work explores issues of identity through photography, video, and writing. Dugan’s work has been widely exhibited and is in the permanent collections of over 50 museums throughout the United States. Dugan’s monographs include Look at me like you love me (MACK, 2022), To Survive on This Shore: Photographs and Interviews with Transgender and Gender Nonconforming Older Adults (Kehrer Verlag, 2018) and Every Breath We Drew (Daylight Books, 2015).

C. Rose Smith (they/them) is a Boston-based artist who uses photography, fashion, and time-based media to thread the connections between identity, memoir, and sociopolitical landscapes. Smith’s recent achievements include the 2023 Prix Picto De La Mode Top 10 Finalists with Picto Foundation Paris, France and 2023 Coup de Coeur Award with Leica Camera Paris, France, 2022 Inaugural Silver List of Emerging Photographers and was a 2021 finalist for the Aperture Magazine Portfolio Review Prize. Smith’s work has been featured in group exhibitions at Hangar Arts Center in Brussels, Belgium; Fotofest  Biennial, Houston, TX; Blue Star Contemporary, San Antonio, TX; SCAD Museum of Art, Savannah, GA; and Museum of Contemporary Art of Georgia, Atlanta.

Flowers featured in New Kensington Camera Club’s annual spring exhibit at Pittsburgh Mills mall

By in Photography

Flowers featured in New Kensington Camera Club’s annual spring exhibit at Pittsburgh Mills mall

Dozens of pictures and other art of flowers are featured in “Art in Bloom,” the New Kensington Camera Club’s annual spring floral photography and art show.

The exhibition has prizes for both the artists and the public who will decide the winners.

Club President Joel Varga said the show features 85 entries from 29 artists from the Alle-Kiski Valley.

“They’re over the top,” he said of the quality of the work. “They’re all very, very good.”

The show is going on through May 20 at the club’s “Focus on the Arts Gallery,” which is in the Galleria at Pittsburgh Mills in Frazer. The gallery is open from 5 to 8 p.m. Fridays and noon to 5 p.m. Saturdays.

This is the third year for the show in its present format, Varga said. The club has had a floral photography art show in some form for at least a decade.

For this show, Varga said each participant could enter up to four pieces.

Prizes for the artists are gift cards for Michaels of $50, $30 and $20, Varga said.

For voters, the first-place prize is a $25 gift card to a mall business of the winner’s choice, while the second is a $15 gift card. The third prize is a movie package for two at GQT Pittsburgh Mills Cinemas.

Those interested in visiting the gallery are advised to use mall entry 2 by M@C Discount, formerly Sears Grand, and turn left. The gallery is down the hall and across from Blackburn’s.

Brian C. Rittmeyer is a Tribune-Review staff writer. You can contact Brian by email at brittmeyer@triblive.com or via Twitter .

A Photographer Whose Subject Is Everyday Life

By in Photography

A Photographer Whose Subject Is Everyday Life
image

Judith Joy Ross, who has been taking portraits for decades, is the subject of a large retrospective at the Philadelphia Museum of Art.

This article is part of our Museums special section about how art institutions are reaching out to new artists and attracting new audiences.

BETHLEHEM, Pa. — To hear the photographer Judith Joy Ross tell it, her life and career are riddled with nonstarters.

Her stint in graduate school? “Complete failure,” she said. Her teaching career? “Utter failure.”

In her photography archive on the second floor of her yellow house here, there is a box marked “downers,” containing what she considers bad prints of good images.

Ms. Ross, who has been taking pictures for nearly 60 years, has never been much of a self-promoter.

“I have a problem with authority figures,” she said on a gray day in February.

Despite all that, Ms. Ross, 76, is the subject of a large retrospective at the Philadelphia Museum of Art, with about 200 of her photographs on display until Aug. 6, almost all of them portraits.

“She’s a giant,” said Peter Barberie, a curator of photographs at the museum. “In 500 years, people will be talking about her work.”

The show was jointly organized by the Philadelphia museum and the Fundación Mapfre in Madrid, where it appeared first; it then made stops at Le Bal in Paris and Fotomuseum den Haag in the Netherlands. “She’s better known in Europe than she is here,” Mr. Barberie said.

Although she rarely works in color, calling Ms. Ross’s photographs black-and-white is not exactly right; the images occupy a place on the spectrum between gray and sepia. And except for her 1986-87 series featuring Washington politicians, Ms. Ross has taken pictures mostly of people on the street, in parks or in schools.

“Untitled, Eurana Park, Weatherly, Pennsylvania” (1982) by Ms. Ross.Judith Joy Ross and Galerie Thomas Zander, Cologne

“The subject matter is not easy; it’s complex,” said Joshua Chuang, an independent curator who organized the show. “She’s not photographing celebrities.”

Mr. Chuang added that photography was more than a medium to Ms. Ross. “She found out in the 1970s that the camera was a way to connect with people,” he said.

Ms. Ross agreed, up to a point. “It looks like I love people,” she said of her work. “I do love them for a few seconds. After that? No. Goodbye.”

The Dutch artist Rineke Dijkstra, who also photographs people, said she first saw Ms. Ross’s work in the 1990s.

“I fell in love with her pictures,” said Ms. Dijkstra, who has had a solo show at the Guggenheim Museum.

“You can feel if pictures are ‘open,’ and if the people are being prejudged,” Ms. Dijkstra said, noting that that was not the case with Ms. Ross.

“Celia” (1980).Judith Joy Ross and Galerie Thomas Zander, Cologne

Ms. Ross said that her major series had all stemmed from a different question. For her series taken in Eurana Park in Weatherly, Pa. — represented at the museum by several images including an untitled 1982 image of two children sitting on a stump — it was a large query, indeed: “Why is life worth living?”

Ms. Ross is a Pennsylvania native who grew up in the town of Hazelton. At the Moore College of Art & Design in Philadelphia, she took a photography class “by accident,” she said, and that led to her first picture: a piece of trash on a cobblestone street, illuminated by raking light.

“It still stuns me how mysterious it is,” she said.

Even though in 1970 she got a master’s degree in photography at the Institute of Design at the Illinois Institute of Technology in Chicago, Ms. Ross says she thinks she did not become a real photographer until a decade later.

“I didn’t have a theme,” she said. “I had been photographing people, but randomly.”

People get curious when Ms. Ross appears with her wooden folding camera. “They think the circus has come to town,” she said. But its effect is that of an icebreaker, and a piece of protective armor.Thea Traff for The New York Times

A change in equipment was also transformational. Ms. Ross started working with a wooden, folding 8-by-10 Deardorff camera that stands on a tripod. (She still owns and uses it.)

People get curious when she appears with the large contraption. “They think the circus has come to town,” she said. But its effect is that of an icebreaker, and a piece of protective armor.

“I am so self-conscious, I can’t even point a cellphone at you,” she said. “I need it for me.”

The Eurana Park series of 1982 was the first time Ms. Ross brought her considerable tenacity to bear over a long period. She picked the town of Weatherly because it was close to a family summer home.

“I stood there for the summer at Eurana,” Ms. Ross said, frequently photographing children. “It was a totally inappropriate space to do that. But I didn’t care. That tells you what kind of person I am.”

People visiting the Vietnam Veterans Memorial became her next long-term subject. Sixteen works from the 1983-84 series are in the Philadelphia show, including an untitled 1984 portrait of a Black boy.

Visitors to the Vietnam Veterans Memorial became a long-term subject for Ms. Ross, including this untitled portrait from 1984.Judith Joy Ross and Galerie Thomas Zander, Cologne

Ms. Ross recalled that it forced her to ask, “How do you deal with pain and suffering?”

One of her biggest challenges was taking pictures of politicians she didn’t agree with during the making of her congressional series, including Senator Strom Thurmond, Republican of South Carolina.

“I didn’t like Strom,” she said. “But I was in awe of him. It was like meeting the king.” He served in the Senate for 48 years and died in 2003.

Armed with some of her photographs, Ms. Ross overcame her shyness and submitted her work to the Museum of Modern Art, earning a same-day meeting with John Szarkowski, an influential photography curator.

“He asked me if I had heard of August Sander, and I denied it,” Ms. Ross said, referring to the German photographer known for his portraits. “He knew I was lying.” (Sander is one of her biggest influences, she said, a list that also includes Robert Adams and Eugène Atget.)

Mr. Szarkowski put Ms. Ross in the 1985 “New Photography” show at MoMA with three other artists; the poster for the show hangs in her house.

Mr. Chuang called Ms. Ross a tough critic of her own work. “She has stacks of incredible pictures that she has never thought to show to other people,” he said.

“It looks like I love people,” Ms. Ross said of her work. “I do love them for a few seconds. After that? No. Goodbye.”Thea Traff for The New York Times

Even though her most famous series were done in the 1980s, she has been making plenty of striking work since then, including “Annie Hasz, Easton Circle, Easton, Pennsylvania” (2007), featured in the Philadelphia show.

Ms. Ross, who is represented by the German dealer Thomas Zander, said that sales of her work had been slow lately. She attributed it to the decidedly non-fashionable character of her work, both in style and content. “It’s not in color, and it’s of people,” she said.

The dominance of digital photography is not helping, either. The special paper that Ms. Ross likes to print on — which helps her get the rich tones she is known for — is no longer made. “I have a freezer full of it, but it’s almost gone,” she said.

Ms. Ross was in her basement standing by her photography development equipment — in a small room with her washer and dryer — when she said that she had an idea for a new series, market headwinds and occasional cynicism be damned.

“I’m not showing anybody anything yet,” she said. “But I’m hopeful.”

At These American Museums, You Can Travel the World

By in Native

At These American Museums, You Can Travel the World
image

This year, art exhibitions explore the Parisian suburbs, Pacific islands, grand Indian palaces and more through paintings, photography, sculpture and sketches.

This article is part of our Museums special section about how art institutions are reaching out to new artists and attracting new audiences.

Around the country this spring and summer, museums are aiming to transport visitors to the palaces of Udaipur, the Maya civilization, France during the Industrial Revolution, Japanese landscapes and the diverse communities of Queens — all for the price of an admission ticket.

NEW YORK CITY

“Aliza Nisenbaum: Queens, Lindo y Querido”

Aliza Nisenbaum’s vibrant portraits often highlight people working behind the scenes to keep civic life running smoothly, such as hospitals, transportation hubs and now, even the institution presenting her work. In her first solo show at a New York museum, the Mexican artist, who is based in New York, is presenting new paintings, some depicting Queens Museum staff members and residents of its surrounding neighborhood. Through Sept. 10; Queens Museum, queensmuseum.org

“Memory Map” (2000) by Jaune Quick-to-See Smith, who has a retrospective at the Whitney Museum of American Art.Courtesy of the artist

“Jaune Quick-to-See Smith: Memory Map”

The Indigenous artist Jaune Quick-to-See Smith, now 83 and based in New Mexico, gets her first New York museum retrospective. The artist, a citizen of the Confederated Salish and Kootenai Nation, has long made contemporary art inspired by Native American imagery. In her paintings, collages, mixed media and installations, she challenges commonly held beliefs about history and identity, as she does with her distorted maps of the United States, many of which are on view. Through Aug. 13; Whitney Museum of American Art, whitney.org

“Karl Lagerfeld: A Line of Beauty”

This year’s Met Gala and accompanying Costume Institute exhibition will celebrate the life and career of Karl Lagerfeld, the German fashion designer who died in 2019. The show pairs about 150 of his creations for Chanel and the other fashion houses at which he worked, with their original sketches, offering a glimpse at how his two-dimensional drawings were translated into wearable art. May 5 to July 16; Metropolitan Museum of Art, metmuseum.org

“The Sassoons”

From the early 1830s through World War II, members of the Jewish family at the center of this show moved from Iraq and settled in India, China and England, amassing an impressive collection of art over the course of four generations. This show brings together pieces from their diverse collection — including Jewish ceremonial art, Chinese ivory carvings and paintings by Thomas Gainsborough, John Singer Sargent and even Winston Churchill — and revisits their family history. Through Aug. 13; Jewish Museum, thejewishmuseum.org

“Love Songs: Photography and Intimacy”

This group show, focused on love in all its beautiful and occasionally painful forms, collects images from more than 15 photographers. On view will be selections from “The Ballad of Sexual Dependency” (1973-86), Nan Goldin’s personal chronicles of friendship, love and loss. And from the Japanese photographer Nobuyoshi Araki, images of his honeymoon will be juxtaposed with photos capturing the grief he experienced during and after his wife’s death. June 2 to Sept. 11; International Center of Photography, icp.org

“It’s Pablo-matic: Picasso According to Hannah Gadsby”

In the Peabody and Emmy Award-winning comedy special “Nanette,” Hannah Gadsby riffs on Pablo Picasso’s life and work from a feminist perspective. Now the comedian, who also has an art history degree, takes it even further as a curator of this exhibition, which will focus on how the artist depicted women. The show will feature a total of 100 works, including a number of Picasso’s paintings, sculptures and drawings — many from his “Vollard Suite” series (1930-37) — as well as pieces from the museum’s collection of feminist art. June 2 to Sept. 24; Brooklyn Museum, brooklynmuseum.org

“Daniel Lind-Ramos: El Viejo Griot”

The multidisciplinary artist Daniel Lind-Ramos uses found and gifted objects to create his large-scale, detailed sculptures. This show brings together 10 of Mr. Lind-Ramos’s works, including three he created in the aftermath of Hurricane Maria in 2017, incorporating items collected in Puerto Rico, as well as two new pieces that address the Covid-19 pandemic, created with pieces of cleaning tools, sanitation products and lights from emergency vehicles. Through Sept. 4; MoMA PS1, momaps1.org

NEW WINDSOR

“Beatriz Cortez: The Volcano That Left”

Beatriz Cortez, a sculptor born in El Salvador and based in Los Angeles, will present three new and recent site-specific creations in the Hudson Valley. The show will be anchored by a new handmade work in steel, “Ilopango, the Volcano that Left” (2023), inspired by a volcanic eruption that devastated the Maya civilization in what is now El Salvador. May 20 to Nov. 13; Storm King Art Center, stormking.org

WATER MILL

“Artists Choose Parrish: Part 1”

To commemorate the Parrish Art Museum’s 125th anniversary, its curators identified artists with a connection to the East End of Long Island. Then they asked them to pick at least one piece from the museum’s collection and pair it with a work of their own. Presented in staggered phases, the first show features a neon work by the interdisciplinary artist Pamela Council in conversation with an installation by Dan Flavin, a renowned minimalist. And Nanette Carter will pay homage to multiple artists who influenced her collage work, including the abstract expressionist Frank Wimberley and the modernist Romare Bearden. Sunday through July 23; Parrish Art Museum, parrishart.org

LOS ANGELES

“Beyond the Light: Identity and Place in 19th-Century Danish Art”

The drawings, oil sketches and paintings in this show highlight a period of national reflection in Denmark, one that resulted in realistic depictions of the country’s landscapes, architecture and communities. Among more than 80 works are a number that reflect the country’s connection to the sea, including Johan Christian Dahl’s “Copenhagen Harbor by Moonlight” (1846). May 23 to Aug. 20; Getty Center, getty.edu

“Femme piquée par un serpent (Mamadou Gueye),” a 2022 painting by Kehinde Wiley, nods to “Woman Bitten by a Serpent,” an 1847 sculpture by Auguste Clésinger.via Kehinde Wiley and Galerie Templon; Photo by Ugo Carmeni

SAN FRANCISCO

“Kehinde Wiley: An Archaeology of Silence”

Kehinde Wiley’s painted portraits recasting Black figures in Western European scenes, such as in “Napoleon Leading the Army Over the Alps,” often strike a celebratory note. But this show of new work, a rumination on systemic racism and violence, evokes a much more somber tone. In 25 paintings and sculptures, Mr. Wiley uses the same artistic concept to depict wounded and dead Black subjects, referencing classic imagery of heroes, martyrs or saints. Through Oct. 15; de Young Museum, famsf.org

WASHINGTON

“Canova: Sketching in Clay”

Before the neo-Classical Italian sculptor Antonio Canova (1757-1822) could create a marble sculpture like “The Three Graces,” he would often “sketch” the concept first in clay. This show presents these preparatory works as worthy achievements in their own right that also reveal the artist’s process. June 11 to Oct. 9; National Gallery of Art, nga.gov

Centennial Asian Pacific American Heritage Month Festival

The Smithsonian’s National Museum of Asian Art celebrates its centennial with two weeks of special programming, including performances, film screenings and panel discussions centered on Asian arts and culture. Visitors can, among other things, hear musical performances from the Chinese composer Huang Ruo, the Korean American K-pop artist Eric Nam or the Syrian American rapper Omar Offendum; view the 1920s Japanese silent film “A Page of Madness”; or see site-specific sculptures created by the artist Sagar Kamath. May 1 to May 14; National Museum of Asian Art, asia.si.edu

“Frank Stewart’s Nexus: An American Photographer’s Journey, 1960s to the Present”

At 14, Frank Stewart borrowed a camera from his mother and shot the 1963 March on Washington. He has been documenting American life, with a focus on the Black experience, ever since. This retrospective collects more than 100 of his photographs taken over six decades, including the 30 years he worked as the lead photographer for the Jazz at Lincoln Center Orchestra. June 10 to Sept. 3; the Phillips Collection, phillipscollection.org

“Exterior of a Restaurant in Asnières” by Vincent van Gogh (1887). The painting, of a Paris suburb now known as Asnières-sur-Seine, is part of a show at the Art Institute of Chicago about how artists depicted the evolution of the Paris suburbs.Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation), via Art Institute Chicago

CHICAGO

“Van Gogh and the Avant-Garde: The Modern Landscape”

This survey of roughly 75 paintings focuses on five artists and how they depicted an evolving area. From 1882 to 1890, Vincent van Gogh, Georges Seurat, Paul Signac, Émile Bernard and Charles Angrand captured the transformation of the Parisian suburbs, around what is now Asnières-sur-Seine, into a growing industrial hub, experimenting with their stylistic choices in the process. May 14 to Sept. 4; Art Institute of Chicago, artic.edu

CLEVELAND

“A Splendid Land: Paintings from Royal Udaipur”

The Indian city of Udaipur was, in the 17th century, a thriving royal metropolis known for its monsoons and magnificent “floating” palaces built in its artificial lakes. Court artists captured palace life, parties and the mood evoked by its picturesque landscape in large-scale paintings, 33 of which will be on view in this exhibition, some for the first time publicly. June 11 to Sept. 10; Cleveland Museum of Art, clevelandart.org

DETROIT

“James Barnor: Accra/London”

This career retrospective covers work the British Ghanaian photographer James Barnor made from the 1950s through the 1980s, in which he captured shifting social and political movements from an African perspective. The show collects his early portrait work in Accra, his images of everyday life during Ghana’s transition to an independent nation and his fashion photography in London during the 1960s. May 28 to Oct. 15; Detroit Institute of Arts, dia.org

MILWAUKEE

“Scandinavian Design and the United States, 1890-1980”

Scandinavian design has become almost ubiquitous in American interiors, and this show delves deep into designers, objects and ideas from Denmark, Sweden, Finland, Norway and Iceland. The 20th-century cultural exchange between the United States and those countries is seen in more than 180 objects, including furniture, textiles and decorative pieces. Through July 23; Milwaukee Art Museum, mam.org

MINNEAPOLIS

“Fukuda Kodojin: Japan’s Great Poet and Landscape Artist”

This is the first exhibition centered on the Japanese scholar and artist Fukuda Kodojin outside Japan, a chance for American audiences to see his calligraphy, poetry and painting. Among nearly 60 selected works are his hanging scroll landscape paintings, depicting mountainous and arboreous terrain. Through July 23; Minneapolis Institute of Art, new.artsmia.org

ST. LOUIS

“Action/Abstraction Redefined: Modern Native Art, 1940s-1970s”

One common thread tying together the artists featured in this show is that many of them — including Fritz Scholder, Lloyd Kiva New and Linda Lomahaftewa — either worked or studied in Santa Fe, N.M., at the Institute of American Indian Arts, which opened in 1962. The artistic styles developed there challenged public perception of Native American art, as seen in roughly 90 contemporary paintings, sculptures, textiles and works on paper. June 24 to Sept. 3; St. Louis Art Museum, slam.org

DENVER

“Islands Beyond Blue: Niki Hastings-McFall and Treasures from the Oceania Collection”

Closed since 2016 for renovations, the Denver Art Museum’s Arts of Oceania gallery will reopen with an exhibition that combines ancient material from the Pacific region with contemporary work. America’s history of nuclear testing in the region is referenced by a large-scale lei piece by Niki Hastings-McFall, who is from New Zealand and of Samoan and Pakeha descent. The installation is presented alongside pieces from the museum’s collection made on the islands most affected by that testing. Opens May 14; Denver Art Museum, denverartmuseum.org

BOSTON

“Presence of Plants in Contemporary Art”

Artists of all disciplines have long been inspired by plants, but this show celebrates those actually using organic matter in their art. The work of seven artists will be displayed throughout the museum, such as Piero Golia’s growing sculpture that incorporates oyster mushrooms, and a sculptural painting by Henrik Hakansson that features cuttings from invasive species. June 22 to Sept. 17; Isabella Stewart Gardner Museum, gardnermuseum.org

“Station IX: Jesus falls the third time” (1969) by Bruce Onobrakpeya is part of the artist’s “Fourteen Stations of the Cross” series. It is part of a solo show at the High Museum of Art in Atlanta.Bruce Onobrakpeya, via High Museum of Art, Atlanta

ATLANTA

“Bruce Onobrakpeya: The Mask and the Cross”

This 90-year-old artist from Nigeria gets his first-ever solo show at an American museum. The exhibition highlights the way Mr. Onobrakpeya blends Christian iconography with Nigerian characters and settings in his printmaking practice. One highlight is his “Fourteen Stations of the Cross” series of prints, which is based on murals he completed for a Catholic church in Lagos in 1967. Through July 30, High Museum of Art, high.org

A still image from “Tears of Chiwen” (2017), an animated film by Sun Xun that focuses on a Chinese mythical creature, features his painting, woodcut, charcoal and ink drawing work.Sean Kelly and ShangART

LITTLE ROCK, ARK.

“Sun Xun: Tears of Chiwen”

When this museum reopened its doors after a renovation that began in 2019, it started showing a new animated film by the multidisciplinary artist Sun Xun that uses the Chinese mythical creature known as chiwen to examine East Asian cultural identity. The short film, which runs about nine minutes, features the Beijing-based artist’s detailed painting, woodcut, charcoal and ink drawing work. Through Aug. 13; Arkansas Museum of Fine Arts, arkmfa.org

MIAMI

“Claire Tabouret: Au Bois d’Amour”

Claire Tabouret’s impressionistic paintings of landscapes and figures often echo artists who came before her, but she gives the works a contemporary twist. Inspired by the work of Édouard Vuillard and Les Nabis artists, the Los Angeles-based French artist will present monoprints, a new large-scale tapestry and what she calls “fluff” paintings, done on faux fur. May 5 to Oct. 29; ICA Miami, icamiami.org

STUART, FLA.

“The Highwaymen: From the Street Corner to the Smithsonian”

In the 1950s and ’60s, a group of Black, largely self-taught painters sold colorful landscapes of Florida along the state’s roadways, often right out of their cars. The work of these artists, known as the Highwaymen, was shut out of galleries at the time. But now a collection of more than 70 of their paintings are displayed together, honoring the work of the enterprising artists. Through July 14; Elliott Museum, hsmc-fl.com

FORT WORTH

“Maize God” (A.D. 715), part of a survey of Maya art traveling from New York to Fort Worth.Jeenah Moon for The New York Times

“Lives of the Gods: Divinity in Maya Art”

After a well-received debut in New York, this survey of rarely seen and newly discovered Maya art — a collaboration between the Met and the Kimbell Art Museum — opens in Texas. The intricately painted ceramic vessels, carved sculptures and ornaments on display offer a window into the ancient civilization’s complex mythology and understanding of humanity. May 7 to Sept. 3; Kimbell Art Museum, kimbellart.org

HOUSTON

“Si Lewen: The Parade”

In 1957, the Polish-born Jewish artist Si Lewen published “The Parade,” a wordless graphic novel in which he illustrated the horrors he witnessed fleeing Germany, fighting in the U.S. Army in World War II and visiting the Buchenwald concentration camp soon after its liberation. For the first time, all 55 of the original drawings he made in preparation for the book are displayed together, along with eight related works. Through Sept. 3; Menil Collection, menil.org

HONOLULU

“Salman Toor: No Ordinary Love”

Born in Pakistan and based in New York, the artist Salman Toor says that he draws and paints from the perspective of “a queer man from a Muslim cultural background.” In this survey of recent work, Mr. Toor will let viewers into private scenes: a car ride with friends, a teen exploring what might be his mother’s makeup or two figures sharing a secretive touch. July 14 to Oct. 8; Honolulu Museum of Art, honolulumuseum.org

Call Them Dissidents. But Don’t Call Them Feminists.

By in Native

Call Them Dissidents. But Don’t Call Them Feminists.
image

Over the last 60 years, Brazil’s women artists made work about universal rights abuses, not gender issues, a new show finds. “It was all of us, all citizens, who didn’t have rights.”

The Brazilian artist Berna Reale sits atop a horse painted scarlet, a cage-like muzzle covering her face.

As the animal clops down the empty street at dawn, Reale guides it with black leather reins, her hands in gloves that match. Her dark hair is cropped short and her back is straight. She wears a black military uniform and a serious expression on her face.

The 2012 performance piece, “Palomo,” which took place in the Amazonian city of Belém, is meant to question the idea that institutions like the police project a sense of peace and security. Like all of Reale’s performances, “Palomo” didn’t happen in a museum but in a public outdoor space, giving her a much broader audience and spontaneous responses from people who didn’t set out to look at art that day.

“When you perform for people on the street you don’t know how they’ll react,” says Reale, 57, who also works with the police as a forensics expert. “It creates tension. They have the right to be bothered by it, just like I have the right to be there performing it.”

One of Brazil’s most important contemporary artists, Reale is featured with 17 other prominent and emerging creators in a new book, “Dissident Practices: Brazilian Women Artists, 1960s-2020s.” Written by the art historian Claudia Calirman, it explores how women artists responded to some of the country’s most difficult historical and political moments — from its military dictatorship in the mid-1960s and return to democracy in the mid-1980s to the social changes surrounding gender norms and the objectification of women in the 2000s.

Anna Maria Maiolino, “Por um fio (By a thread),” from the series “Fotopoemação (Photopoemaction),” 1976/2017.via Anna Maria Maiolino and Hauser & Wirth Gallery

Eleven of these artists, including Reale, are also participating in an accompanying exhibition of the same name, curated by Calirman at the Anya and Andrew Shiva Gallery at John Jay College of Criminal Justice, through June 16.

While women have been at the forefront of Brazil’s art world for decades, they were not always willing to use their visibility to discuss the gender-related issues they personally faced.

“They didn’t talk about women’s issues,” says Calirman, an associate professor of art history at John Jay College of Criminal Justice and chair of the department of art and music. “If they did, they would be looked down on. So they were mostly doing art about other things. And when they would go there, it would be a very thorny issue.”

For those who worked throughout Brazil’s 1964-1985 military dictatorship, making sure their work was not considered feminist, or read through that lens, was a conscious decision, in part to steer clear of being pigeonholed as a “women’s issues artist.” It was also about making sure that sweeping human rights violations directed at all citizens were being addressed.

Anna Bella Geiger, who was born to a Jewish-Polish family in Rio de Janeiro, says she made a point to include both Indigenous men and women in her 1977 piece “Brasil native/Brasil alienígena (Native Brazil, alien Brazil).”

Anna Bella Geiger, “Brasil nativo, Brasil alienígena (Native Brazil, alien Brazil),” 1976/77. Nine pairs of postcards juxtapose scenes of Indigenous life (the Bororo Indians) with images of white people that imitate them. (The artist inserted herself into the set of corresponding images.) The work questions mementos that tourists take back to their supposedly civilized lands.via Anna Bella Geiger and Henrique Faria, New York

“There was no time or mental space to focus on women’s rights,” she says. “It was all of us, all citizens, who didn’t have rights then. We couldn’t vote, we couldn’t give our opinions in newspapers because they were censored. We were isolated and alienated.”

Tatiana Flores, a professor of Latino and Caribbean studies and art history at Rutgers University, says that culturally many Latin Americans typically disliked classifications like feminist that can “read as a U.S. imposition.”

“Certainly, discussions of race and racism in Latin America are frequently dismissed as U.S. concerns mapped onto Latin America. The topic of feminism functions in a similar way. Calirman’s book will spark important and necessary conversations.”

The second book Calirman has published on the subject, “Dissident Practices” focuses on what women artists were doing during some of Brazil’s most important historical moments and societal changes, and how they responded to them.

By including works that are humorous and playful — from artists like the performer Márcia X, the sculptor Lyz Parayzo and the visual artist Renata Felinto — Calirman hoped to draw more readers in.

“They’re fun,” Calirman says of the art pieces. “You open the book and you start laughing.” She added, “I didn’t want to do anything heavy. I didn’t want to do protest art.”

In the 2012 video piece “White Face and Blonde Hair,” Felinto takes the racist practice of blackface — still used in some comedy shows on Brazilian TV at the time — and turns it on its head, painting her face white and wearing a long blond wig while browsing high-end boutiques in São Paulo’s affluent Jardins neighborhood, an area many Black Brazilians avoid because of the instances of racism that have taken place there. She wore big sunglasses and a pearl necklace, tossing her hair and shaking her shopping bags to make sure all her purchases were on display.

Renata Felinto, “White Face and Blonde Hair,” 2012, from a new exhibition, “Dissident Practices: Brazilian Women Artists, 1960s-2020s,” at the Shiva Gallery in New York.via Renata Felinto

The goal, Felinto says, “was about giving this feeling of embarrassment back to people who are the type who usually make us feel that way.” Felinto adds, “During the performance, some women watching were indignant. They realized quickly that it was about them.

“It’s the kind of work that makes people laugh, but it’s a nervous laugh. And that’s what I wanted.”

Aleta Valente, one of the youngest artists included in the exhibition “Dissident Practices: Brazilian Women Artists, 1960s-2020s,” is part of a new generation of women to come onto Brazil’s art scene, using social media to build visibility and create space for artists from more diverse backgrounds. Her work is an exploration of the self through photos, videos, selfies and memes.

In her 2019 self-portrait “Material Girl,” Valente poses provocatively on top of a pile of discarded construction materials, an unfinished cinder block wall behind her. It’s meant to call into question the construction of female stereotypes and the way in which women’s bodies are seen as materials for consumption.

Aleta Valente, from the series “Material Girl,” 2015. It relates to the way women are seen as materials for consumption.via Aleta Valente and Galeria A Gentil Carioca, São Paulo

“Obviously I’m feminist, but that’s not all my work is,” Valente says. “When an artist is a woman and she’s depicting her experience in the world, her way of looking at the world, she’s immediately labeled feminist. But when men look at the world it’s seen as a universal experience. That’s what bothers us as artists. Being put in a box.”

Reale agrees. Her work focuses largely on violence against minorities. That means, unfortunately, that women are often the subjects of her performances, because, as she notes, Brazil is a world of extreme inequality.

“If that’s what it means to be a feminist, then I guess I am one,” she says reluctantly. “If there has to be a word for it, sure, we’re feminists.”

Dissident Practices: Brazilian Women Artists, 1960s-2020s

Through June 16, Anya and Andrew Shiva Gallery at John Jay College of Criminal Justice, 11th Avenue at 59th Street, Manhattan, (212) 237-1439; shivagallery.org.

«< 2720 2721 2722 2723 2724 >»