Uman @ Aldrich Contemporary Art Museum, Ridgefield - 'After all the things …' Exhibition

Uman: After all the things …

Aldrich Contemporary Art Museum, Ridgefield

October 19, 2025 - May 10, 2026

Uman 

melancholia in a snowy walk, 2025

© Uman

Courtesy of the artist, Nicola Vassell Gallery and Hauser & Wirth 

The Aldrich Contemporary Art Museum presents Uman’s first institutional solo exhibition, After all the things …, where she debuts a new body of work that includes paintings, works on paper, video, and sculpture, all of which span the entirety of the Museum’s first floor galleries. The exhibition is on view at The Aldrich through May 10, 2026.

Uman’s practice is interdisciplinary and ever-evolving. Comprising painting, drawing, murals, mosaic, sculpture, and glass, her work is rooted in the tangibility of color and the transportive power of images. Shaped by memories, dreams, and the constant flux of life around her, Uman’s visual language is intuitive and multilayered, adaptable and free; it is neither exclusively abstract nor metaphorical—it grows out of what is indeterminate and into the transcendent. Uman’s inspirations range from her childhood in East Africa and diasporic experiences in Europe and the US, to a love for textiles and transcontinental fashion. Her subject matter evokes the flamboyant fabrics worn by women in the Somali bazaars, the slanted flourishes of Arabic calligraphy taught in the madrasas, and the vast countryside of Kenya and Upstate New York.

Created with oil, acrylic, spray paint, oil stick, and even sometimes incorporating elements of collage and sewing as well, Uman’s compositions dance with animated hues and phantasmagoric patterns. She favors solid and bold colors—reds, yellows, greens, and blues—that she uses to create spirals, grids, and pendants, all-seeing eyes, circles and stars, interspersed with whimsical creatures and native botany. Working on many pieces simultaneously, Uman builds her pictorial arrangements—many of which reference nineteenth-century French painting, surrealism, and visionary abstraction alongside the natural world—with energetic mark making methods, using dry brushes and even her fingers and palms, resulting in surface treatments that disrupt the conventional distinction between paintings and drawing. Fusing art history with autobiography and spirituality with reality, Uman’s work pursues the metaphorical through a close attention to, and reverence for, the natural world. 

A publication, co-published by Gregory R. Miller & Co., accompanies the exhibition, featuring an essay by the curator, images of the works on view, and installation images.

Artist Uman

Born in Somalia, Uman was raised in Kenya before migrating to Denmark as a teenager and later to New York in her early adulthood. Reflecting her experiences growing up across continents and cultures, her vibrant visual vocabulary draws upon memories of her East African childhood, rigorous education in traditional Arabic calligraphy, deep engagement with dreams, and fascination with kaleidoscopic color. In 2010, she relocated to Upstate New York, where she currently lives and works.

Uman has had solo exhibitions at Nicola Vassell, New York; Hauser & Wirth, London and Zurich; Eleni Koroneou Gallery, Athens; Fierman, New York; Anne De Villepoix, Paris; and White Columns, New York. She has been featured in group exhibitions at Le Consortium, Dijon, France; Berkeley Art Museum and Pacific Film Archive, CA; the Aga Khan Museum, Toronto, Canada; For-Site Foundation at Fort Mason Chapel, San Francisco; Institute of Contemporary Arts, London; Karma, New York; and Ramiken Crucible, New York. In 2022, she was the recipient of the inaugural grant for The Cube at TRIADIC’s FORMAT Festival in Bentonville, AR. This year, her work is exhibited at the 12th SITE SANTA FE International. 

The exhibition at The Aldrich will be followed by a survey at the Hessel Museum of Art, Bard College. A public program related to both exhibitions will be presented at the Hessel in 2026.

Uman: After all the things … is organized by Amy Smith-Stewart, Diana Bowes Chief Curator.

THE ALDRICH CONTEMPORARY ART MUSEUM

258 Main Street, Ridgefield, CT 06877 

www.thealdrich.org

Aldrich Box: Jantsankhorol Erdenebayar and Koyolzintli @ Aldrich Contemporary Art Museum, Ridgefield

Aldrich Box: Jantsankhorol Erdenebayar and Koyolzintli

Aldrich Contemporary Art Museum, Ridgefield

July 9, 2025 - September 30, 2026

Jantsankhorol Erdenebayar 

Objects In Mirror Are Closer Than They Are, 2021. 

Courtesy of the artist

Koyolzintli 

Whistling Jar, 2025 

Courtesy of the artist

The Aldrich Contemporary Art Museum presents the 2025 Aldrich Box. Inaugurated in 2021, the Aldrich Box is an ongoing annual series featuring a year-long traveling exhibition housed in a box, available for loan to the public free of charge. For this series, the Museum commissions artists to create participatory objects meant to be handled and to travel beyond the boundaries of its walls. This year’s edition features two artists: Mongolia-based artist Jantsankhorol Erdenebayar, which has debuted in July, followed by Kingston, NY-based artist Koyolzintli in September. Their contributions are on view for an entire year..

In past years, the public has been invited to take the Aldrich Box home to engage with the contents in varied environments. This year, for the first time, the Aldrich Box is sited on the Museum’s campus for the public to interact with en plein air. Visitors accesses the Aldrich Box by checking in at the Museum’s Front Desk during open hours to obtain a key and instruction guide.

Artist Jantsankhorol Erdenebayar

Jantsankhorol Erdenebayar has created Channeling our human energy for the journey ahead, 2025, an object he describes as a “travel kit,” featuring a copper outer shell adorned with imagery of human ears and an interior outfitted with faux fur, a mirror, and goat horns. Erdenebayar’s practice spans sculpture, video and performance, drawing from Mongolian mythology and exploring themes of resistance, protection, and survival. For the Aldrich Box, Erdenebayar focused on the concept of nomadism—a foundation of Mongolian culture and ancestral traditions—symbolizing a profound connection to the natural world. By transforming the museum visitor into a traveler, Erdenebayar’s object has been reimagined as a “treasure purse,” shrine, or shamanistic tool. Equipped with a handle to suggest its portability, its reflective copper surface alludes to Mongolia’s significant copper industry. The goat horns inside evoke movement, strength, and protection, while the mirror serves not only as a tool for self-reflection, but also as a symbolic portal to the spirit realm.

Jantsankhorol Erdenebayar (b. 1992, Ulaanbaatar, Mongolia) earned a BA from City University of New York, Hunter College in 2015 and an MFA from the University of California, Los Angeles in 2019. His works have been shown in numerous locations globally including BLUM, Los Angeles in 2020; Frieze, New York in 2020; Half Gallery, New York in 2021; Art Basel Miami Beach in 2021; Red Ger Creative Space, Arts Council of Mongolia, Ulaanbaatar, Mongolia in 2022; Art Basel Hong Kong in 2024; Lkham Gallery, Ulaanbaatar, Mongolia in 2024. In 2019, Jantsankhorol Erdenebayar represented Mongolia at the 58th Venice Biennale.

Artist Koyolzintli 

Koyolzintli’s practice encompasses sculptures, drawings, photographs, performance, and video. Born in New York and raised between the Pacific coast and the Andean mountains of Ecuador, Koyolzintli’s research into pre-American sound instruments has influenced her objetos sonoros – Sound Objects, which she believes hold and carry forward ancestral memory, ritual, and storytelling about the land and indigenous wisdom. For the Aldrich Box, Koyolzintli has created Whistling Jar, 2025, a work activated by water. “Its resonance,” she explains, “will connect the latitude of The Aldrich to that of our celestial super star, the Sun.” Whistling Jar will be accompanied by instructions on how to play it, as well as a brief meditation to be performed before activation. For the artist, this work is deeply connected to the land, the position of the Sun over the Museum’s Sculpture Garden, and the birds singing in the trees, carrying both ceremonial significance and site-specific resonance.

Koyolzintli (b. 1983, New York, NY) lives and works in Ulster County, New York. Nominated for the Prix Pictet in 2019 and 2023, her work has been exhibited at the National Portrait Gallery in Washington, D.C.; the United Nations, New York, NY; the Parrish Art Museum, Water Mill, NY; Princeton University, Princeton, NJ; Aperture Foundation, New York, NY; and Paris Photo, France. She has had two solo exhibitions at Miyako Yoshinaga Gallery, New York, NY; a solo exhibition at Leila Greiche, New York, NY; and was included in Flow States – LA TRIENAL 2024 at El Museo del Barrio, New York, NY. Koyolzintli has performed at venues including the Whitney Museum of American Art, New York, NY; Wave Hill, Bronx, NY; Socrates Sculpture Park, Queens, NY; the Brooklyn Museum, New York, the Queens Museum, New York; Performance Space, New York, NY; Dia Chelsea, New York, NY; and Ann Street Gallery, Newburgh, NY. Koyoltzintli has taught at California Institute of the Arts, School of Visual Arts, International Center of Photography, and the City University of New York. She has received multiple awards and fellowships including at the Musée du Quai Branly, Paris; New York Foundation for the Arts; We Women; the Latinx Artist Fellowship by the US Latinx Art Forum (USLAF); and most recently the Anonymous Was a Woman award. Her first monograph, Other Stories, was published in 2017 by Autograph ABP.

Aldrich Box is organized by Director of Education Namulen Bayarsaihan and Diana Bowes Chief Curator Amy Smith-Stewart.

THE ALDRICH CONTEMPORARY ART MUSEUM

258 Main Street, Ridgefield, CT 06877

thealdrich.org

Julia Bland @ The Aldrich, Ridgefield - "Woven in the Reeds" Exhibition

Julia Bland: Woven in the Reeds 

Aldrich Contemporary Art Museum, Ridgefield

May 15 - September 14, 2025.

JULIA BLAND

Helper (detail), 2024 

Courtesy of the artist and Derek Eller Gallery, New York 

Photo: Adam Reich

The Aldrich Contemporary Art Museum announced JULIA BAND’s first solo museum presentation, Woven in the Reeds. Bland’s installation is part of Aldrich Projects, a quarterly series featuring one work or a focused body of work by a single artist on the Museum’s campus. Julia Bland debuts a monumental tapestry composed of canvas, ropes, linen nets, and fabrics that are dyed, woven, braided, tied, and sewn by hand. 

Bland grew up in Palo Alto, California, in the shadow of the counterculture movement of the 1960s–70s, and in the nascent stages of technological utopianism. Raised by parents with different religious backgrounds—her mother is Jewish, and her father is a Presbyterian minister—Bland’s upbringing was marked by a blend of spiritual influences. In 2008, she was awarded a fellowship to work in Morocco, where she lived on and off for several years. During this time, she studied Sufism and immersed herself in the country’s rich customs, materials, and craftsmanship.

Informed by these personal experiences, Bland’s textiles reflect a synthesis of visual cultures across time and place. Her work blends the tie-dyed, kaleidoscopic imagery of psychedelia with sacred Islamic geometry and Judeo-Christian symbols. Bland’s meticulous layering, diverse materials, and intricate fiber techniques result in compositions that exude rhythmic intensity and devotional energy, evoking the mystical abstractions of transcendentalist painters like Hilma af Klint and Emma Kunz.

The confluence of openwork netting and solid patches of material coalesce at certain points to form distinct shapes while dissolving into others, depending on the viewer’s perception. In this way, Julia Bland references the Shifting Gestalt Effect, an optical phenomenon that emphasizes the whole of patterns and objects over their individual elements. One image that may emerge is the “priestly hands,” a powerful religious symbol from ancient Judeo-Christian traditions representing divine protection. The work’s title, Woven in the Reeds, refers both to Judaism, where reeds are valued for their flexibility and strength and used for writing the Torah, and to Sufism, where—as the artist explains—“The song of the reed flute laments its separation from the reed bed, and is a frequent metaphor for the longing for God.”

The exhibition will be accompanied by a ‘zine.

JULIA BLAND (b. 1986, Palo Alto, CA) received her BFA from the Rhode Island School of Design and her MDA from The Yale School of Art. She has been an artist in residence at The MacDowell Colony, Yaddo, The Skowhegan School of Painting and Sculpture, Lighthouse Works, The Sharpe-Walentas Space Program, and The Shandaken Project: Storm King. She has received awards including The Pollock-Krasner Foundation Grant, The Milton and Sally Avery Fellowship from Yaddo, The Carol Schlosberg Memorial Prize, NYFA/NYSCA Fellowship in Craft/Sculpture, The Florence Leif Award for Excellence in Painting, and the Natasha and Jacques Gelman Travel Fellowship. Recent solo exhibitions include Rivers on the Inside, Derek Eller Gallery, New York, NY; Embers, Maya Frodeman Gallery, Jackson Hole, WY; Andrew Rafacz Gallery, Chicago, IL; The Lighthouse Works, Fisher’s Island, NY; Helena Anrather, New York, NY; and On Stellar Rays, New York, NY. Recent group exhibitions include The Tang Teaching Museum, Saratoga Springs, NY; Kasmin Gallery, New York, NY; The Swedish Institute in Paris, France; The Everson Museum, Syracuse, NY; John Michael Kohler Art Center, Sheboygan, WI; Chambers Fine Art, Beijing, China; and Yossi Milo Gallery, New York, NY. Julia Bland lives and works in Brooklyn, NY.

Aldrich Projects | Julia Bland: Woven in the Reeds is curated by Curatorial and Publications Manager Caitlin Monachino.

The Aldrich Contemporary Art Museum

258 Main Street Ridgefield, CT 06877

www.thealdrich.org

Tracey Emin @ Yale Center for British Art, New Haven - "Tracey Emin: I Loved You Until The Morning" - First North American museum Solo Exhibition of Paintings by Tracey Emin

Tracey Emin 

I Loved You Until The Morning 

Yale Center for British Art, New Haven

March 29 - August 10, 2025

The Yale Center for British Art (YCBA) presents a special exhibition of work by TRACEY EMIN (b. 1963), one of Britain’s most influential contemporary artists. Tracey Emin: I Loved You Until The Morning is the first presentation of Emin’s work in a North American museum and the first ever solo museum exhibition to foreground her practice as a painter.

For more than thirty years, Tracey Emin has made expressive and candid works that explore love, loss, hope, desire, and grief. With honesty and deep emotion, her art draws on her personal experiences of illness, intimacy, and sexuality to confront broader concerns about women’s bodies and health.

Shaped through ongoing dialogue with the artist, I Loved You Until The Morning showcases nineteen large-scale paintings, set alongside a selection of drawings, sculptures, and a neon installation that welcomes visitors at the entrance to the YCBA’s iconic Louis I. Kahn building. Drawn from private collections around the world, many of the works have never been shown in a public institution. Together, they demonstrate Emin’s commitment to painting as a means of giving expression to her experience.

“It is a privilege to present Tracey Emin’s inaugural museum exhibition in this country and to introduce her work to a broader American audience,” said Martina Droth, Paul Mellon Director, YCBA, who curated the exhibition working closely with Emin and the artist’s creative director, Harry Weller. “Showing the work at the YCBA offers a chance to engage with her art from a new perspective, separate from the established narratives in Britain. Although she has long been a defining figure in contemporary British art, this exhibition provides a unique opportunity to experience her deeply personal, provocative, and often meditative explorations of identity, trauma, and resilience. By placing her work in dialogue with that of J. M. W. Turner, we not only highlight their shared roots in Margate and at the Royal Academy but also illuminate how Emin’s voice resonates within a broader historical context of British art.”

“This is my first museum show in America and for me it makes perfect sense that I’m showing in the Yale Center for British Art,” noted Tracey Emin. “For me, it feels like the perfect introduction.”

Born in London and raised in the seaside town of Margate, England, Tracey Emin made her mark in the 1990s with sculptural installations that became icons of the era. Although she is known for working across a wide range of media, including neons and textiles, Emin began her artistic journey as a painter and has long considered painting her primary medium. When she was selected to represent Britain at the Venice Biennale in 2007, Tracey Emin resolved to make a public return to painting. I Loved You Until The Morning traces the evolution of her paintings over the subsequent decades.

I Loved You Until The Morning shows how Tracey Emin uses the materiality of paint to convey emotional states that veer from the most life-affirming to the most harrowing aspects of being a woman. The multiple emotional registers of her works leave their meanings open-ended: the use of red evokes love and desire, as well as pain, trauma, and injury. The female figure unites her works across media and decades and becomes the channel for personal experiences that are at once universal and timely in their relevance.

Spanning her painting career from Pelvis High (2007), one of the works Tracey Emin exhibited in Venice, to the very recent I Followed you to the end (2024), the selection shows both the consistency of her subject matter and the evolution of her expression. Emin’s primary subject is the female body—sometimes rendered as a fully legible form, sometimes fragmented or incomplete. Yet her concern is not the body’s appearance, but how it becomes a register of emotions. Her evocative use of color, incorporation of text, outline drawing of figures, and overpainting are the leitmotifs through which she has developed a personal emotional language that transcends individual expression to convey universal ideas.

One of Emin’s largest paintings, And it was love (2023), exemplifies the artist’s unique candor. Almost hidden amid drips of paint, a small circle on the figure’s stomach and a line extending from it represent a stoma connected by a tube to a urostomy bag, recasting the work as a self-portrait made after Emin’s devastating bladder cancer surgery in 2020. Her raw portrayal challenges codes of silence around the messy details of the human body.

I Followed you to the end (2024)—recently gifted to the YCBA and one of Emin’s first paintings to be accessioned to a public museum—touches on motifs central to Emin’s practice. Red drips of paint run down the torso of a central figure to intermix with a radically candid poem about love and loneliness. The reference to “the end” in both the text and the title points to the layered and open-ended meanings of Emin’s work—invoking the end of love as well as a confrontation of mortality.

The exhibition’s immersive design draws visitors into Emin’s expressive world even before they enter the museum. A bold new neon work created especially for the Entrance is visible from the street to passersby twenty-four hours a day.

By contextualizing Emin’s work within the Center’s building and collection, I Loved You Until The Morning invites audiences to discover and see anew her pioneering art. Thirteen never-before-exhibited drawings, selected by Tracey Emin from her personal archive, will be on view in the Study Room, home to the museum’s exceptional collection of works on paper. The display visibly embeds Emin’s works within the history of British drawing traditions.

Fittingly, I Loved You Until The Morning coincides with an exhibition of paintings, drawings, and prints by J. M. W. Turner (1775–1851). Although born almost two hundred years apart, Turner and Emin share an understanding of the expressive potential of paint. Their distinctive ways of looking at the world were shaped by the seaside town of Margate, on England’s eastern coast, where both spent formative periods of their lives. Their work now meets in New Haven, a continent away from their shared experience of place. In this way, the historic and the contemporary connect as part of a larger story of British art that spans geography and time.

The exhibition was curated by Martina Droth, Paul Mellon Director, with Tracey Emin and her creative director, Harry Weller.

About Tracey Emin

Born in London in 1963, Tracey Emin is a British artist known for her autobiographical artwork. Her paintings lay bare intimate and private experiences that veer from the prosaic to the most profound and life-affirming aspects of being a woman. Emin came to prominence in the 1990s as a multidisciplinary artist known for her sculptural installations and her use of unconventional materials such as textiles and neon. But she began her career as a painter, and in the last two decades has returned to painting as her primary medium.

Tracey Emin was elected to the Royal Academy in 2007 and became its Eranda Professor of Drawing in 2011. In 2024, she was appointed Dame Commander of the Order of the British Empire for her contributions to the visual arts. In 2020, Tracey Emin founded TKE Studios in Margate, Kent, her former hometown. TKE Studios provides affordable studio space for professional artists and also hosts TEAR (Tracey Emin Artist Residency), a training program for emerging artists. Tracey Emin lives and works in London, Margate, and the South of France.

Related Publication

Tracey Emin: I Loved You Until the Morning

Published by the Yale Center for British Art 

by Martina Droth

Contributions by Claire Gilman, Courtney J. Martin, and Tracey Emin

Hardcover, 128 pages, 75 color illustrations

ISBN-13: 9780300279726

Publication date: April 15, 2025 

Photo courtesy of the YCBA

A generously illustrated catalogue accompanies the artist’s first major exhibition in North America. Authored by Martina Droth, with contributions by Claire Gilman and Courtney J. Martin, the publication features an exclusive interview with the artist, places her work in its art-historical context, and opens new avenues for approaching Emin’s painting and closely related drawing practice.

YALE CENTER FOR BRITISH ART -  YCBA

1080 Chapel Street, New Haven, Connecticut

britishart.yale.edu

J.M.W. Turner: Romance and Reality @ Yale Center for British Art, New Haven

J.M.W. Turner

Romance and Reality

Yale Center for British Art, New Haven

March 29 - July 27, 2025

Joseph Mallord William Turner, 1775–1851 

Dort, or Dordrecht: The Dort Packet-Boat from Rotterdam Becalmed, 1818 

Oil on canvas, 62 × 92 inches (157.5 × 233.7 cm)

Yale Center for British Art, Paul Mellon Collection, B1977.14.77.

Joseph Mallord William Turner, 1775–1851

Inverary Pier, Loch Fyne: Morning, ca. 1845 

Oil on canvas, 36 x 48 inches (91.4 x 121.9 cm)

Yale Center for British Art, Paul Mellon Collection, B1977.14.79.

The Yale Center for British Art (YCBA) presents J. M. W. Turner: Romance and Reality beginning March 29, when the museum reopens following a two-year closure for a major conservation project. Born 250 years ago, Joseph Mallord William Turner (1775–1851) was one of the most virtuosic and complex artists of nineteenth-century England. This exhibition will draw from the Center’s rich holdings of the artist’s work, encompassing all media and phases of his nearly sixty-year career. This is the first show at the YCBA to focus on Turner in more than thirty years, displaying the complete arc of his radical artistic evolution. The exhibition examines the contradictory nature of this revolutionary figure, who was as inspired by the past luminaries of the European landscape tradition as he was determined to surpass their greatest achievements.

“We are thrilled to welcome visitors back to the museum to reconnect with our extraordinary collections,” said Martina Droth, Paul Mellon Director. “Turner is an artist whose groundbreaking works continue to inspire. His work has long been a cornerstone of our collection and we are excited to show our returning and new visitors the full range of our Turner holdings.”

“The reopening of the museum on the eve of the 250th anniversary of Turner’s birth offers a timely opportunity to commemorate the unmatched range of one of Britain’s most innovative artists,” said Lucinda Lax, Curator of Paintings and Sculpture at the YCBA. “Turner revolutionized the genre of landscape painting in ways that continue to captivate contemporary audiences. This exhibition provides a wide-ranging overview of his transformative practice, beginning with his early meticulously rendered topographical views and ending with the evocative impressions of the natural world from his later years.”

Romance and Reality features some of the museum’s most iconic oil paintings. From Turner’s luminous masterpiece Dort, or Dordrecht: The Dort Packet-Boat from Rotterdam Becalmed (1818) to the atmospheric, nearly abstract landscape Inverary Pier, Loch Fyne: Morning (ca. 1845), Turner developed a highly personal vision through his depictions of the landscape. Alongside these two major works, the exhibition will include outstanding watercolors and prints, as well as the artist’s only complete sketchbook outside of the British Isles. Together they reveal not only his astounding technical skill but also the powerful combination of his profound idealism with his acute awareness of the tragic realities of human life.

Joseph Mallord William Turner, 1775–1851

Staffa, Fingal's Cave, exhibited 1832 

Oil on canvas, 35 3/4 x 47 3/4 inches (90.8 x 121.3 cm)

Yale Center for British Art, Paul Mellon Collection, B1978.43.14.

Turner’s celebrated later painting Staffa, Fingal’s Cave (1831–32) opens this exhibition on the third floor of the museum—a space designed especially for the display of light-sensitive, rarely seen works on paper. This iconic image typifies the artist’s expressive handling of paint, while his confident marshaling of a series of recurring motifs—most notably a storm-ridden sea—enables him to evoke intense emotions and articulate stunning visual effects. His enduring fascination with representing the vastness of the sea was indelibly shaped by his time in the coastal town of Margate and spans his entire career, from his first oil painting of a maritime subject exhibited in 1796 to his economical drawings of the English coast in the “Channel Sketchbook” (ca. 1845), a treasure of the museum’s collection that is also on display in this show.

The exhibition unfolds in six thematic sections. These offer multiple insights into the rigor of his training as a draftsman, his relentless drive to outstrip his predecessors, his technical achievements, and his growing obsession with conveying light and atmosphere, as well as the sense of tragedy that tinged his later works. A broad selection of prints will illuminate the artist’s deep engagement with this medium, embodied in his ample notations for engravers, while his contributions to commercially successful print series enable visitors to glimpse his shrewd business acumen. With his “Little Liber” series (ca. 1824–26)—a body of prints apparently produced independently by the artist but never published—Turner expanded the tonal possibilities of the mezzotint, achieving new pictorial depths. Dramatic watercolor paintings such as his sublime Vesuvius in Eruption (1818), with its spectacular shower of molten magma, demonstrate his ability to render awe-inspiring scenes from the natural world with intensity and imagination without precedent in this medium. As a whole, the exhibition will convey a nuanced understanding of Turner’s artistic legacy, revealing with new clarity the tensions and contradictions that underlie his daring and brilliant oeuvre.

In spring 2026, the acclaimed oil painting Dort, or Dordrecht: The Dort Packet-Boat from Rotterdam Becalmed (1818), along with a selection of other works by Turner, will be on loan to the Dordrechts Museum in the Netherlands. This will mark the first time that the Dort will be seen by audiences outside of North America and the UK.

About J. M. W. Turner

Born in the bohemian London district of Covent Garden to a barber and wigmaker, Turner began painting as a child. His early watercolor paintings of English monuments and landscapes reflect the precision of his initial training as an architectural topographer. By age fourteen, he started attending classes at the Royal Academy, considered Britain’s most prestigious artistic institution. He remained active with the academy throughout his career, becoming a full member by age twenty-six and assuming the role of Professor of Perspective only five years later. Over his six-decade career, he traveled extensively within England and around many countries in continental Europe, making hundreds of sketches on the spot. These drawings—admirable in their own right—were the source for some of his most extraordinary oil paintings. Following his death in 1851, three hundred oil paintings and more than twenty thousand works on paper entered the collection of the Tate Gallery in London by his bequest. 

Related Publications 

Turner, the inaugural installment in the YCBA’s Collection Series of illustrated books, explores the museum’s outstanding Turner holdings—the largest outside the United Kingdom—in a manner that engages the general reader and expert alike. Authored by Ian Warrell with an essay by Gillian Forrester, the book provides a comprehensive overview of the artist’s career, places the works within their historical and cultural context, and includes many new discoveries regarding the identification of locations, landscapes, and dates. It includes six sections of beautifully reproduced plates.

Turner’s Last Sketchbook

Published by the Yale Center for British Art 

Hardcover, 208 pages, 93 color illustrations

ISBN: 978-0-300-27584-1

Publication date: February 27, 2024

Turner’s Last Sketchbook is a facsimile of the artist’s last known intact sketchbook, now in the YCBA collection. Turner used it on the coast of the English Channel in Kent, in and around Margate, from June to September 1845. A poem by Tracey Emin (b. 1963), expressing her personal connection with Turner’s work, accompanies this book. Emin grew up in Margate, the seaside town that Turner returned to time and again to draw. Fittingly, J. M. W. Turner: Romance and Reality will coincide with the exhibition Tracey Emin: I Loved You Until The Morning, on view at the YCBA from March 29 through August 10, 2025.

YALE CENTER FOR BRITISH ART

1080 Chapel Street, New Haven, Connecticut

britishart.yale.edu

Martha Diamond @ The Aldrich Contemporary Art Museum, Ridgefield - "Deep Time" Exhibition

Martha Diamond: Deep Time 

The Aldrich Contemporary Art Museum,  Ridgefield 

November 17, 2024 - May 18, 2025 

MARTA DIAMOND 

Untitled, 1973 

Acrylic on canvas, 84 x 72 inches 

Collection of Jasper Campshure 

Photo: Jason Mandella 

The Aldrich Contemporary Art Museum presents Deep Time, a traveling survey of five decades of work by MARTA DIAMOND, marking the artist’s first solo museum presentation in thirty-six years. Martha Diamond: Deep Time is accompanied by the artist’s first major monograph. 

Martha Diamond’s ties to The Aldrich extend back to 1972 when Larry Aldrich, the Museum’s founder, visited the artist’s Bowery studio and purchased the sevenby-six-foot acrylic on canvas painting, Untitled, 1972, marking her first museum acquisition. This painting was included in Martha Diamond’s debut exhibition, Contemporary Reflections 1972-73, an annual series at the Museum that spotlighted emerging artists with no gallery representation. Aldrich bought another painting from Martha Diamond a year later, Untitled, 1973. It would be included in three more exhibitions throughout the 1970s and 1980s at The Aldrich. Now in the Museum’s 60th anniversary year, Untitled, 1973 makes its return as the earliest work in Deep Time. 

Martha Diamond, who passed away in December 2023, is among the most perceptive painters of the last five decades. Her work’s formal concision and painterly bravado reflect an inner dialogue with generations of abstract artists, and the results are exceptional: an inimitable handling of gesture and space that reimagines the landscape tradition while deftly sliding between abstraction and representation. Encompassing paintings, works on paper, and monotypes, this focused survey of Diamond’s career proposes “deep time” as a new way of understanding her contribution to American painting. 

Deep time is a concept used to explore thousands of years of human civilization and billions of years of planetary history. In conversation with ancient monuments and the modern skyscraper, the exhibition emphasizes Martha Diamond’s commitment to capturing the emotional character of built space, tracking throughlines across mediums and methods to reveal a process that combines spirited experimentation with perceptive observation. Martha Diamond’s relationship to the built landscape of New York was surely informed by her more than 50 years spent maintaining her studio in the Bowery, demonstrating her tremendous perseverance as an artist and her rootedness in a single place over time. 

The exhibition is accompanied by the artist’s first major monograph, an amply illustrated catalogue that includes an original essay by the exhibition’s co-curators, a chronology, and texts reprinted from some of Diamond’s most insightful critics: New York poets steeped in the visual arts. Martha Diamond: Deep Time documents the inspirations that converge in, and are transformed by, Diamond’s enigmatic and utterly original work. 

Martha Diamond: Deep Time is co-organized by The Aldrich Contemporary Art Museum and the Colby College Museum of Art, and co-curated by The Aldrich’s Chief Curator, Amy Smith-Stewart and Colby’s Katz Consulting Curator, Levi Prombaum. 

MARTHA DIAMOND (1944-2023) received a BA from Carleton College in Minnesota in 1964 and, after a period of living abroad in Paris, an MA from New York University in 1969. She was an active participant in New York’s art and poetry scenes in the late 1960s and early 1970s. Her work has been shown at major New York galleries and institutions from the mid-1970s on, including solo exhibitions at Robert Miller Gallery, Brooke Alexander Gallery, Galerie Eva Presenhuber, and the New York Studio School, and important group shows at Skarstedt, the Hill Art Foundation, the American Academy of Arts and Letters, and the Whitney Museum of American Art. She also had concurrent solo exhibitions in 1988 at the Bowdoin College Museum of Art, Brunswick, Maine, and the Portland Museum of Art, Maine. Her work is in the permanent collections of numerous institutions, including the Museum of Modern Art, New York; the Whitney Museum of American Art, New York; the Brooklyn Museum, New York; the Solomon R. Guggenheim Museum, New York; the Colby College Museum of Art, Waterville, Maine; the Portland Museum of Art, Portland, Maine; the Farnsworth Art Museum, Rockland, Maine; the Museum of Fine Arts, Boston; the Museum of Fine Arts, Houston; the High Museum of Art, Atlanta; the North Carolina Museum of Art, Raleigh; the Art Institute of Chicago; the Minneapolis Institute of Art; and the National Gallery of Australia, Canberra. Her work was in the former collection of The Aldrich and was exhibited at the Museum in group exhibitions in 1973, 1974, 1985, and 1988. She is currently represented by David Kordansky Gallery, Los Angeles and New York. 

ALDRICH CONTEMPORARY ART MUSEUM

258 Main Street, Ridgefield, CT 06877

www.thealdrich.org

Loie Hollowell @ The Aldrich Contemporary Art Museum, Ridgefield - "Space Between, A survey of ten years" Exhibition

Loie Hollowell: Space Between, 

A survey of ten years

The Aldrich Contemporary Art Museum, Ridgefield 

January 21 - August 11, 2024

LOIE HOLLOWELL

Point of Entry (blue green mounds over yellow sky), 2017 

Courtesy of Carolina Zapf & John Josephson

The Aldrich Contemporary Art Museum presents LOIE HOLLOWELL’s first museum survey and first museum presentation on the East Coast, which includes paintings and works on paper made over a decade, the debut of new pastel drawings and paintings that incorporate life casts of pregnant breasts and bellies, as well as never before exhibited works on paper from the artist’s archive.

Space Between tracks the development of Loie Hollowell’s visual language over ten years; a vocabulary that bridges abstraction with figuration, autobiography with art history, and biology with emotion. Orbiting two centuries of pioneering women artists that span generations and movements from Abstraction to Surrealism to 1960s Light and Space art, including Hilma af Klint, Agnes Pelton, Georgia O’Keeffe, and Judy Chicago, Loie Hollowell also cites Neo-Tantric painting as an important influence. Hollowell’s approach always begins with her own body as a guide to appraise seismic issues from sexual freedom to feminism, and reproductive rights and motherhood.

This survey’s focus considers time as material and theme. Loie Hollowell turns the body into a metaphorical clock, documenting extreme intervals of change through dramatic chiaroscuro, saturated color, and charged light. Her labor-intensive process begins with a pastel drawing. She makes notes in the margins indicating how to translate her vision into painting. Her sentient compositions are then built with geometric and biomorphic forms, evocative of bellies, breasts, vulva, and buttocks that abstract the physical and emotional transformations she experienced throughout conception, birth, and postpartum with her two children. 

Her paintings are endowed with dimensional relief, achieved by adhering CNC-milled high-density foam or cast-resin appendages to the surfaces to impersonate fleshy bulges and curves. These protrusions, which vary in depth, soften the works’ rigid two-dimensionality, and evade the line between painting and sculpture to confront the viewer with visceral beauty. She uses a palette that glows, throbs, and blazes, a luminescent progression of reds, blues, yellows, oranges, greens, pinks, and purples, that vaunt a mercurial tempo from tender to explosive. Applying a rigorous symmetry in reference to the human body, she choreographs the energies and emotions that come from the mental and physical with an emphasis on the birthing body; the epicenter of the universe, where the heavens connect with the earth.

The exhibition is accompanied by the artist’s first museum monograph, co-published by Gregory R. Miller & Co., featuring an essay by the curator Amy Smith-Stewart, Chief Curator.

LOIE HOLLOWELL was born in 1983 and raised in Woodland, California. She currently lives and works in New York City. She received a BFA at University of California Santa Barbara in 2005 and an MFA in painting from Virginia Commonwealth University in 2012. Her work has been exhibited at museums and galleries worldwide including Jan Shrem and Maria Manetti Shrem Museum of Art, University of California, Davis; Pace Gallery; Long Museum West Bund, Shanghai; Feuer/Mesler, New York; White Cube Gallery, Paris; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Los Angeles County Museum of Art, Los Angeles; The Flag Art Foundation, New York; Crystal Bridges Museum of American Art, Bentonville, Arkansas; Victoria Miro, London; and Ballroom Marfa, Texas. Her work is in public collections including the Albertina Museum, Vienna; Centre Pompidou, Paris; Crystal Bridges Museum of American Art, Bentonville; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; ICA, Miami; Long Museum, Shanghai; Los Angeles County Museum of Art, Los Angeles; M+ Museum, Hong Kong; Stedjelijk Museum, Amsterdam; and Zentrum Paul Klee, Switzerland.

Loie Hollowell: Space Between, A Survey of Ten Years is curated by Amy Smith-Stewart, Chief Curator.

THE ALDRICH CONTEMPORARY ART MUSEUM 

258 Main Street Ridgefield, CT 06877 

www.thealdrich.org

Ping Zheng @ The Aldrich Contemporary Art Museum, Ridgefield - Where Memories of Travels

Ping Zheng: Where Memories of Travels 

The Aldrich Contemporary Art Museum, Ridgefield 

September 7, 2023 - January 7, 2024 

PING ZHENG  

The Moon Illusion, 2022 

Oil stick on paper

Private Collection 

© Ping Zheng

Courtesy of the Artist and 

The Aldrich Contemporary Art Museum

The Aldrich Contemporary Art Museum presents Ping Zheng: Where Memories of Travels Go, an installment of Aldrich Projects, a quarterly series that features one work or a focused body of work by a single artist on the Museum’s campus.

The project title describes Ping Zheng’s aim to be transported through her creative process in her pursuit of loftier dimensions. Her solitary journeying, initially a way to create refuge from an oppressive childhood in China, evolved into a means to evade the entrapments of our impersonal digital world. Ping Zheng takes inspiration from the varied and expansive landscapes she visited during the numerous artist residencies she has attended over the last decade throughout the United States, Europe, and China.

She also cites artists that orbit many centuries and geographies who too made work that merge their experiences of the natural world with a special blend of personalized spiritualism. Her sources are wide-ranging and span ancient Chinese landscape painting and twentieth and twenty-first century visionary abstractionists like Hilma af Klint, Agnes Pelton, Georgia O’Keeffe, Judy Chicago, Matthew Wong, Joseph E. Yoakum, and Takako Yamaguchi. Working exclusively in oil stick, Ping Zheng presses fingers to paper through intuitive systems of choreographed movements. She builds a distinctive and recurring lexicon of symbolic couplings that range from lighthearted rainbows and pulsating waterfalls, shadowy tree lines and glowing moonbeams, voluptuous mountains and rippling lakes, to cascading canyons and sunny orbs. The works are installed in a sequence that reflects the dramatic passage of light from daybreak to nightfall. Some works feature celestial objects and cosmic phenomena that underscore the unpredictable magic of our sizable planet.

Ping Zheng

Where Memories of Travels 

The Aldrich Contemporary Art Museum 

This project is accompanied by a full-color eight-page ‘zine 

designed by the Museum’s Design Director Gretchen Kraus. 

PING ZHENG was born in 1989 in Zhejiang, China and lives and works in Brooklyn, New York. She received an MFA in Painting from the Rhode Island School of Design in 2016 and a BFA in Painting from the University College of London, Slade School of Fine Art in 2014. Her works are included in the collections of JP Morgan Chase Bank, Fidelity Investments Corporate Art Collection, the Cleveland Clinic Art Program, and the Museum of Fine Arts, Houston.

Ping Zheng: Memories of Where Travels Go is curated by Amy Smith-Stewart, Chief Curator.

THE ALDRICH CONTEMPORARY ART MUSEUM

258 Main Street, Ridgefield, CT 06877

www.thealdrich.org

Prima Materia: The Periodic Table in Contemporary Art @ Aldrich Contemporary Art Museum, Ridgefield

Prima Materia: 

The Periodic Table in Contemporary Art 

Aldrich Contemporary Art Museum, Ridgefield 

Through August 27, 2023 

Matthew Barney 

Bayhorse, 2018 

Courtesy of the artist and Gladstone Gallery 

The Aldrich Contemporary Art Museum presents Prima Materia: The Periodic Table in Contemporary Art, a group exhibition presenting significant and diverse works of art, which incorporate or reference thirty-five of the 118 elements on the periodic table by artists Matthew Barney, Edward Burtynsky, Rachel Berwick, Dove Bradshaw, Julian Charrière,Compound Interest, The Dufala Brothers, Ashley Epps*, Philp Grausman, Tom Lehrer, Bryan McGovern Wilson, Jeffrey Meris, Myra Mimlitsch-Gray, Cornelia Parker, Katie Paterson, Simon Patterson, Beverly Pepper, Winston Roeth*, Peter Selgin, Sunny A. Smith*, Edward Steed, Carlos Vega, Eleanor White*, and Robert Williams.

*Artists commissioned by The Aldrich to make new works for the exhibition.

While the basis of the exhibition is science, through expansive curatorial choices, the project will reveal the material basis for sociological, emotional, political, and even spiritual subject matter. Artists use specific materials for a reason, quite often for their metaphorical potential, and Prima Materia will explore hard facts as well as alchemical conjecture. A subtext that will be explored in the project is resource extraction, which will be incorporated through works that speak about the mining and refining industry and its legacy. As a society we are woefully unaware of the trail followed by common materials as they go from the earth into our hands, and the exhibition will give the viewer a greater appreciation of the material world, reveling in both the beauty and convoluted history of our understanding and manipulation of physical matter.

All art forms, even music and literature, are partially dependent on the material world. The visual arts, however, are more linked to materialism, as the field is primarily defined by objects. Even digital media is contingent on physical matter, whether it is the silicon that makes the microprocessor, or the lithium that is contained within a cell phone battery. Humans have speculated for thousands of years on how the world is comprised. “Prima materia” was a concept first put forth by Aristotle to describe the primitive, formless base for all matter. Plato later expanded on this in his treatise Timaeus, writing: “The body of the world is composed of four elementary constituents, earth, air, fire, and water, the whole available amount of which is used up in its composition.” The alchemists of both medieval Europe and those of the Islamic Middle East and North Africa were the first who began to doubt the primacy of the ancient four elements. Beginning in the Renaissance, their speculation led to the transition of the practice of Alchemy to Chemistry. Included in the “origins” section of the exhibition is Robert Williams’ installation Theatrum Chemicum Britannium – The Alchemist’s Shack. Based on the life of Eirenaeus Philalethes (Geroge Starkey), a practicing Colonial American alchemist who attended Harvard College in 1643, Philalethes’ work went on to influence European scientists such as Robert Boyle and Isaac Newton. The names given to the eras in human history—stone, bronze, iron, and now silicon—are indicative of how our understanding of matter has transformed culture.

Prima Materia: The Periodic Table in Contemporary Art is curated by independent curator and artist Richard Klein, The Aldrich’s former Exhibitions Director, and will be accompanied by a softcover catalogue featuring an essay by Klein.

THE ALDRICH CONTEMPORARY ART MUSEUM

258 Main Street, Ridgefield, CT 06877

www.thealdrich.org

05-02 / 27-08-2023

52 Artists: A Feminist Milestone @ Aldrich Contemporary Art Museum, Ridgefield

52 Artists: A Feminist Milestone

Aldrich Contemporary Art Museum, Ridgefield

June 6, 2022 - January 8, 2023

Tourmaline

Coral Hairstreak, 2020

Dye sublimation print, 29 ½” × 30”

Courtesy of the artist and Chapter NY, New York. 

Photo: Dario Lasagni. 

Erin M. Riley 

Webcam 2, 2020

Wool, cotton, 72” x 100”

Courtesy of the artist and P·P·O·W, New York. 

Stella Zhong

Every Other Chopped, 2021

81” x 68” x 65”, Epoxy putty, air dry clay, wire, grout, aqua resin, 

tint, sand, epoxy, paint, plaster, foam, wood, ball bearing 

Courtesy of the artist and Chapter NY, New York.

The Aldrich Contemporary Art Museum presents 52 Artists: A Feminist Milestone. The exhibition celebrates the fifty-first anniversary of the historic exhibition Twenty Six Contemporary Women Artists, curated by Lucy R. Lippard and presented at The Aldrich Contemporary Art Museum in 1971. 52 Artists showcases work by the artists included in the original 1971 exhibition, alongside a new roster of twenty-six female identifying or nonbinary emerging artists that were born in or after 1980, tracking the evolution of feminist art practices over the past five decades. The new generation of artists included in the exhibition are:

Leilah Babirye (b. 1985)

Phoebe Berglund (b. 1980)

LaKela Brown (b. 1982)

Lea Cetera (b. 1983)

Susan Chen (b. 1992)

Pamela Council (b. 1986)

Lizania Cruz (b. 1983)

Florencia Escudero (b. 1987)

Alanna Fields (b. 1990)

Emilie L. Gossiaux (b. 1989)

Ilana Harris-Babou (b. 1991)

Loie Hollowell (b. 1983)

Maryam Hoseini (b. 1988)

Levy (b. 1991)

Amaryllis DeJesus Moleski (b. 1985)

Catalina Ouyang (b. 1993)

Anna Park (b. 1996)

Erin M. Riley (b. 1985)

LJ Roberts (b. 1980)

Aya Rodriguez-Izumi (b. 1986)

Aliza Shvarts (b. 1986)

Astrid Terrazas (b. 1996)

Tourmaline (b. 1983)

Rachel Eulena Williams (b. 1991)

Kiyan Williams (b. 1991)

Stella Zhong (b. 1993)

The new artists, who are all based in New York City, have not had a major solo museum exhibition in the United States as of March 1, 2022, aligning both with The Aldrich’s mission of representing the

work of emerging artists and with Lippard’s original mandate for the 1971 exhibition. 

“This group of 26 emerging artists reflect the revolutionary advancement of feminist art practices over half a century and exhibit a diversity of experiences and a multiplicity of sensibilities united by a twenty-first century feminist expression that is inclusive, expansive, elastic, and free,” said The Aldrich’s Senior Curator Amy Smith-Stewart, who curated the contemporary selection. 

52 Artists encompass the entirety of the Museum (approx. 8,000 sq. ft)—the first exhibition to do so since The Aldrich’s new building was inaugurated in 2004. The exhibition is organized by The Aldrich’s Senior Curator Amy Smith-Stewart and independent curator Alexandra Schwartz, with The Aldrich’s Curatorial Assistant Caitlin Monachino.

“52 Artists: A Feminist Milestone is one of our most ambitious exhibitions to date,” said Cybele Maylone, Executive Director of The Aldrich Contemporary Art Museum. “Th exhibition charts the Museum’s commitment to emerging and underrepresented artists over time and offers an unparalleled opportunity for vital scholarship about the historic legacy of the 1971 exhibition. We are delighted to bring together this exceptional roster of artists for this timely and important show.”

On view at The Aldrich from April 18 to June 13, 1971, Twenty Six Contemporary Women Artists was organized by writer, art critic, activist, and curator Lucy R. Lippard, who viewed curating this landmark exhibition as an activist gesture. In its catalogue, she states: “I took on this show because I knew there were many women artists whose work was as good or better than that currently being shown, but who, because of the prevailingly discriminatory policies of most galleries and museums, can rarely get anyone to visit their studios or take them as seriously as their male counterparts.” With this exhibition, Lucy R. Lippard arguably founded feminist curatorial practice in the USA.

52 Artists surveys this landmark exhibition, including works of art from the original exhibition and recreations of some of the more ephemeral pieces, and, if neither are available, related works from the same period. The exhibition also includes recent works by many of the original artists, examining how their practices have evolved over the past fifty years. By showing the original group alongside emerging artists of today, the exhibition testifies both to the historic impact of Lucy R. Lippard’s milestone exhibition and the influence of the original twenty-six artists she presented at The Aldrich on a new generation of artists.

Merrill Wagner 

Untitled, 1969 

Courtesy of the artist and David Zwirner, New York 

Merrill Wagner 

Inlet, 2010 

Courtesy of the artist and David Zwirner, New York 

Lucy Lippard’s original 1971 exhibition at The Aldrich was one of the first institutional responses to the issue of women artists’ invisibility in museums and galleries. More specifically, the show offered a rejoinder to the protests by the Ad Hoc Women Artists Committee (founded by Poppy Johnson, Brenda Miller, Faith Ringgold, and Lucy Lippard) over the absence of women in the Whitney Museum of American Art’s 1970 Sculpture Annual. Twenty Six Contemporary Women Artists opened the floodgates to a host of other feminist exhibitions throughout the 1970s, signaling Lucy Lippard’s emergence as a visionary feminist curator and critic and marking the debut of many groundbreaking artists. 52 Artists not only celebrates this radical exhibition but underscores its ongoing influence on future generations of artists.

Howardena Pindell

Untitled, 1968–70 

Mott-Warsh Collection, Flint, Michigan

Photo credit: Robert Hensleigh and Tim Thayer 

Howardena Pindell 

Carnival: Bahia, Brazil, 2017 

Courtesy of the artist and Garth Greenan Gallery, New York

The artists whose work was presented in the original 1971 exhibition are as follows. All but three of the original twenty-six artists have work included in 52 Artists (*Starred artists are not participating):

Cecile Abish (b. 1926)

Alice Aycock (b. 1946)

Cynthia Carlson (b. 1942)

Sue Ann Childress* (b. 1947)

Glorianna Davenport* (b. 1944)

Susan Hall (b. 1943)

Mary Heilmann (b. 1940)

Audrey Hemenway (1930-2008)

Laurace James (b. 1936)

Mablen Jones (1943-2021)

Carol Kinne (1942-2016)

Christine Kozlov (1945-2005)

Brenda Miller (b. 1941)

Mary Miss (b. 1944)

Dona Nelson (b. 1947)

Louise Parks* (b. 1944)

Shirley Pettibone (1936-2011)

Howardena Pindell (b. 1943)

Adrian Piper (b. 1948)

Sylvia Plimack Mangold (b. 1938)

Reeva Potoff (b. 1941)

Paula Tavins (1936-2019)

Merrill Wagner (b. 1935)

Grace Bakst Wapner (b. 1934)

Jackie Winsor (b. 1941)

Barbara Zucker (b. 1940)

The original 1971 catalogue was designed by architect and scholar Susana Torre. A new, 180-page hardcover book designed by Gretchen Kraus, The Aldrich’s Design Director, and co-published with Gregory R. Miller & Co., accompanies the exhibition. This significant catalogue includes new essays by Lippard, Smith-Stewart, and Schwartz, as well as rare historical documentation of the original exhibition, images, installation views, and checklists from both the 1971 and 2022 shows.

52 Artists: A Feminist Milestone

Published by The Aldrich Contemporary Art Museum

Essays by Lucy Lippard, Amy Smith-Stewart, and Alexandra Schwartz.

192 Pages, fully-illustrated, Hardcover

The exhibition is organized by The Aldrich’s Senior Curator Amy Smith-Stewart, who selected the emerging twenty-six artists, and independent curator Alexandra Schwartz, with The Aldrich’s Curatorial Assistant and Publications Manager Caitlin Monachino.

THE ALDRICH CONTEMPORARY ART MUSEUM

258 Main Street Ridgefield, CT 06877

www.thealdrich.org

Amaryllis DeJesus Moleski @ The Aldrich, Ridgefield - Portal Pieces

Amaryllis DeJesus Moleski 

Portal Pieces

The Aldrich Contemporary Art Museum, Ridgefield

January 6 - May 29, 2022

AMARYLLIS DEJESUS MOLESKI

Graduation Day, 2021

Courtesy of the artist

Amaryllis DeJesus Moleski: Portal Pieces is the third installment of Aldrich Projects, a single artist series that features a singular work or a focused body of work by an artist every four months on the Museum’s campus. Sited in the Leir Atrium, AMARYLLIS DEJESUS MOLESKI presents two large-scale works on paper, Graduation Day, 2021, and The Guardians, 2015. 

Amaryllis DeJesus Moleski’s practice is informed by her Puerto Rican American heritage and a peripatetic upbringing spent crisscrossing the US. Probing motifs of intersectionality, mythmaking, and queerness, she says her visual worldbuilding exploits the “spaces in-between categories” and honors “the trouble and pleasure [sited] there.”

Her expansive body of work spans drawings, video, sculpture, performance, and installation. Using fabled symbolism, Amaryllis DeJesus Moleski’s pantheon of black and brown femme goddesses, heroines, and crusaders adventure across time and space using magical powers to protect and prevail. Her inspirations span art history, popular culture, and higher realms, from comics, ancient cuneiform, Caribbean Surrealism, occult, and alchemical diagrams. 

Graduation Day is a monumental drawing and collage on paper that depicts an erupting rainbow inferno. Inside a triangular-shaped grotto, a figure levitates above a shadowy portal. Two spirit beings, one an iridescent blue and the other a fluorescent brown, hover over the reposing body. They each clutch the end of a wishbone, a symbol of untapped potential. A pink triangle blazes within the scene, snapping the wishbone and releasing a purple flame that burns and shimmers with beaming optimism.

The Guardians is a large gouache and tea drawing on paper. It portrays a pair of protectors brandishing bone swords in the company of a dark horse. Within a field of chamomile, they stand guard. Each is heavily adorned and tattooed with symbols of strength, abundance, nourishment, and passage.

These two works on paper are part of an ongoing mythology that spotlight marginalized histories and femme power. Invigorated by lived and imagined experience, Amaryllis DeJesus Moleski’s utopian storylines speak to struggle, redemption, repair, and reinvention. 

AMARYLLIS DEJESUS MOLESKI was born in 1985 in Bordeaux, France. She earned an MFA from the Yale School of Art in 2019 and a BFA from California College of the Arts in 2014. She is a current recipient of the Keyholder Residency at Lower East Side Printshop, a 2021 Creative Capital Awardee, and was a 2019 Kindle Project Makers Muse Award recipient. Her work has been exhibited both nationally and internationally including the Brooklyn Museum, El Museo Del Barrio, Cue Art Foundation, MoCADA, SOMArts, New York University, Luce Gallery, Weatherspoon Art Museum, among others. Amaryllis DeJesus Moleski will be featured in the Museum’s forthcoming exhibition, 52 Artists: A Feminist Milestone, opening in June 2022. She lives and works in Brooklyn, New York. 

Amaryllis DeJesus Moleski: Portal Pieces is curated by Senior Curator Amy Smith-Stewart.

THE ALDRICH CONTEMPORARY ART MUSEUM

258 Main Street, Ridgefield, CT 06877

thealdrich.org

On the Basis of Art: 150 Years of Women at Yale @ Yale University Art Gallery, New Haven

On the Basis of Art: 150 Years of Women at Yale

Yale University Art Gallery, New Haven

Through January 9, 2022

Irene Weir (B.F.A. 1906) 

The Blacksmith, Chinon, France, ca. 1923

Watercolor on paper

Yale University Art Gallery, Gift of Irene Weir, B.F.A. 1906 

Njideka Akunyili Crosby (M.F.A. 2011)

The Rest of Her Remains, 2010 

Charcoal, acrylic, ink, collage, and Xerox transfers on paper 

Yale University Art Gallery, Purchased with a gift

from the Arthur and Constance Zeckendorf Foundation

Courtesy the artist, Victoria Miro, and David Zwirner

Yale University Art Gallery celebrates the work of Yale-educated women artists in a new exhibition.

On the Basis of Art: 150 Years of Women at Yale celebrates the vital contributions of generations of Yale-trained women artists to the national and international art scene. Through an exploration of their work, the exhibition charts the history of women at the Yale School of Art (formerly Yale School of the Fine Arts) and traces the ways in which they challenged boundaries of time and circumstance and forged avenues of opportunity— attaining gallery and museum representation, developing relationships with dedicated collectors, and securing professorships and teaching posts in a male-dominated art world. On view at the Yale University Art Gallery from September 10, 2021, through January 9, 2022, the exhibition commemorates two recent milestones: the 50th anniversary of coeducation at Yale College and the 150th anniversary of Yale University’s admittance of its first female students who, flaunting historical precedent, were welcomed to study at the School of the Fine Arts upon its opening in 1869.

On the Basis of Art showcases more than 75 artists working in a broad range of media, including painting, sculpture, drawing, print, photography, textile, and video. Objects are drawn exclusively from the Gallery’s collection and span more than 15 decades as well as a wide range of stylistic approaches—from realism to abstraction to figuration—revealing how these modern and contemporary women artists have brought their life experiences and individual styles to their careers.

“We are thrilled to join the University in celebrating and commemorating the contributions and accomplishments of women at Yale,” says Stephanie Wiles, the Henry J. Heinz II Director of the Gallery. “It’s an honor to present this exhibition and the accompanying catalogue, which together offer deep insight about women artist-graduates of Yale. These women brought an unwavering determination, bold experimentation, and a spirit of risk-taking to their practice, qualities that were critical to their success in the international art world.”

Wangechi Mutu (M.F.A. 2000) 

Sentinel I, 2018 

Paper pulp, wood glue, concrete, wood, glass beads, stone, 

rose quartz, gourd, and jewelry 

Yale University Art Gallery, Janet and Simeon Braguin Fund

© Wangechi Mutu

Sylvia Plimack Mangold (B.F.A. 1961)

Opposite Corners, 1973 

Acrylic on canvas

Yale University Art Gallery, Susan Morse Hilles Fund 

© Sylvia Plimack Mangold, courtesy Alexander and Bonin, New York

On the Basis of Art is curated by Elisabeth Hodermarsky, the Sutphin Family Curator of Prints and Drawings, with the assistance of Judy Ditner, the Richard Benson Associate Curator of Photography and Digital Media; John Stuart Gordon, the Benjamin Attmore Hewitt Curator of American Decorative Arts; Keely Orgeman, the Seymour H. Knox, Jr., Associate Curator of Modern and Contemporary Art; Sydney Skelton Simon, the Bradley Assistant Curator of Academic Affairs; and Molleen Theodore, Associate Curator of Programs.

“It is inspiring to highlight the extraordinary and varied work of these talented female-identifying artists,” shares Elisabeth Hodermarsky. “Although this diverse group of artists spans multiple generations, there are cross-connections in their work that engage history, feminist movements, and legacies of influence. The exhibition is the first of its kind, telling the history of the visual arts at Yale from a female perspective.” Accordingly, the exhibition is organized into six thematic sections that mix time periods and media, allowing visitors to observe these dialogues across generations.

The first section, Carving a Presence, demonstrates the persistence of the genre of portraiture and includes works by Irene Weir (B.A. 1906), Audrey Flack (B.F.A. 1952), and Njideka Akunyili Crosby (M.F.A. 2011). Sculpting Space and Place features two- and three-dimensional objects by Eva Hesse (B.F.A. 1959), Sylvia Plimack Mangold (B.F.A. 1961), Howardena Pindell (M.F.A. 1967), and others whose oeuvres consider space, perception, surface, and depth. Threading Myth, Legend, and Ritual highlights artists such as Rina Banerjee (M.F.A. 1995) and Natalie Frank (B.A. 2002), who engage tradition and storytelling in their practice. With works by artists like Lois Conner (M.F.A. 1981)and Victoria Sambunaris (M.F.A. 1999), Modeling Nature, Tracing the Human Footprint presents the different ways in which artists have depicted the natural world and have examined humankind’s relationship with nature—as both nurturer/steward and user/abuser. Drawing Identity reveals how artists, such as Wangechi Mutu (M.F.A. 2000), Mickalene Thomas (M.F.A. 2002), and Angela Strassheim (M.F.A. 2003), have challenged societal labels and offered thoughtful and powerful critiques of cultural systems. Finally, Casting History, Etching Memory explores how Maya Lin (B.A. 1981, M.ARCH. 1986), An-My Lê (M.F.A. 1993), Mary Reid Kelley (M.F.A. 2009), and others have memorialized or reflected on our past.

On the Basis of Art: 150 Years of Women at Yale

308 pages/10 x 10 3/4 inches/187 color and 52 black-and-white illustrations

Distributed by Yale University Press/Paper over board/ISBN 978-0-300-25424-2

A comprehensive catalogue accompanies the exhibition. It features an introduction by Elisabeth Hodermarsky and essays by Helen A. Cooper (PH.D. 1986), the Holcombe T. Green Curator Emeritus of American Paintings and Sculpture at the Gallery; Linda Konheim Kramer (B.F.A. 1963),former curator at the Brooklyn Museum and former Executive Director of the Nancy Graves Foundation; and Marta Kuzma, the Stavros Niarchos Foundation Dean of the Yale School of Art, the first woman to hold that role. It also includes catalogue entries on every artist in the exhibition and timelines that detail important milestones for women—at Yale, in the arts, and in the country.

YALE UNIVERSITY ART GALLERY

1111 Chapel Street, New Haven, Connecticut 

artgallery.yale.edu