March 16 – June 27, 2021
To purchase or reserve tickets for Still/Live, The Rothko Room and Beatrice Scaccia: My Hope Chest click the link below. Advance timed tickets are required. Timed tickets for Still Live Studio Learning Center must be reserved for the same time slot as your main Museum admission. For more details on visiting the Museum click here.


Still/Live Challenge

Still/Live explores how contemporary artists are reimagining the still life tradition. We invite you to show us your interpretation of the still life genre by participating in the Still/Live Challenge. Each week during the exhibition a new theme will be announced to inspire your creativity. Drawings, paintings, and photos are all welcome. For more information click here.

explores how contemporary artists working in photography, video, and new media are reimagining the genre of still life. Since ancient times, deceptively simple depictions of fruit, flowers, and every-day objects have disguised rich layers of symbolic association. The artists represented in Still/Live work from within the still life tradition, examining three themes—time, portraiture, and trompe l’oeil—with new technologies and from new perspectives. In the Learning Center, experience Still Life Studio and learn what makes a still life and why this genre continues to inspire contemporary artists. Discover an unexpected paper-built still life installation by artist Daniel Gordon. Objects will be available to set up your own still life arrangement with various art materials to create unique still life artworks. Upon arrival, young visitors will receive an interactive family guide and activity pack which will lead them through the Still/Live exhibition in the galleries.
Download a PDF of the Still/Live family guide.

Sharon Core, 1610, from the series 1606-1907, 2011, Archival Pigment Print, 19 x 14 3/4 inches, © Sharon Core, Courtesy of the artist and Yancey Richardson, New York. Daniel Gordon, Jade Plant with Pears and Green Apples, 2019, Pigment Print with UV Lamination, 55 × 68 3/4 inches, ©Daniel Gordon, Courtesy Yossi Milo Gallery, New York / James Fuentes Gallery, New York. Support for Still/Live is provided by the Katonah Museum of Art Exhibition Patrons Leslie Cecil and Creighton Michael, Judy and Tony Evnin, Victoria Morris and Ellen and Bob Grimes.

The Rothko RoomMarch 16 – June 27, 2021

Experience two masterpieces in a room designed for individual reflection. Untitled, 1969 and Untitled (Still-life with Clock and  Vase), 1938/1939 are the second and third in an ongoing series of works by Mark Rothko presented by the KMA. Rothko envisioned the creation of spiritual single work “chapels” along the sides of highways throughout the country where weary travelers could stop and contemplate one of his paintings. This vision inspired the KMA’s The Rothko Room, which offers guests the opportunity to spiritually re-charge in the presence of a single masterpiece, as Rothko intended. Advance timed ticketing reservation required.

The Rothko Room is made possible through the support of Kate Rothko Prizel and Christopher Rothko and through the contribution of Audrey and Richard Zinman. Mark Rothko, Untitled, 1969, Acrylic on paper, 53⅝ x 42⅜ in, Rothko Estate, CR#2032.69, Collection of Christopher Rothko, Copyright ©2021 by Kate Rothko Prizel and Christopher Rothko.


Beatrice Scaccia: My Hope ChestMarch 16 – June 27, 2021

Italian artist Beatrice Scaccia’s exhibition My Hope Chest, which includes a stop-motion animation and site-specific wall drawing, grew from her thoughts about a simple item of furniture: the hope-chest. Used by unmarried women to collect items in anticipation of married life, Scaccia uses the hope chest to explore the social expectations placed upon women.

Beatrice Scaccia
, My Hope Chest, 2020 (film still), Single channel digital stop motion animation, 10 min.


Michele Oka DonerOngoing

Michele Oka Doner is an internationally renowned artist whose career spans five decades. The breadth of her artistic production encompasses sculpture, furniture, jewelry, public art, functional objects and video. Her current installation at the Katonah Museum consists of two bronze sculptures – Mana and Primal Self Portrait. Part human, part divine, part tree and part mineral, these headless and armless bronzes are at once commanding, monstrous, riveting, even humorous. Fashioned from roots and vines collected by the artist, cast in bronze using the lost wax method and finished with rich earth-toned patinas, these figures demonstrate Oka Doner’s lifelong study and appreciation of the natural world.

Mana continues the artist’s lifetime dialogue that focuses on ushering nature into art, exploring the rich convergence between the human and natural world. Unsettling and imposing, Mana mixes construction and deconstruction, vitality and decrepitude. Primal Self Portrait has rather thick, even impenetrable, hermetically opaque skin. Layer upon layer of texture forms a protective shield of formidable skin. While deeply scarred, as the vertical striations imply, the skin of the female remains unbroken enough to suggest invulnerability, the indomitability of the female body, however nakedly exposed to the prying eyes of the world.

Her work encompasses materials including glass, bronze and silver and in a variety of scales – mirroring the world around her – from the small and intimate to the large and more imposing. Michele is well-known for creating over 35 public art installations throughout the United States and in Europe, including Radiant Site at New York’s Herald Square subway (1987), Flight at Washington’s Reagan International Airport and A Walk on the Beach at The Miami International Airport (1995-2010) which features 9000 bronze sculptures inlaid over a mile and a quarter long concourse of terrazzo with mother-of-pearl – it is one of the largest public artworks in the world.

Michele Oka Doner was born and raised in Miami, Florida and studied at the University of Michigan, where she received her undergraduate and MFA degrees, as well as an honorary doctorate. Oka Doner moved to New York City in 1981 where she maintains a studio. Her work is included in major public collections including the Museum of Modern Art, Metropolitan Museum, the Whitney Museum of American Art, The Art Institute of Chicago and the Victoria and Albert, among others.

Gregory Volk: A Knit of Identity: On the Nature-Based Art of Michele Oka Doner
Donald Kuspit: Skinned Alive: Michele Oka Doner’s Bio-Figuration

Image Credits:
Photo courtesy Gerald Forster
Michele Oka Doner, Primal Self Portrait, 2008, Cast bronze, patinated, red iron oxide, Unique, Courtesy of the artist and Marlborough, New York and London
Michele Oka Doner, Mana, 2015, Cast bronze, patinated
, Edition 1 of 3, Courtesy of the artist and Marlborough, New York and London

Ronald BladenOngoing

Ronald Bladen (1918–1988) was regarded as an artistic forerunner by Minimalists like Donald Judd, Sol Lewitt and Carl Andre. But in contrast to the matter-of-fact work of these artists, Bladen’s sculptures are charged with emotional power. Their themes include the force of gravity, the dynamism of planar surfaces, the impact of scale and confrontation with the viewer.

After a competition that included entries by Richard Serra and Claes Oldenburg among others, the important European collector and gallery director Alfred Schmela commissioned Bladen to create Flying Fortress to stand in front of the engineering school at the University of Düsseldorf. The project was cancelled after Schmela’s sudden death. Bladen wrote tellingly of Flying Fortress at the time of the commission, “The motivation of this form was to produce the illusion of a stationary object moving through space yet anchored to the earth. Not to give one that much time to dwell on it but more to feel as it rushes by. There is a front and a back and two sides but only one direction.
Host of the Ellipse is notable for the difference between its two elements. Both parts, executed in aluminum and painted semi-gloss black, comprise trapezoidal lower areas that have deep notches cut into them. From these trapezoids, blade-like arms extend, one vertically while the other projects horizontally. Bladen referred to them as “two dancers.” Indeed, the vertical and horizontal projections, like gestures into space, remind us that modern dance influenced Bladen’s sculptures throughout his career.

Watch and learn more about American painter and sculptor Ronald Bladen.

Image Credits:
Ronald Bladen, Flying Fortress (Mid Scale), 1974-1978, Painted aluminum, 90 x 264 x 12 inches, Edition 1 of 3, Courtesy of Loretta Howard Gallery, New York
Ronald Bladen, Host of the Ellipse (Mid Scale), 1981, Painted aluminum, 85 x 118 x 52 inches, Edition 1 of 3, Courtesy of Loretta Howard Gallery, New York

Evidence (Stephan Moore + Scott Smallwood)Ongoing

Since 2001, Stephan Moore and Scott Smallwood, as the duo Evidence, have created a body of work that weaves sonic environments out of the sounds collected in their wide-ranging field recording practice.Their work draws its materials and inspiration from a process of deep listening, recording, studio editing and finally improvisation and performance using custom software-based instruments that they design.

Go Where Light Is (Installation Version) reflects on the artists' journey to the Balance/Unbalance Conference in 2016 in Manizales, Colombia, where a prototype of this installation was first presented. For that version of the piece, sounds were collected by the artists and added daily to the installation, so that it grew more and more complex over time.  Traffic, weather, insects, birds and the accidental music of the street were folded into the piece which evolved into a kaleidoscopic portrait of a city.  The soundscapes of the city’s urban parks, botanical gardens and shopping centers merge with the sounds of travel, recorded in cars, trains and airports.  These materials, woven together in performance, are further remixed using a generative playback algorithm to create a continuous sonic journey.

Image Credits:
Courtesy of the artists