Exhibition Archive

LandEscape: New Visions of the Landscape from the Early 20th and 21st CenturiesMarch 17 - June 16, 2019

LandEscape explores the early 20th century American modernists who exhibited their innovative paintings at the groundbreaking 1913 Armory Show, and compares it to the work of artists from the 21st century who have rediscovered and reinvigorated the genre. This show is comprised of approximately 30 works and reveals how a diverse range of artists broke from the established landscape painting traditions of their predecessors to create a new visual language that profoundly changed the way landscape was perceived. Artists such as Marsden Hartley, John Marin, Alfred Maurer, Helen Torr and Marguerite Zorach all engaged with what was considered to be an unexceptional genre. One hundred years later the same innovative impulse has once again emerged in the works of contemporary artists Jo Baer, Lois Dodd, April Gornik, Shara Hughes, Alex Katz and Judy Pfaff who have again reinterpreted the landscape. Curated by Olga Dekalo.

LandEscape in In the News.
Image Credits:
Homepage image and above: Shara Hughes, The Not Dark Dark Spots, 2017, oil and dye on canvas, 68 x 60 inches, Private Collection, © Shara Hughes

Marguerite Zorach, Moonlight, 1910. Heckscher Museum of Art, Huntington, N.Y. Gift of the Baker/Pisano Collection.

April Gornik, Sun and Storm, 2006, oil on linen, 82 x 64 inches, Courtesy Danese / Corey, New York, © April Gornik.


Outrageous Ornament: Extreme Jewelry in the 21st CenturyOctober 21, 2018 – January 27, 2019

From the beginning of recorded time, jewelry has both articulated identity as well as heralded status. In recognition of the universal passion for and power of jewelry, the KMA opens the 2018 fall season with Outrageous Ornament: Extreme Jewelry in the 21st Century curated by Jane Adlin, who in her role of curator of modern and contemporary design at The Metropolitan Museum of Art, organized the Jewels by JAR and Cartier 1900-1939 exhibitions. In Outrageous Ornament, the KMA presents provocative work by internationally renowned artists which expand the boundaries and our understanding of personal adornment.

Photograph by Margaret Fox.
This exhibition is made possible in part through the generous support of Vickie Morris, Tony & Judy Evnin, Rochelle & Mark Rosenberg, and Deborah Mullin & John Chatzky.

Click here to see Outrageous Ornament highlighted in Ornament News.


PLAY & REWIND: Ode to Summer on Film August 12 – October 7, 2018

PLAY & REWIND: Ode to Summer on Film presents film and video installations that take on the form of repositories of images framed by the summer landscape. The title refers, in part, to ideas and images of play and recreation and also references the act of recalling and reminiscing about the past. Using both digital and analogue processes, the majority of the works allude to how images are constructed and their physicality. Also noteworthy, the majority of the artists in the exhibition take traditional approaches to media utilizing constructed and found materials, 3-D and slide projection, as well as 8mm and 16mm film that further inflect nostalgic overtones. These methods of storytelling hint at parallels between the act of reminiscing and the nature of working with film where scenes are cut, sequenced and often reordered to suggest meaning.
The works depict an array of subjects, predominantly youth, occupying settings such as the seaside, play yards and dramatic plains. Collectively they map geographies extending from the Hudson Valley to New England, Los Angeles, Puerto Rico and Europe. These settings undergo a transformation by the subjective and emotive lens of artists who span different generations and include luminaries such as the photographer Tina Barney and abstract painter Agnes Martin, whose only film, Gabriel, is on view. PLAY & REWIND also includes younger practitioners such as Trisha Baga, Phil Collins, Laida Lertxundi, Beatriz Santiago Muñoz and Cengiz Tekin.
The exhibition is organized by Olga Dekalo, Assistant Curator, and is made possible through the generous support of Vickie Morris, Amanda and Darrell Alfieri, and Dyllan McGee.
The public is invited to the exhibition opening night party with DJ and filmmaker Ephraim Asili. Light refreshments included. $10, members and children under 12 years free. Please check the Museum website for details and weather notifications. Click here for advance purchase and free member sign-up.
Beatriz Santiago Muñoz. Still from Otros Usos (Other Uses) detail, 2014. 16mm film transferred to video. Courtesy of the artist and Galería Agustina Ferreyra.


SIGNAL: Tri-State Juried ExhibitionJuly 1 – 29, 2018

Launched in 1992, the Tri-State Juried Exhibition is a triennial exhibition through which the KMA celebrates area artists as part of the Museum’s commitment to fostering creative thinking in its community. This year’s show, entitled SIGNAL, is juried by Lumi Tan, Curator at The Kitchen, one of New York City’s oldest and best-known nonprofit spaces showing innovative work by emerging and established artists across disciplines.
More than 200 artists submitted over 500 works for consideration. The juror selected 68 works by 59 artists for the exhibition, representing all media, including painting, photography, drawing, prints, sculpture, video, and mixed-media. On Saturday, June 30, the following prizes were awarded:
First Prize: Clare Kambhu (Croton, NY), Self Portrait, 2016. Oil on Masonite.
Second Prize: Beth Ganz (New York, NY), Celestial Navigation, 2017. Intaglio sugar lift, line etching, surface roll, digital map on kozo-shi paper, and paint.
Third Prize: Jaye Rhee (New York, NY), 6 Staves, 2013. Archival inkjet print on Hahnemuhle bamboo paper.
In the post-modern era, personal expression has been dismissed as an outmoded or trite directive for art-making; but within the current cultural moment, the capacity for personal expression feels both imperative and precarious. While highly visible platforms for expression online are almost universally accessible, how does that visibility affect how we express ourselves publicly? That same visibility has demonstrably affected our ability to communicate off-line and in person, as well as provoke crucial reflection on whose voices are amplified, and which are authentic. How can art—whether abstract or figurative— still serve as personal expression? How can one’s work successfully communicate to an audience through an exhibition? And how does the work position the artist within a larger community?

Long, Winding Journeys: Contemporary Art and the Islamic TraditionFebruary 25 – June 17, 2018

Long, Winding Journeys: Contemporary Art and the Islamic Tradition presents a focused look at a group of artists of Middle Eastern and South Asian descent whose work engages the diverse forms of Islamic visual tradition to explore religion, culture, and socio-political issues today. It takes its title from Pulitzer Prize-winning playwright Ayad Akhtar’s essay, The Breath of Miraj, a response to artist Shahzia Sikander work, Portrait of the Artist. The text speaks to the manner in which Islam and its history can inspire creative life to become a “long, winding journey.” It simultaneously serves as a metaphor for the travel of a visual tradition through time and its ability to nimbly adapt to an ever-changing world.

Long, Winding Journeys brings artists’ voices to the fore as they mine links between the seemingly distant past and contemporary experience. The works in the exhibition draw from centuries-old forms—such as calligraphy, miniature painting, geometric patterning, textiles, and architecture—that have come to define historical Islamic art. Employing this lineage, the artists explore the intersection of visual traditions and other kinds of inherited histories: the rich meaning and complex constraints of religious and cultural customs; rituals of spiritual practice; political upheaval and violent conflict; and diaspora’s effect on identity and belonging. Art of the past acts as a lens through which to view present-day experience.

Artists include Anila Agha, Faig Ahmed, Ammar Al Attar, Noor Ali Chagani, Khadim Ali, Shiva Ahmadi, Ghada Amer, Afruz Amighi, Nazgol Ansarinia, Nasser Al Salem, Fereydoun Ave, Shoja Azari, Ala Ebtekar, Monir Farmanfarmaian, Shadi Ghadirian, Babak Golkar, Susan Hefuna, Shirazeh Houshiary, Pouran Jinchi, Hayv Kahraman, Baseera Khan, Hassan Massoudy, Jordan Nassar, Shirin Neshat, Hadieh Shafie, Shahzia Sikander and Ayad Akhtar, Kurosh ValaNejad and Peter Brinson, and Imran Qureshi.

This exhibition is organized by Guest Curator, Elizabeth Rooklidge, with research assistance from curatorial intern, Caitlin Monachino, and Assistant Curator, Olga Dekalo.

Click here to download the exhibition brochure.

The exhibition is made possible in part by the generous support of Janet Benton, the Kathwari Family Foundation, Robin Simon, the Howard and Maryam Newman Family Foundation, Betty Himmel, Yvonne Pollack, Marilyn Glass, Vanessa Diebold, Katherine Moore, and Ellen and Bob Grimes.

Exhibition programming sponsored by a Humanities New York Action Grant.

Ala Ebtekar, Zenith V, 2014, acrylic over cyanotype on canvas, four panels 60 1/4 x 30 1/4 in. each. © Ala Ebtekar. Courtesy of the artist and The Third Line, Dubai.


Blanche Dolmatch: Landscape as MetaphorApril 24 - June 17, 2018

Since the 1960’s, Blanche Dolmatch has created order out of incomprehension. The artist draws on immensely layered and complex settings that she reduces to formal language. Incessantly uncanny and psychologically unsettling, the majority of her unoccupied worlds portray empty homes, motels, stations, theaters, and camps. These scenes transpire similarly—in mood and feel—in the absence of architecture. Seascapes depicting isolated monuments of nature—be they glaciers or islands—mirror the compositions of Dolmatch’s human-made structures in their scrupulous creation of balance. Symmetry extends to all corners of the artist’s landscapes with a centering element occasionally presenting a human figure.

Blanche Dolmatch. Motel with Pool, 2005. Acrylic, oil on canvas; Swimmer, 2004. Acrylic, oil on canvas.
Images courtesy the artist..



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