Untitled (Ventanita entreabierta) (1981).
Sánchez, who died in 1999, is acclaimed for his “architectural paintings” naturalist depictions of store facades and cityscapes that appear static. Dramatically colored and expressively lit, the works have drawn comparisons to Edward Hopper and Charles Sheeler, though Sánchez’s practice was rooted not in American urbanity but his native country of Cuba.
“This is a tremendous accomplishment, particularly given how long he had been unrecognized by the art community,” said Victor Deupi, a Cuban American teacher of architectural history at the University of Miami. “It’s a wonderful honor on many fronts because it gives so many voices to people of different races and ethnic backgrounds.”
1/29/2021
On Saturday, February 13, the Des Moines Art Center will open The Path to Paradise: Judith Schaechterâs Stained-Glass Art. Organized by the Memorial Art Gallery of the University of Rochester, the exhibition will be on view in the Anna K. Meredith Gallery through May 23, 2021. The Art Centerâs presentation of the exhibition is overseen by Curatorial Manager Laura Burkhalter.
The Path to Paradise: Judith Schaechterâs Stained-Glass Art is the first survey and major scholarly assessment of this groundbreaking artist’s 37-year career. From her start in the 1980s, Judith Schaechter (b. 1961) has stretched the medium of stained glass into an incisive art form for the twenty-first century, boldly paving her path in the diverse arena of contemporary art. With deep respect for history, a provocative rebelliousness and a feminist sensibility, Schaechter has aptly been called a âpost-punk stained-glass sorceress.â Her meticulous and awe-inspiring stained-g
Whistleblowers Spoke Up to Hold Art Institutions Accountable. Here’s What Happened to Them Afterward
Arts workers who publicized allegations of mismanagement discuss their motivations for speaking out against their employers and what came next.
January 26, 2021
For many whistleblowers who chose to share their experiences and allegations against their employers publicly, the fallout has been significant.
They finalized protest letters over cups of coffee and under the fluorescent lights of 24-hour diners. They teamed up with colleagues to organize unions in WhatsApp groups. And they called journalists in stairwells to raise allegations of abuse on the conviction that museums and galleries should be held accountable for hurtful practices.
Emma Amos retrospective on view at museum
January 25, 2021
She embodied intersectionality in her art “Emma Amos: Color Odyssey” will be on view at the Georgia Museum of Art Jan. 30-April 25. The retrospective solo exhibition shows her presence and growth as an artist, but also highlights the social change for which she fought.
The exhibition, organized by the Georgia Museum of Art at the University of Georgia, includes over 60 works Amos made over the course of her career, with the earliest from the late 1950s and the latest around 2015. It includes examples of painting, printmaking and textile-based mixed-media works, which she moved among and recombined regularly.