Now on view through July 20, 2020, the Solomon R. Guggenheim Museum (1071 Fifth Avenue, New York) presents Marking Time: Process in Minimal Abstraction ( Tower Level 7). Featuring a selection of nearly a dozen paintings and works on paper from the Guggenheim collection by Agnes Martin, Roman Opałka, Park Seo-Bo, and others, this presentation explores how artists operating in a variety of contexts foregrounded process as they forged new approaches to abstraction.
During the 1960s and 1970s, many artists working with abstraction rid their styles of compositional, chromatic, and virtuosic flourishes. As some turned toward such minimal approaches, a singular emphasis on their physical engagement with materials emerged. The resulting pieces—whether characterized by interlocking brushstrokes, a pencil moved through wet paint, or a pin repeatedly pushed through paper—invite viewers to imaginatively reenact aspects of the creative process. Doing so fosters an intimate understanding of these works, as it allows for interpretations based on an appreciation of the duration, intensity, and rhythm that each required. This focus on making process visible had become more prominent during the 1950s with the international rise of gestural abstraction, but it had never been accentuated so insistently nor made so accessible until artists began to explore its possibilities in the following decades.
Program Includes World Premiere of a New Work by Bryce Dessner Alongside Music by Philip Glass, Michael Gordon, Missy Mazzoli, Misato Mochizuki, Steve Reich, and Terry Riley
Cellist Paul Wiancko Joins the Quartet During Sunny Yang’s Maternity Leave
On Saturday, January 25 at 9:00 p.m., pioneering ensemble Kronos Quartet returns to Zankel Hall for a program that reveals the group’s remarkable gift for expanding the range and context of the string quartet. The evening includes the world premiere of Bryce Dessner’s Le Bois, a work based on Pérotin’s Sederunt principesand was inspired by the Notre Dame Cathedral and the 1,000-year-old wood ceiling that was lost in the fire there in the Spring of 2019. The new work was commissioned as part of 50 for the Future: The Kronos Learning Repertoire, an education and legacy project that is commissioning—and distributing online for free—50 new works for string quartet designed expressly for the training of students and emerging professionals. Other works on the program commissioned for the 50 for the Futureproject include Philip Glass’s Quartet Satz, Missy Mazzoli’s Enthusiasm Strategies, and Misato Mochizuki’s Boids.
In addition, the quartet performs iconic contemporary works including Michael Gordon’s Clouded Yellow, Steve Reich’s Different Trains, and selections from Terry Riley’s Sun Rings (“The Electron Cyclotron Frequency Parlour” and “One Earth, One People, One Love“), the Grammy-nominated recording recently released by Nonesuch Records. Paul Wiancko joins the Kronos Quartet as guest cellist during Sunny Yang‘s maternity leave.
For more than 45 years, San Francisco’s Kronos Quartet—David Harrington (violin), John Sherba (violin), Hank Dutt (viola), and Sunny Yang (cello)—has combined a spirit of fearless exploration with a commitment to continually reimagine the string quartet experience. In the process, Kronos has become one of the world’s most celebrated and influential ensembles, performing thousands of concerts, releasing more than 60 recordings, collaborating with many of the world’s most accomplished composers and performers, and commissioning over 1,000 works and arrangements for string quartet. Kronos has received over 40 awards, including the prestigious Polar Music Prize, Avery Fisher Prize, and Edison Klassiek Oeuvreprijs.
Integral to Kronos’ work is a series of long-running collaborations with many of the world’s foremost composers, including Franghiz Ali-Zadeh, Philip Glass, Nicole Lizée, Vladimir Martynov, Steve Reich, Terry Riley, Aleksandra Vrebalov. Additional collaborators have included Sam Amidon, Laurie Anderson, Asha Bhosle, Noam Chomsky, Rhiannon Giddens, Sam Green, Zakir Hussain, múm, Trevor Paglen, Van Dyke Parks, San Francisco Girls Chorus, Tanya Tagaq, Trio Da Kali, Mahsa Vahdat, Tom Waits, Wu Man, and Howard Zinn.
The Frist Art Museum and Fisk University Galleries present Terry Adkins: Our Sons and Daughters Ever on the Altar, concurrent presentations of sculptures, prints, installations, and video by the multidisciplinary and multimedia artist and musician, on view in the Frist’s Gordon Contemporary Artists Project Gallery from February 20 through May 31, 2020, and the Carl Van Vechten Gallery at Fisk University from February 20 through September 12, 2020. Presented forty-five years after Adkins’s graduation from Fisk, the exhibition pays special attention to the influence that his time in Nashville had on the late internationally acclaimed artist.
“This is the first exhibition of Terry Adkins’s work in Middle Tennessee, and we are excited to partner with the Frist Art Museum to co-present it,” says Director and Curator of Fisk University Galleries Jamaal Sheats. “A Fisk University alum, Adkins was a member of the jazz orchestra and a disc jockey for WFSK Jazzy 88 radio station. However, the Fisk Art Department was his home. He studied under the then chairman of the art department and director of galleries, historian, and artist David Driskell. Adkins has credited Aaron Douglas, who founded the art department 75 years ago, as igniting his interest in art. Today, I see Adkins’s work and career as a beacon for the arts tradition at Fisk.”
Fisk and the Frist will collaborate with the soon-to-open National Museum of African American Music to produce a multidisciplinary performance, featuring local talent inspired by Terry Adkins and his performance collective, the Lone Wolf Recital Corps.
Terry Adkins (1953–2014) was principally interested in the intersection of visual art, music, and African American history. First trained as a musician on guitar, saxophone, and other woodwinds, he approached his visual art practice from the perspective of a composer, often arranging series of works to create what he called “recitals,” many of which feature modified musical instruments or other salvaged materials. “One of his primary aims was to forge a link between music and art, reversing each discipline in order to make sculpture more ethereal and music more concrete,” says Frist Art Museum Curator Katie Delmez.
Throughout his career, Adkins also questioned the processes by which historical figures’ pasts become or do not become a part of the historical canon. “He mined African and African American histories for marginalized narratives and organized series of works devoted to either underrecognized figures or highlighted underrepresented aspects of well-known figures’ lives,” says Delmez. The works in Our Sons and Daughters Ever on the Altar pay tribute to the legacies of several influential and enigmatic figures, such as Jimi Hendrix, Bessie Smith, Dr. George Washington Carver, and Dr. W.E.B. Du Bois.
On View At The Frist Art Museum The “recital” Principalities is dedicated to Jimi Hendrix and his service as a paratrooper in the 101st Airborne Division of the U.S. Army at nearby Fort Campbell, Kentucky. A centerpiece of the series, Cloud, is a work comprising a white parachute hung above a rack of kimonos. Referencing the Hiroshima and Nagasaki bombings, it underscores the tragic history of war. Flumen Orationus, a video pairing Hendrix’s 1970 anti-war protest song “Machine Gun” with Dr. Martin Luther King Jr.’s 1967 speech “Why I Am Opposed to the War in Vietnam,” will also be featured.
Hailed as one of Asia’s most revered dining destinations since opening its doors in 1928, The Peninsula Hong Kong received a double seal of approval from the Michelin Guide Hong Kong Macau 2020. World-renowned French fine-dining institution Gaddi’s was awarded one Michelin star, and refined Cantonese restaurant Spring Moon garnered a coveted Michelin star for the fourth consecutive year.
Acclaimed by guests and gastronomes the world over since opening in 1953, Gaddi’s is consistently commended as one of the city’s most sophisticated French fine-dining restaurants. Leading Gaddi’s golden culinary trio is Chef Albin Gobil, who transports guests on captivating epicurean adventures brimming with creativity and refinement. Chef Gobil describes his cooking style as “modern classic” with a deceptively simple and elegant approach to his gastronomic art. Striving to combine the best of past and present, Restaurant Manager Michele Drusacchi ensures that Gaddi’s sumptuous interiors and superlative cuisines are matched by impeccable service. Chief Sommelier Bojan Radulovic is a passionate storyteller who enriches each dining experience with expert anecdotes about more than 700 labels from the world’s leading vineyards on the extensive wine list.
From December 18, 2019, through August 2020, the Solomon R. Guggenheim Museum presents The Fullness of Color: 1960s Painting (Tower Level 5). Featuring a selection of paintings by Helen Frankenthaler, Morris Louis, Kenneth Noland, Alma Thomas, and others, this exhibition draws primarily from the Guggenheim’s collection and explores the varied and complex courses nonrepresentational art followed in the 1960s and into the 1970s, including those characterized as Color Field, geometric abstraction, or hard-edge painting.
By the 1960s many American and international artists were pushing abstraction in new directions, exploring a range of formal possibilities and liberating uses of color in their work. This shift—which occurred in the wake of Abstract Expressionism, the largely gestural and emotive movement that had dominated the post–World War II art world—yielded a number of divergent styles. Helen Frankenthaler, who in 1952 had pioneered the “soak-stain” technique, now regularly applied thinned acrylic washes to unprimed cotton canvas, richly saturating it like a dye. Others similarly treated figure and ground as one and the same. Morris Louis, Kenneth Noland, and Jules Olitski, for instance, methodically poured, soaked, or sprayed paint, producing compositions with a more systematic appearance than those of their Abstract Expressionist forbearers. While Alma Thomas also adeptly applied color theory throughout the 1960s and beyond, she nonetheless continued to create expressive marks and draw upon her observations of the natural world. Still other painters approached relationships of form and color through investigations of optical perception or through more precise, geometric languages that, as Guggenheim curator Lawrence Alloway described in 1966, “combined economy of form and neatness of surface with fullness of color.” The present exhibition reflects on the museum’s engagement with this vibrant period.
The Fullness of Color is organized by Megan Fontanella, Curator, Modern Art and Provenance, with support from Indira Abiskaroon, Curatorial Assistant, Collections. Major support for the exhibition is provided by Barbara Slifka and LLWW Foundation.