Get thee once again to galleries and museums, anywhere in the world.
ALMA W. THOMAS: EVERYTHING IS BEAUTIFUL
A retrospective of the artist whose abstract work reflects life’s exuberance is opening this month at the Chrysler Museum of Art in Norfolk, Virginia, and will travel to museums in Washington, D.C.; Nashville; and Georgia.
THE NEW WOMAN BEHIND THE CAMERA
The Metropolitan Museum of Art is showcasing the work of more than 120 female photographers from the 1920s to the 1950s—among them Florestine Perrault Collins and Lola Álvarez Bravo, who rejected ill-conceived stereotypes.
For their first major U.S. show, at the Asian Art Museum of San Francisco, the Tokyo-based art collective teamLAB has created whimsical digital ecosystems that depend on visitors’ movements, so no two viewings are the same.
In his debut exhibition for Gagosian in New York City, newly minted director and curator Antwaun Sargent conceives of space through a multifaceted Black imagination, including pieces from Titus Kaphar and Lauren Halsey.
At the American Museum of Natural History’s newly opened Mignone Halls of Gems and Minerals, all that glitters isn’t gold—it may be labradorite, emerald, or towering amethyst geodes. This summer it gleams with a survey of brilliant critter-inspired fine jewelry.
PETER BLAKE: TIME TRAVELLER
Spanning seven decades, Waddington Custot’s London show highlights the British artist’s keen exploration of collage and his role in the Pop art movement.
A museum of medieval art hosts an ultracontemporary concert series—on screens now.
“I was interested in showing the depth and breadth of electronic music,” says Limor Tomer, general manager of Live Arts at the Met and curator of the Sonic Cloisters, an electronic-music series featuring the pulse-raising works of Lost Souls of Saturn, Jlin, and Dubfire, which will roll out on the Met’s website and social platforms monthly through August. The through line between the performances, Tomer says, is “the deep connection between the music and the art”—paintings, illuminated texts, sculpture, tapestries, and four French cloisters brought to their current location in New York’s Washington Heights in 1938. Each musician chose a different area of the museum in which to film, from an intimate stone gallery to a vast space housing iconic sculptures, says Tomer; perfectly varied settings for the music’s “layered, complex compositional structures.”
Aria Dean, a forward-looking L.A.-born artist, critic, and curator whose solo exhibition “Suite!” is on view at REDCAT, shares what’s currently capturing her attention.