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Phoenix Art Museum
1625 N. Central Avenue
Phoenix, AZ 85004-1685
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Teresita Fernández: Elemental
Through July 26, 2020
Katz Wing for Modern Art

Teresita Fernández: Elemental is the first major traveling exhibition and the first mid-career survey of works by contemporary artist Teresita Fernández, considered one of the most innovative artists of her generation.

Co-organized with Pérez Art Museum Miami (PAMM), the retrospective showcases more than 50 large-scale sculptures, installations, and mixed-media wall works created by Fernández over two decades, offering Arizona audiences the opportunity to experience her evocative creations that reinterpret the relationships between nature, history, and identity.

Based in New York, Fernández was born in Miami in 1968 to Cuban parents. She is renowned for her prominent public artworks and experiential sculptures, and through her practice, she explores perception and the psychology of looking, regularly manipulating light and space to create immersive, intimate, and unpredictable spaces. Using a range of materials, including silk, graphite, onyx, mirrors, glass, and charcoal, her minimalist yet substantive installations and sculptures often evoke landscapes, the elements, and various natural wonders, including meteor showers, cloud formations, and the night sky. Her recent body of work contrasts the sublime nature of traditional landscapes with the current politically charged climate of the United States and addresses social issues such as the challenges of democracy.

Fernández, who has created site-specific commissions for such public spaces as Harvard College, Madison Square Park, and Olympic Sculpture Park in Seattle, received the Guggenheim Fellowship in 2003. In 2005, she was named the MacArthur Foundation Fellow for integrating architecture, color, and light into constructed, contemplative spaces. Solo exhibitions of her work have been organized at the Massachusetts Museum of Contemporary Art (North Adams, Mass.); Museum of Contemporary Art North Miami (Fla.); and Modern Art Museum of Fort Worth (Texas), among others. Her work is featured in various international public and private collections, including The Museum of Modern Art (N.Y.); Museum of Fine Arts, Boston (Mass.); Israel Museum (Tel Aviv, Israel); and San Francisco Museum of Modern Art (Calif.).

Teresita Fernández: Elemental is organized by Phoenix Art Museum and Pérez Art Museum Miami (PAMM), and curated by Amada Cruz, the Sybil Harrington Director and CEO of Phoenix Art Museum; Franklin Sirmans, Director of Pérez Art Museum Miami; Gilbert Vicario, the Selig Family Chief Curator of Phoenix Art Museum; and María Elena Ortiz, Assistant Curator of Pérez Art Museum Miami. The exhibition will be accompanied by a fully illustrated, bilingual publication featuring scholarly texts written by the exhibition curators and additional contributors. The publication is designed by McGinty, Inc. and co-published with DelMonico Prestel Books.

EXHIBITION SPONSORS
Its premiere at Phoenix Art Museum is made possible through the generosity of the Ford Foundation, The Diane and Bruce Halle Foundation, Virginia G. Piper Charitable Trust Exhibition Endowment Fund, Meredith and Charles von Arentschildt, National Endowment for the Arts. Additional support is provided by Lee and Mike Cohn.

Color Vibrations
Through January 31, 2021
Lyon Gallery

Spanning from the mid-1940s to the late 1990s, Color Vibrations presents an overview of abstract painting and printmaking that takes into account the artist’s various perspectives—personal, political, and philosophical.

Artist Arshile Gorky described abstraction as a way for individuals to see with their mind rather than their eyes. The process of translating the world into geometric shapes and gestural markings is different for every artist. Spanning from the mid-1940s to the late 1990s, Color Vibrations presents an overview of abstract painting that takes into account the artist’s various perspectives—personal, political, and philosophical.

Mirroring the way we flow through different emotional states, the installation reflects a range of human experiences. From the chaos of Karel Appel’s stormy lithograph, Dans le Tempete, to the serene structure of Agnes Martin’s Untitled grids, each work of art represents a transformative moment conveyed through the artist’s distinctive visual language.

This exhibition is the product of a collaboration between nearly 20 distinct perspectives and imaginations. Curated over a six-month period, teens from the Phoenix Art Museum’s Teen Art Council (TAC) worked with Marissa Del Toro, Diversifying Art Museum Leadership Initiative (DAMLI) Curatorial Fellow for the Contemporary Art Department, and Linda Alvarez, Teen Program Coordinator, with curatorial assistance by Melovee Easley, DAMLI Curatorial Fall 2019 Intern.

Teen Art Council:

Laiba Ali
Yareli Barragan
Marin Benjamin
Amrita Chakladar
Zoe Danielson
Faith Doyle
Jasmine Thalia Garcia
Jacob Koster
Frances LaBianca
Morgan Laszlo
Eva Pruitt
Asha Ramaswamy
Dion Romero
Susan Wong
Brian Xi

Teen programs are made possible through the generosity of the Carstens Family Funds. They are made possible, in part, through The Diversifying Art Museum Leadership Initiative, funded by the Walton Family Foundation and the Ford Foundation, and supported by Thunderbirds Charities.

India: Fashion’s Muse
February 29 through June 21, 2020

New fashion exhibition at Phoenix Art Museum explores the history of India’s enduring influence on Western fashion

India: Fashion’s Muse illuminates the region’s significance as a source of inspiration for Western designers across centuries

From February 29 through June 21, 2020, Phoenix Art Museum will present India: Fashion’s Muse, an exhibition examining the ways in which Indian dress, aesthetic, and artwork have inspired Western fashion designs from streetwear to couture. Spanning the 19th to the 21st centuries, the exhibition showcases nearly 40 garments and more than 20 accessories drawn from the collection of Phoenix Art Museum and on loan from private collectors and museums. Featured designs include the paisley shawl, the sari, and the Nehru jacket, with traditional Indian garments exhibited alongside modern works by Indian fashion designer Anamika Khanna and Western designers such as McQueen, Givenchy, and Versace. Curated by Helen Jean, the interim curator of fashion design of Phoenix Art Museum, the exhibition will also present complementary artworks from the Museum’s Asian art collection and a four-minute film on Yves Saint Laurent’s 1982 collection, which was inspired by Indian design.

“Phoenix Art Museum is excited to present India: Fashion’s Muse to our audiences in Arizona,” said Gilbert Vicario, the Museum’s Deputy Director for Curatorial Affairs and the Selig Family Chief Curator. “This exhibition explores how international designers have been inspired by and adapted Indian silhouettes, trends, and more into their creations over the past century. India: Fashion’s Muse will also open a window onto the current Indian fashion scene that is redefining the future of style and innovation for a global audience.”

India: Fashion’s Muse features ensembles and accessories from the 19th through the 21st centuries. Drawing primarily from the Museum’s renowned fashion collection, Jean selected garments that illustrate how fashion designers have referenced imagery, color palettes, and silhouettes from India for their Western clientele. Featured designs include vintage and contemporary interpretations of the sari; menswear, including the Nehru collar and the Sikh turban; and accessory cases showcasing a collection of gold jewelry from local collectors and Judith Leiber purses, on loan from the private collection of Kelly Ellman, who in 2006 endowed the Kelly Ellman Fashion Design Gallery in which the exhibition will be presented.

Visitors will also be able to view the U.S. premiere of I Thought I Was Dreaming, a four-minute film by award-winning artist Sarah Singh featuring Kirat Young, widely- known as India’s first supermodel, and based on the 1982 collection by Yves Saint Laurent that was inspired by India. Presently Singh showcases her work in museums, galleries, think tanks, and universities around the world and, in 2018, launched a new international arts salon in India for concept -driven experiences. The film, which presents a kaleidoscopic world of reflected images as an interpretation of culture, will be shown as a continuous screening within the exhibition.

“India has inspired Western fashion designers for hundreds of years, and this exhibition tells a small but integral part of that very complex story,” said Jean. “With today’s growing awareness about the impact of cultural appropriation by the West, there is greater opportunity to examine how we can better respect those cultural elements in an increasingly globalized world. My hope is that after viewers experience the exhibition, they will be encouraged to look in their own closets, wonder about the origins of their clothes, and research the history of designs and silhouettes they are drawn to in an effort to become more informed about their choices.”

Joseph Cornell: Things Unseen
January 25 – July 12, 2020
Orme Lewis Gallery

Despite a lack of formal art training, Joseph Cornell enjoyed a career spanning five decades, exhibiting in major New York City galleries alongside some of the most prolific avant-garde artists of the 1940s, ’50s, and ’60s, including Marcel Duchamp, Salvador Dalí, Jackson Pollock, Mark Rothko, Willem de Kooning, Franz Kline, Robert Rauschenberg, and Cy Twombly. Inspired by Duchamp’s use of the readymade, Kurt Schwitters’ signature collages, Paul Klee’s childlike perspective, Andy Warhol’s repetitive imagery, and Rauschenberg’s combines, he created an expansive body of work that features collages, films, graphic designs, and his renowned glass-paneled shadow boxes, which he once referred to as “poetic theaters.”

Featuring 12 two-sided collages, two unlidded boxes filled with rolled paper and spools of thread, and one shadow box, Joseph Cornell: Things Unseen enables viewers to discover how Cornell used progressive art forms to explore surrealist concepts of memories, fantasies, and dreams, all while examining themes of childhood, nature, sensuality, non-linear time, and nostalgia for days gone by.

Joseph Cornell: Things Unseen is organized by Phoenix Art Museum. It is made possible through the generosity of the Museum’s Circles of Support and Museum Members.
Ansel Adams: Performing the Print
January 11 through June 7, 2020

From January 11 through June 7, 2020, Phoenix Art Museum will present Ansel Adams: Performing the Print, an exhibition of works by one of the 20th century’s foremost photographers, in the Doris and John Norton Family Photography Gallery. Featuring 60 photographs drawn from the Ansel Adams Archive at the Center for Creative Photography (CCP) at the University of Arizona, Performing the Print spans six decades and presents sets of prints grouped in twos and threes to demonstrate how Adams often created multiple prints of varying interpretations from his own negatives. The exhibition is the most recent collaboration between Phoenix Art Museum and CCP, which was co-founded in 1975 by Adams and then-University of Arizona president John Schaefer.

“We are pleased to present Ansel Adams: Performing the Print to our audiences in Arizona,” said Gilbert Vicario, the Museum’s Deputy Director for Curatorial Affairs and the Selig Family Chief Curator. “The exhibition offers an intimate view into Adams’ artistic process that will intrigue both longtime admirers of his work as well as those who will experience his photographs for the first time in our galleries.”

An acclaimed photographer best known for his black-and-white images of the American West, Adams famously said that the photographic negative is like a composer’s score while the print is the performance. In Performing the Print, the artist’s choices about cropping, brightness, and overall contrast are illuminated, as multiple prints created using the same negative are showcased side by side, with several accompanied by quotations from the artist’s writings sourced from various publications to provide context. For example, a portrait of Nobutaro Harry Sumida, a naval veteran of the Spanish-American war who was the oldest resident at the Manzanar War Relocation Center in the early 1940s, is accompanied by the artist’s notes on the Japanese-American internment camp. The pairing documents an important aspect of American history while demonstrating the link between Adams’ printed works and written word.

The exhibition also features portraits of painter Georgia O’Keeffe and photographer Alfred Stieglitz, well-known images of national parks such as Yosemite National Park and Sequoia National Park, and photographs from Hawaii, Cape Cod, and Alaska. In addition, viewers are invited to examine Adams’ role as an educator, while considering how his approach evolved as his own perspective, available materials, and the field of photography transformed during his lifetime.

“The photographs in Performing the Print highlight Adams’ sensitivity as a photographic printer,” said Rebecca A. Senf, PhD, chief curator at the Center for Creative Photography, who formerly served as the Museum’s Norton Family Curator of Photography, and author of a forthcoming book on the artist entitled Making a Photographer: The Early Work of Ansel Adams. “Viewers are encourarged to discover how each hand-made print portrays a landscape expressed through the lens of Adams’ imagination.”

Over the past 13 years, the Museum and CCP have organized nearly 40 exhibitions, bringing outstanding works of 20th century and contemporary photography to wider audiences in Arizona. Ansel Adams: Peforming the Print is the first exhibition at Phoenix Art Museum solely devoted to the renowned American photographer since The Process and the Page in 2014.

About the Exhibition
Ansel Adams: Performing the Print will be on view from January 11 through June 7, 2020 in the Doris and John Norton Gallery for the Center for Creative Photography. The exhibition is organized by the Center for Creative Photography and Phoenix Art Museum. It is made possible through the generosity of the Museum’s Circles of Support and Museum Members.

About the Center for Creative Photography
The Center for Creative Photography is recognized as one of the world's finest academic art museums and study centers for the history of photography. The Center opened in 1975, following a meeting between then University President Dr. John Schaefer and world-renowned photographer Ansel Adams. Beginning with the archives of five living master photographers—Ansel Adams, Wynn Bullock, Harry Callahan, Aaron Siskind, and Frederick Sommer—the collection has grown to include 270 archival collections. Among these are some of the most recognizable names in 20th century North American photography: Lola Álvarez Bravo, W. Eugene Smith, Edward Weston, and Garry Winogrand. Altogether there are over eight million archival objects in the Center's collection including negatives, work prints, contact sheets, albums, scrapbooks, correspondence, writings, audiovisual materials and memorabilia. In addition to whole archival collections the Center also actively acquires individual photographs by modern and contemporary photographers. There are currently more than 110,000 works by over 2,200 photographers. A library of books, journals, and exhibition and auction catalogs including many rare publications plus an extensive oral history collection complements the archival and fine print collections. The combined art, archival, and research collections at the Center provide an unparalleled resource for research, exhibitions, loans, and traveling exhibitions. The Center has a full schedule of exhibitions, programs, and events designed to deepen an understanding of how the medium impacts society. For more details, as well as information on Center membership and ways to get involved visit ccp.arizona.edu/home.

Yayoi Kusama: You Who Are Getting Obliterated in the Dancing Swarm of Fireflies
December 20, 2019 - December 31, 2020
Katz Wing for Modern Art

Yayoi Kusama’s You Who Are Getting Obliterated in the Dancing Swarm of Fireflies is one of the artist's more whimsical works. Inspired by a Japanese folktale about a person in a field with 10,000 fireflies, Kusama's work brings the fairy tale to life. Beginning with drawings and paintings, Yayoi Kusama’s work transformed from 2-D pieces to large-scale installations, symbolic of the obsessive and massive nature of her ideas. Subsequently, Kusama’s art began to take large forms and often covers and utilizes entire rooms and spaces.

The piece is a dark room lined with mirrors on every surface and strands of looping LED lighting suspended from the ceiling. This deceptively small room feels as if it’s a vast, infinite galaxy of lighting and allows the viewer to enter and be surrounded, or obliterated by Kusama’s fireflies.

Yayoi Kusama’s Infinity Mirror Room explores the psychedelic sensations of the ‘self’ and the artist’s ongoing hallucinations that started when she was a child. In this work, Kusama’s repetitive and extensive use of polka dots, mirrors, and LED lights explores infinite repetition and encourages you to ‘obliterate’ your personality and become one with eternity.

A pioneer of perceptual experiences, Kusama expresses a complex balance between her psychological obsessions and her aesthetic control over them. In the late 1950s, she left Japan for New York City. Her work spans paintings, performances, installations, sculptures, films, fashion, and literary works. They transcended the Pop and Minimalist movements of the twentieth century and reflect the mind-altering spirituality of hippie culture.

Yayoi Kusama: You Who Are Getting Obliterated in the Dancing Swarm of Fireflies is made possible through the generosity of donors to the Museum's annual fund.


El cuarto infinito de espejos de Yayoi Kusama explora las sensaciones psicodélicas del sí mismo, y también las alucinaciones continuas que la artista ha experimentado desde niña. El uso repetitivo e intenso de los lunares, los espejos, y las luces LED investiga la repetición infinita, y te invita a obliterar tu personalidad y hacerte uno con la eternidad.

Una pionera de las experiencias conceptuales, Kusama expresa un complejo equilibrio entre sus obsesiones psicológicas y el dominio estético que ejerce sobre ellas. Dejó a Japón en los 1950 para la Ciudad de Nueva York. Sus obras abarcan la pintura, el performance, las instalaciones, la escultura, el cine, la moda, y las obras literarias. Trascendieron los movimientos pop y minimalista del sigo XX, y llegaron a reflejar la espiritualidad alucinante de la cultura hippie

Still Life: Ordinary Pleasures
December 21, 2019 - Sunday, November 27, 2020
Tooker

Poet Mark Doty observed that "in a still life, there is no end to our looking, we look in and in…. as long as we can stand to look, as long as we take pleasure in looking." One of the most fundamental of artistic genres, the still life remains a staple of beginning art classes. When Elaine Fried arrived at Willem De Kooning's studio in 1938 for her first private lesson, he set up a grouping of ordinary objects including a coffee pot, a large shell, a yellow cup, a blue cotton shirt, and an army blanket. She painted these compositions for months and found the experience to be transformative. "I really felt as though I could spend my entire life painting still lifes and express everything I wanted to express through them," declared Fried. For artists, still life "models" are both handy and free ways to explore spatial relationships. For viewers, the intimate scale of a tableau of inanimate objects reward the process of looking and observing.

Still Life: Ordinary Pleasures is organized by Phoenix Art Museum. It is made possible through the support of the Henry Luce Foundation.

Naturaleza Muerta: Placeres Ordinarios
El poeta Mark Doty expresó que "en la naturaleza muerta, no hay un fin a nuestra observación, observamos adentro y más adentro… mientras podamos tolerar el observar, mientras que nos deleitemos en observar.” Uno de los géneros artísticos más fundamentales, la naturaleza muerta continúa siendo una base de las clases de arte para principiantes. Cuando Elaine Fried llegó al estudio de Willem De Kooning en 1938 para su primera clase privada, El organizó una serie de objetos ordinarios que incluían una cafetera, una concha grande, una taza amarilla, una camisa azul de algodón, y una cobija militar. Ella pintó estas composiciones por meses y descubrió que la experiencia fue transformadora. “Realmente me sentí como si pudiese pasarme toda la vida pintando naturaleza muerta y expresando todo lo que quería expresar a través de ellas,” declaró Fried. Para los artistas, “modelos” de naturaleza muerta son maneras prácticas y gratuitas de explorar las relaciones espaciales. Para los espectadores, la escala intima de un cuadro de objetos inanimados premia el proceso de ver y observar.

[Re]purposed
Yhrough August 30, 2020

The artists who created the works in this gallery saw new possibilities in ordinary things. From plastic toys to dried bugs and leftover spaghetti, the materials these artists chose to use stretch our understanding of what art is and how to make it. The textures, histories, and colors of what some might consider trash spark creativity in others. Start here and as you explore other parts of the museum, continue looking for ways that artists give everyday objects a new purpose.

Why do you think these artists chose the materials they did?


[Re]ulitizado
Los artistas que crearon las obras en esta galería visualizaron nuevas posibilidades en cosas ordinarias. Desde juguetes de plástico hasta insectos disecados y sobras de espagueti, los materiales que estos artistas eligieron expanden nuestro entendimiento de lo que es arte y como hacerlo. Las texturas, las historias y colores de lo que algunas personas pueden considerar como basura pueden provocar destellos de creatividad en otras. Empiece aquí y según vaya explorando otras partes del museo, continúe observando en que maneras los artistas han dado un nuevo propósito a objetos cotidianos.

¿Por qué cree usted que los artistas eligieron los materiales que eligieron?

PhxArt60: The Past Decade
Through January 26, 2020

Between 2009 and 2019, the permanent collection of Phoenix Art Museum has experienced incredible growth. This exhibition showcases select works of art acquired ten years after the Museum’s 50th anniversary. The Past Decade demonstrates the Museum’s firm commitment to diversity and artistic excellence through a careful selection of works from the departments of modern and contemporary art, Latin American art, American art, Asian art, and fashion design.

Of particular note is the Museum’s recent decision to acquire historic photographic works that complement our permanent collections. In this installation, we celebrate the artistic genius of Aaron Siskind, Harry Callahan, and Bruce Davidson, photographic masters whose work remains relevant to this day. Furthermore, the arrangement of art works in The Past Decade opens up the possibility for interdepartmental conversations to emerge as a way of engaging a contemporary, globalized view of visual culture.


PhxArt60: La década pasada
Entre 2009 y 2019, la colección permanente de Phoenix Art Museum (el Museo de Arte de Phoenix) ha experimentado un increíble crecimiento. Esta exposición muestra obras de arte adquiridas después del 50 aniversario del Museo. La década pasada demuestra el firme compromiso del Museo con la diversidad y la excelencia artística a través de una cuidadosa selección de obras de los departamentos de arte moderno y contemporáneo, arte latinoamericano, arte norteamericano, arte asiático y el diseño de moda.

De particular interés es la reciente decisión del Museo de adquirir obras fotográficas históricas que complementan nuestras colecciones permanentes. En esta instalación, celebramos el genio artístico de Aaron Siskind, Harry Callahan y Bruce Davidson, maestros de fotografía cuyos trabajos siguen siendo relevante hoy en día. La disposición de las obras de arte en La década pasada además abre a la posibilidad para conversaciones interdepartamentales como una forma de involucrar una visión contemporánea y globalizada hacia la cultura visual.Legends of Speed will feature more than 20 iconic cars driven by Mario Andretti, A.J. Foyt, Stirling Moss, and others, and will include winners of 24 Hours of Le Mans and the Indianapolis 500

GURU NANAK: 550th BIRTH ANNIVERSARY OF SIKHISM’S FOUNDER
August 17, 2019 - March 20, 2020
Art of Asia galleries: Khanuja Family Sikh Heritage Gallery

At the very foundation of Sikhism is the recognition that God is One; an eternal and all-pervasive unity; which was a radical concept in medieval Indian society. The second tenet is that all Creation is equal, without distinction by caste, creed, gender or station in life. In the words of its founder Guru Nanak, “I see no stranger.” The First Guru, Guru Nanak (1469-1539), was a learned man, a philosopher and poet, yet his message was clear and plain and meant for everyone. The Divine is found through humility, service and an affirmation of beauty and joy in everyday life. The Sikh path to the Divine is dwelling upon his name in communal hymns, searching for truth within ourselves, earning an honest living, sharing with those in need, and caring for one’s family.

JANAM SAKHI
Janam Sakhi refers to literature related exclusively to the life and teachings of Guru Nanak. According to scholarly research on Janam Sakhi, they are neither hagiographies nor biographies. However, careful appraisal of them reveal that the compilers of these texts strove to lend authenticity and historical credibility to the anecdotes by inserting quotations from the hymns of Guru Nanak and his successors as enshrined in the Sikh scriptures or Guru Granth Sahib. Many of these attest to his wise words and poetic nature as well as miraculous happenings and visions. During his lifetime, Guru Nanak traveled an estimated 20,000 miles on four trips to many parts of Asia and the Middle East. His experiences influenced the formation of his religious principles. Depictions of these stories are meant to be instructional rather than devotional.From November 3, 2019 through March 15, 2020, Phoenix Art Museum will present Legends of Speed , the Museum’s first major exhibition of racing cars. Legends of Speed will showcase an unprecedented selection of more than 20 cars spanning six decades and driven by some of the greatest drivers in the history of racing, such as A.J. Foyt, Mario Andretti, Dan Gurney, and Stirling Moss. The exhibition will include winners of 24 Hours of Le Mans, the Indianapolis 500, and the Italian Grand Prix, and featured marques will include Maserati, Ferrari, Mercedes-Benz, Alfa Romeo, Ford, and Bugatti. Phoenix Art Museum will be the sole venue for this landmark exhibition.
Crickets, Tea, and Snuff: Chinese Intellectual Pursuits
Through March 29, 2020
Art of Asia galleries

In traditional China, the literati, or educated class, set the standards for aesthetic taste and leisurely pursuits, many of which are still practiced today. Through a diverse selection of objects, this exhibition introduces viewers to a number of these preferences and interests.

Crickets were the ideal pet for members of the Chinese upper classes and imperial court because of their soothing sound and their ability to be transported in elegant, portable cages. Viewers will have the opportunity to examine various gourd cricket cages donated to the Museum by Amy S. Clague.

The beverage of connoisseurs in China and still widely consumed today, tea is considered beneficial, stimulating the mind, cleansing the blood, and aiding in digestion. As a result, tea vessels hold a special significance. For centuries, the town of Yixing was known as the central producer of unglazed teawares, and a collection of Yixing teawares, donated to the Museum by James T. Bialac, is showcased in the exhibition.

The practice of inhaling snuff, or aromatic tobacco ground into a fine powder, for a jolt of nicotine originated in the Americas but took hold in China during the 17th century. Made of stone, porcelain, lacquer, and other materials, snuff bottles were symbols of status, wealth, and taste in China. The exhibition features a selection of Chinese snuff bottles, donated to the Museum by Deborah G. Carstens.

Crickets, Tea, and Snuff: Chinese Intellectual Pursuits is organized by Phoenix Art Museum. It is made possible through the generosity of Amy S. Clague, James T. Bialac, Deborah G. Carstens, and donors to the Museum’s annual fund.“We are very excited to bring this remarkable collection of racing cars to Phoenix Art Museum,” said Gilbert Vicario, the Museum’s Deputy Director for Curatorial Affairs and the Selig Family Chief Curator. “Legends of Speed will enable our community to explore the artistry and design of these iconic cars, while learning about some of the greatest races and race car drivers in history. This exhibition is truly a once-in-a-lifetime opportunity to experience many of the world’s most famous and successful race cars all in one place.”

Clay And Bamboo: Japanese Ceramics and Flower Baskets
August 10, 2019 – March 29, 2020
Art of Asia galleries

Featuring recent loans and gifts from Carol and Jeffrey Horvitz and Sanford and Beth Hoffman, this exhibition of contemporary Japanese ceramics examines how artists transcend functionality, gender, and material to create pieces that are modern yet rooted in tradition. Examples of basketry used for ikebana floral arrangements are also showcased and share a similar rustic and natural aesthetic.

Clay and Bamboo: Japanese Ceramics and Flower Baskets is organized by Phoenix Art Museum. It is made possible through the generosity of Carol and Jeffrey Horvitz, Sanford and Beth Hoffman, and donors to the Museum’s annual fund.About the Exhibition
Special Installation: Philip C. Curtis and the Landscapes of Arizona
Through November 15, 2020
North Wing

Landscape remains one of the most popular subjects for artists visiting and residing in Arizona. Philip C. Curtis, while not known as a landscape painter, draws extensively on that subject. Curtis came to the state in 1937 to establish the Phoenix Federal Art Center under the Federal Art Project, a New Deal program. He left two years later to head a similar facility in Des Moines, Iowa, but returned to Arizona in 1947. Settling in Scottsdale, he painted surreal compositions, with figures in Victorian costumes set in the desert. Arizona’s landscapes were a rich source of inspiration for him, and while his canvases do not portray any recognizable geological features, his work may be contextualized within the work of a broad spectrum of artists who came to the state. Curtis saw the desert through a lens of magic realism. This differed from Maxfield Parrish, Eugene Berman, and other artists who preferred more representational modes.

Special Installation: Sublime Landscapes
Through June 14, 2019
North Wing

Spurred by the artists from the North East who comprised the Hudson River School, landscape painting was one of the most popular subjects in nineteenth-century America. Pushed ever westward by expansionist notions of Manifest Destiny, a belief that such territorial expansion was inevitable and pre-ordained. Painters were also part of government initiatives to survey the vast region, particularly in regards to potential railroad routes and to learn about the indigenous populations they encountered.

Adventurous artists sought landscape subjects beyond the continental United States, some traveling to the Arctic, where they found immense icebergs and the Aurora Borealis (these were dangerous journeys). Artists visited equatorial South America where they thrilled to the sublime vistas and smoldering volcanos they discovered. The Amazon and the Andes were rich sources for exotic paintings. Many regarded South America as “a land of scientific wonders, golden riches, and edenic innocence.” J.P. Reichardt’s Latin American Scene of 1866 captures the attraction of humid locales very different from North America.

Special Installation: Western Art Associates: Celebrating 50 Years
Through October 15, 2020
North Wing

Western Art Associates, established in 1968 as a support group of Phoenix Art Museum, has generously made possible the acquisition of fifty-three works for the Museum’s collection, all on display in Celebrating 50 Years. Its impetus was the purchase of Pink Abstraction (1929) by Georgia O’Keeffe, which prompted several influential Phoenicians to observe that if the museum had wanted a painting by this artist, it should have been one of her Western paintings.

The focus of the group has been the historical and contemporary art of the Western United States portraying cowboys, American Indians, and landscape. Their first purchase was Maynard Dixon’s Watchers from the Housetops in 1973. Thereafter, the group made possible the acquisition of significant works for the Museum’s collection nearly every year. Most recent is the 50th Anniversary purchase of Emil Bisttram’s stunning Ranchos de Taos Church (in partnership with Men’s Arts Council). Members of Western Art Associates had a strong interest in contemporary Western art, and for 37 years, between 1973 and 2010 were involved with the annual exhibition and sale of the Cowboy Artists of America, founded in Sedona in 1965.

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