There’s already a lot to do in Bay View. With the biannual Bay View Gallery Night on Sept. 25, the list gets longer.
“Frosted Pink Lipstick Smeared All Over His Face” is an apt title for the huge installation opening the exhibition Material Fix. It is a cloud of bright, multicolored, printed fabric pieces rising weightlessly from the floor about 9 feet high. The giant assemblage, decorated by glitter, sequins and other shiny notions, is an explosion of floral patterns that draws back into the style of the 1960s or 1970s. It calls to mind the parlors and house dresses of older female relatives who, in their delight at young progeny in the house, are eager and cloying in their affections, reflected on years after childhood with sweet nostalgia.
From across the room, Jody Emery’s “Universe” catches light like a cosmos of stars twinkling in the night. Enamel paint glistens in a cloudy crush of three-dimensional texture that builds from the artwork’s surface. Approach more closely and see that this murky constellation is built from metal detritus of various chains, tool bits and other tough implements.
University of Nebraska at Lincoln’s Richards Hall houses a ceramics workshop, a fabrication space and the one-room Medici Gallery reserved for student work. The closest thing to a study lounge, however, is a couch in the hallway.
Haley Heesacker, 26, saw an opportunity to provide fellow fine arts students with a temporary study space, one that lends itself to learning about the classics.
New York’s Museum of Modern Art is devoting an entire floor to the sculptures of Pablo Picasso in the first major U.S. museum survey of his three-dimensional work in nearly 50 years.
From his earliest piece, a tiny terra cotta of a seated woman created in 1902, to a head of a woman made in 1964, “Picasso Sculpture” features more than 140 works on loan from private and public collections that showcase the scope, range and variety of his sculptures. They include his bronze “She-Goat” from 1950 and sheet metal and wire “Guitar” from 1914 from MoMA’s own collection.
Call it Art Nouveau for the high-tech age: landscape, light and sculpture merge in a cutting-edge exhibit at Madison’s Olbrich Botanical Gardens this fall.
“The projects are diverse and very exciting,” says David Wells, artistic director of GLEAM: Art in a New Light, which opens Sept. 2. “They’ll invigorate viewing. They will provide counterpoints to nature yet be engaged with the nature of the gardens themselves.”
The night is coming on in “Eventide at the Duchess’s.” The sky glows orange with an apocalyptic burn, familiar in the paintings of artist John Wilde (1919–2006). The sunset bathes a wild bunch of cavorting bodies. Some couples embrace and others face off, while in other vignettes single figures dot the improbable landscape. A woman lounges on a gigantic leaf as another balances on a beach ball floating in water, or on a head sticking up from the ground. In the distance, with striking nonchalance, is the painter who busies himself working at his easel.
Cultural commentators become transformative artists in Kelly Parks Snider’s Hidden in Plain Sight. Her new exhibition, decrying inequality of all kinds, makes collaborators out of nationally regarded political and social justice experts.
The multimedia show opened on Sept. 24 at the River Arts Center in Prairie du Sac, in south-central Wisconsin. It moves to Milwaukee on Jan. 17.
Art is created to educate and inform, to stimulate and inspire. In the case of Roger Ballen’s work, it also disturbs and, perhaps, even frightens.
Natasha Nicholson stands in the middle of “Studiolo,” an immense room filled with hundreds of arranged artifacts and found objects that replicates part of the Madison artist’s home studio. She looks around to make sure every piece of her collection is where it needs to be — to foster the artistic environment she considers critical to her work.
Art often reflects the most deeply held feelings and beliefs in the minds and hearts of artists — and, by extension, the audiences who view the work. Several new exhibits at Madison-area galleries speak to a variety of emotions, with many works even cathartic for their creators.