Art & Art History News - September 18, 2024

The Appearance: Art of the Asian Diaspora in Latin America & the Caribbean
On view: September 4 through December 14, 2024
Art at Americas Society

The Appearance: Art of the Asian Diaspora in Latin America & the Caribbean is the first exhibition in New York City to center the artistic production of the Asian diaspora in the regions from the 1940s to the present. Focusing on postwar and contemporary art, the exhibition showcases the work of thirty artists from fifteen countries working in a range of artistic mediums including painting, sculpture, performance, photography, and video, to shed light into strategies and themes that resonate across a wide array of Asian diasporic practice throughout Latin America and the Caribbean.

Legacies: Asian American Art Movements in New York City (1969-2001)
On view: September 11 – December 20, 2024
NYU Steinhardt

Legacies: Asian American Art Movements in New York City (1969-2001) is an expansive survey of rarely-seen artwork and archival material by artists that constitute and exceed “Asian American,” a label denoting a cultural and national identity invented in 1968. Utilizing an interdisciplinary and research-driven praxis, Legacies uncovers how artists of Asian descent have historically negotiated identity in America as a set of situated practices and institutional structures amidst transnational diasporas, racial phantasms, and political imaginaries.

Marina Kassianidou is participating in the group exhibition Encounters on Canvas at Herakleidon Museum, Athens, Greece, August - October, 2024. Curated by Dimitra Douskos and Iris Tzachili. Presentation and tour by curators on September 19, 7:30 pm (Eastern European time).

https://www.herakleidon-gr.org/home 

Exhibition: A Little, A Lot
Headstone Gallery in Kingston, NY
Sept 7-29, 2024
https://www.headstonegalleryny.com

A two-person exhibition, A Little, A Lot, features internationally acclaimed artists, Jeanne Quinn and Linda Sormin. Quinn’s new works range from conceptually grounded candelabras to seemingly identical mirrors. Contrasting the functional sculptures are Sormin’s framed, paper assemblages combined with her iconically thicketed, ceramic forms - interwoven with fragments of color, glass, and found objects. Introspective and somber, Quinn and Sormin independently foster new perspectives within one’s self that are all at once vivid, superficial, and profoundly human.