Anatomy of Drawing and Space (Brain Trash) represents the culmination of two years of active creation by contemporary artist James Drake. Beginning in 2012, the artist committed himself to drawing every day. The resulting 1,249 drawings of wild animals, human figures from anatomy books, scientific formulas, personal portraits and art historical figures are rendered in pencil, ink and charcoal, often with collage and stencil work. Displayed as expansive grids across multiple gallery walls, the drawings reveal a layering of Drake’s enduring preoccupations and references— from communication and culture to violence and addiction. Drake’s confidence as an artist and virtuosity as a draftsperson is on display in this retrospective reckoning of his overriding themes of order and chaos, life and death, legacy and innovation. Contemporary and traditional both, the drawings serve as an echo of Drake’s studio—the artist’s mind played out on epic scale.
James Drake: Anatomy of Drawing and Space (Brain Trash) is organized by the Museum of Contemporary Art San Diego, and is made possible by generous lead underwriting support from Tami and Michael Lang, and corporate underwriting from The San Diego County BMW Centers. Additional funding has been received from Stephen Feinberg.
Witness: Art and Civil Rights in the Sixties offers a focused look at artwork from a decade defined by social protest and America’s struggle for racial equality. Featuring approximately 98 paintings, sculptures, and photographs by Richard Avedon, Romare Bearden, Elizabeth Catlett, Mark di Suvero, Barkley Hendricks, Jacob Lawrence, Robert Rauschenberg, Faith Ringgold, Andy Warhol, Jack Whitten and others, the exhibition highlights the wide-ranging aesthetic approaches artists used to address the fight for social justice. Situated within the larger context of the Civil Rights movement, the presentation examines the ways in which artists aligned themselves with the campaign to end discrimination and bridged racial borders through creative work and protest.
Witness: Art and Civil Rights in the Sixties is organized by the Brooklyn Museum and made possible by the Ford Foundation.
Puerto Rican painter Francisco Oller (1833–1917) emerged from the small art world of San Juan in the1840s to become one of the most distinguished transatlantic painters of his day. Over the course of twenty years spent in Europe, Oller participated in pioneering movements such as Realism, Impressionism, and Naturalism. He carried the tenets and techniques of each style from Paris back to San Juan, revolutionizing the school of painting in his native Puerto Rico.
Organized by the Brooklyn Museum of Art, Impressionism and the Caribbean celebrates Oller’s contributions to both the Paris avant-garde and the Puerto Rican school of painting. Placing his work within a larger artistic, geographic, and historical context, the exhibition also features paintings by Paul Cezanne, Winslow Homer, Claude Monet, Camille Pissarro and other Impressionist masters.
Impressionism and the Caribbean: Francisco Oller and his Transatlantic World is organized by the Brooklyn Museum and co-curated by Richard Aste, Curator of European Art, Brooklyn Museum, and Edward J. Sullivan, Helen Gould Sheppard Professor of the History of Art, New York University. Generous support for the exhibition is provided by the National Endowment for the Arts.
Written between 1812 and 1857, the Grimm’s fairytales are known and loved by children the world over. What is less known is that these stories were originally intended for adults, with later editions expunged of their explicit sexuality and violence. Using the original, often graphic versions of these stories as a point of departure, artist Natalie Frank explores the intersection between body and mind, reality and fiction in forty gouache and chalk pastel drawings. Through Frank’s renderings, the stories’ eccentric symbols spring to life, challenging viewers’ imagination.
Natalie Frank: The Brothers Grimm is organized by the Drawing Center, New York.