|Date(s) Sort descending||Event||Event Type||Region|
|March 15, 2020 - September 12, 2021||Lucy! Fussbudget to Feminist
From her earliest moments as #1 fussbudget in the early 1950s to the empowered member of the Peanuts Gang who embodied the movement toward equality in the 1960s, 1970s, and beyond, there is no mistaking Lucy. Whether she’s sharing sage advice from her psychiatric booth, contemplating against Schroeder’s piano, or running from Snoopy’s dog lips, Lucy can be counted as crabby, bossy, or even rude at times. But, within it all, there is a young lady who is confident, compassionate, and ready to tackle anything—literally! Lucy! Fussbudget to Feminist features original Peanuts artwork, never-before-seen material from the Museum archives, and much more.
Mon - Fri 11am - 5pm
Downstairs Changing Gallery
Santa Rosa, CAMore info
|September 30, 2020 - September 5, 2021||Manjiro: Drifting, 1841–2020
Manjiro’s epic tale begins in 1841, when, as a teenager, he left his tiny Japanese village on a fishing trip. A violent storm left him shipwrecked and set the course that would lead Manjiro to become the first Japanese person to live in the United States. In partnership with the Japan America Society of Greater Philadelphia’s JapanPhilly2020 initiative, The Rosenbach will present a special exhibition on Manjiro’s legendary life, featuring holdings from our collection along with partner loans. Highlights include Manjiro’s own illustrated manuscript depicting his world travels, rare letters between Manjiro and the captain who rescued him at sea, and much more.
Philadelphia, PAMore info
|October 17, 2020 - March 27, 2022||Promoting America: Maps of the Colonies and the New Republic
From England’s first attempts to colonize America, artists and mapmakers created impressions of the New World that fueled European imagination. Maps served as powerful propaganda tools for colonial expansionists eager to convey the richness and abundance of the land and its inhabitants, often representing America as a latter-day Garden of Eden. Initially, mapmakers incorporated iconographic images of America’s flora, fauna, and native population within the decorative elements on their maps to promote the promise of a good and prosperous life in the New World. This exhibition will feature works that range from a 17th-century map depicting the “new World” as a literal Garden of Eden to maps celebrating the newly established United States of America.
9am - 6pm, daily
The DeWitt Wallace Decorative Arts Museum, one of the Art Museums of Colonial Williamsburg. The Art Museums are located at 301 South Nassau Street, Williamsburg, VA.More info
|November 20, 2020 - August 8, 2021||¡Printing the Revolution! The Rise and Impact of Chicano Graphics, 1965 to Now
In the 1960s, activist Chicano artists forged a remarkable history of printmaking that remains vital today. Many artists came of age during the civil rights, labor, anti-war, feminist and LGBTQ+ movements and channeled the period’s social activism into assertive aesthetic statements that announced a new political and cultural consciousness among people of Mexican descent in the United States. ¡Printing the Revolution! explores the rise of Chicano graphics within these early social movements and the ways in which Chicanx artists since then have advanced innovative printmaking practices attuned to social justice.
More than reflecting the need for social change, the works in this exhibition project and revise notions of Chicanx identity, spur political activism and school viewers in new understandings of U.S. and international history. By employing diverse visual and artistic modes from satire, to portraiture, appropriation, conceptualism, and politicized pop, the artists in this exhibition build an enduring and inventive graphic tradition that has yet to be fully integrated into the history of U.S. printmaking.
This exhibition will be the first to unite historic civil rights era prints alongside works by contemporary printmakers, including several that embrace expanded graphics that exist beyond the paper substrate. While the dominant mode of printmaking among Chicanx artists remains screen-printing, this exhibition will feature works in a wide range of techniques and presentation strategies, from installation art, to public interventions, augmented reality and shareable graphics that circulate in the digital realm. The exhibition will also be the first to consider how Chicanx mentors, print centers and networks nurtured other artists, including several who drew inspiration from the example of Chicanx printmaking.
Artists and collectives featured in the exhibition include Rupert García, Malaquias Montoya, Ester Hernandez, the Royal Chicano Air Force, Elizabeth Sisco, Louis Hock, David Avalos, Sandra C. Fernández, Juan de Dios Mora, the Dominican York Proyecto GRAFICA, Enrique Chagoya, René Castro, Juan Fuentes, and Linda Lucero, among others.
¡Printing the Revolution! features 119 works drawn from SAAM’s pioneering collection of Latinx art. The museum’s Chicanx graphics holdings rose significantly with an important gift in 1995 from the renowned scholar Tomás Ybarra-Frausto. Since then, other major donations and an ambitious acquisition program has built one of the largest museum collections of Chicanx graphics on the East Coast.
Wed - Sun 11:30am – 7pm
Holiday Hours: Closed November 26, December 24–25, and January 20, open usual hours all other days
Smithsonian American Art Museum
Washington, DCMore info
|January 28, 2021 - August 15, 2021||Saul Steinberg: Visual Verse
Saul Steinberg (1914–1999) is widely known for his decades of drawings in The New Yorker magazine. He thought of himself as an author who drew—a conceptual artist. Born in Romania, Steinberg studied architecture in Milan and contributed cartoons to student journals. In 1941, Fascist anti-Semitic laws caused him to flee Europe. By the time he arrived in New York in 1942, his drawings had already appeared in several American periodicals, including The New Yorker. He soon entered the U.S. Naval Reserve, joining the Office of Strategic Services, precursor of the Central Intelligence Agency. He served in China, North Africa, and Italy, returning to Washington, D.C. in 1944.
All of this gave Steinberg a healthy distrust of power, authority, and even perception. After the War, he poured his energy into his art. He became famous for destabilizing his audience, reorienting them to his off-kilter point of view.
Thu – Sun 10am –5pm
SPECIAL HOURS: Thu 10am – noon
Minneapolis, MNMore info