Current

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Featuring Photographs by John Rowe

July 25, 2018 to November 4, 2018
 

Over the last fifty years, Cuban artist Manuel Mendive has developed a sophisticated and pointed examination of the influence of African oral-based traditions on Cuba through the experimental lens of contemporary art. His multidisciplinary work, in particular performances, has become a vehicle for exploring the intersections between art, religion, philosophy, politics, ethics, and anthropology. At the Bronx Museum, Mendive will present a new body of works focused on his continued visual interpretation of narratives of Yorùbá-Lucumí culture and wisdom literature, extending to the universal ideas and relationships between humans and nature.

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July 18, 2018 to October 14, 2018

July 18, 2018 to October 14, 2018

 

The Bronx Museum of the Arts is proud to present an exhibition of works by Diana Al-Hadid organized in collaboration with San José Museum of Art curator Lauren Schell Dickens. On view at the Bronx Museum from July 18 through October 14, 2018, the centerpiece of Diana Al-Hadid: Delirious Matter will be the monumental sculpture Nolli’s Orders (2012), inspired by Giambattista Nolli’s landmark 1748 map of Rome, the first of its kind to show the public spaces of the city.

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June 6, 2018 to September 23, 2018

June 6, 2018 to September 23, 2018

 

Photojournalist Randy H. Goodman captured life in the Islamic Republic of Iran during both the hostage crisis and the Iran-Iraq War. She returned in 2015, after thirty-three years, to photograph at yet another pivotal time in US - Iran relations — the signing of the Iran nuclear agreement. Her portraits and street scenes of WOMEN ONLY, from both periods, present a unique perspective on that country’s past and its future.

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April 18, 2018 to September 16, 2018

April 18, 2018 to September 16, 2018

 

Landing / Aterrizaje is solo show of Bronx artist Moses Ros’ sculptures on the Bronx Museum’s Sculpture Terrace. The work is inspired by recent migrations to the United States caused by environmental and manmade disasters and catastrophes that have wrenched people away from their homelands. In this series, Ros focuses on the Caribbean experience, creating large, freestanding sculptures based on a main staple and export of the islands, the platano (plantain banana).  Using cut-out, plywood sheets to form a type of DIY “assembly kit” of the work, the large-scale, painted winged forms, along with the post-cut template panels that once held them are juxtaposed within the space. 

Upcoming

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November 14, 2018 to February 17, 2019

Widely recognized for his large scale paintings that incorporate silkscreens of blown up
drawings, Eddie Martinez has built a consistent body of work over the last decade
successfully merging the tradition of American abstract painting with the energy of the
street. In this new body of work, created especially for this exhibition, Martinez
introduces yet a new element to his process in the guise of whiting out parts of the
composition, a move that represents a significant point in his career.

Erasure has been an important practice since the origins of art, and x-rays of paintings
by old masters often reveal ghostly images underneath. What might have started out of
necessity, however, eventually became an effect often referred to as pentimento, and in
1953 it became a celebrated trope when Robert Rauschenberg transformed a drawing
by Willem de Kooning by blurring its lines.

For many artists, the very idea of whiting out or erasing presents a daunting challenge as
it comes enmeshed in connotations of destruction. That is not the case for Martinez,
who regards the act of removing or obliterating painted elements not as an end in itself,
but as an integral part of the process of constructing a painting. He is aware of how
reductive the process of building an image can be—whether abstractly in our brain, or
physically in the studio. Martinez is inspired by the shapes and compositions formed on
walls that have been painted over with mismatched hues that seem to take on a life and
form of their own. The process in his studio follows a similar process, as he is
continuously looking for those points of resistance in the work to inform them and guide
them forward.

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November 7, 2018 to March 3, 2019

The work of Bronx native Rochelle Feinstein is deeply informed by abstraction, while also conveying a keen sensibility to contemporary culture, particularly to our everyday use of language. Over the span of the last four decades, Feinstein has probed the relevance of the abstract painting tradition vis-a-vis a rapidly changing cultural environment. She has used the lexicon of abstract painting to approach subjects of both personal and social import such as the televised police pursuit of OJ Simpson (El Bronco, 1994); the Iraq war (Hotspots, 2003 - ongoing), and the economic downturn of 2008 (The Estate of Rochelle F., 2010)

 

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October 3, 2018 to January 6, 2019

What happens when an artist disengages, psychically if not ideologically, from the margins? Can those in the mainstream responsibly acknowledge and harness their status toward progressive art in the US and elsewhere? These pressing questions inform the narrative structure of  the installation Aloha to the World at the Don Ho Terrace, an imagined meandering to and from Hong Kong (and possibly back in time) from where Christopher K. Ho emigrated at age four. This solo exhibition, which includes a 35-foot tall banner, artifacts from a defunct Hawaiian hotel co-owned by Ho’s grandfather, and signage mimicking the hotel’s grand entrance, grapples with reverse diaspora’s aspirations, and, particularly, the affective shift from being an ethnic minor in the United States to rejoining the Han majority. 


Christopher K. Ho (b. Hong Kong, 1974) is a speculative artist based in New York, Hong Kong, and Telluride, Colorado, whose practice includes object-making, organizing, writing, and teaching. His multi-component projects address privilege, community, and capital, and draw equally from learned material about, and lived encounters with, power and otherness in an unevenly de-colonialized, increasingly networked world. He has exhibited at Storm King Art Center, the Queens Museum, Cranbrook Art Museum, Para Site, MASS MoCA, and Socrates Sculpture Park, among other venues. He was included in the Incheon Biennial, the Chinese Biennial Beijing, and the Busan Biennial, and is currently working on a solo project for the Brooklyn Academy of Music. He received his BFA and BS from Cornell University and his MPhil from Columbia University.

Past

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From 1950s to Now
September 14 to January 25, 2009