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El Brooklyn Museum tiene la muestra American Identities que incluye arte colonial de latinoamérica y la muestra del artista Keith Haring. El Museo de Arte de Queens continúa con Frank Oscar Larson, una muestra cautivante de fotografías de la Nueva York de los años 50. Además, Queens International 2012: Three Points Make a Triangle, una revista del talento de este condado neoyorquino. La Affordable Art Fair se celebra en la calle 34 y

Diego Rivera, la Bienal del Whitney, Cindy Sherman en el Moma  continúan, asi como Testimonios y Gran Caribe en El Museo del Barrio.

Fuera de Nueva York: Visité el Museum of Fine Arts de Boston y sus nuevas alas: una, Art of the Americas y la otra, Contemporary Art. Dos nuevos espacios que han transformado el museo y que apuntan al futuro. Sencillamente espectaculares. 
Aqui tienen el listado:

*American Identities: A New Look > Ongoing > Brooklyn Museum > Identities.

Edward Hicks (American, 1780–1849). The Peaceable Kingdom, circa 1833–34. Oil on canvas, 17 7/16 x 23 9/16 in. (44.3 x 59.8 cm). Brooklyn Museum, Dick S. Ramsay Fund, 40.340

This major installation of more than three hundred fifty objects from the Brooklyn Museum's premier collection of American art integrates a vast array of fine and decorative arts (silver, furniture, ceramics, and textiles) ranging in date from the colonial period to the present. For the first time, major objects from these exceptional collections are joined by selections from the Museum's important holdings of Native American and Spanish colonial art.

Last year poster. AAF 2011.

* Frank Oscar Larson: 1950s New York Street Stories > Hasta Mayo 20 > Queens Museum of Art >> Larson.

Frank Oscar Larson (1896-1964) was born in Greenpoint, Brooklyn, of Swedish immigrant parents and lived in Flushing, Queens most of his life. As an adult, Larson spent his days at a branch of the Empire Trust Company (now Bank of New York Mellon), working his way up through the ranks from auditor to vice-president, and spare time on weekends taking photographs of street life throughout New York City. He was an accomplished photographer who eloquently documented 1950s Chinatown, the Bowery, Hell’s Kitchen, City Island, Times Square, Central Park, and much more. This exhibition is compiled from thousands of negatives recently discovered stored away in his daughter-in-law’s house in Maine in 2009. Soren Larson, his grandson and a television news camera man and producer, has been scanning and printing the 55 year old images found stored in over 100 envelopes filled with mostly medium format, 2-1/4 x 2-1/4″ negatives, and neatly noted by location and date in Larson’s own hand. 

* VOCES Y VISIONES: Gran Caribe > Hasta Diciembre 9 >  El Museo Del Barrio.

Francisco Oller y Cestero (Puerto Rican, 1833-1917) Platanos Amarillos (detail), ca. 1892-93 Oil on wood panel Gift of Joseph and Carmen Ana Unanue 2009.32

This exhibition features works that explore the vast diversity and complexity of the Caribbean basin, as an accompaniment to El Museo’s upcoming exhibition, Caribbean: Crossroads of the World, presented in collaboration with Studio Museum in Harlem and Queens Museum of Art.

* Queens International 2012: Three Points Make a Triangle > Hasta Mayo 20 > Queens Museum of Art > Three.


Showcasing artists living or working in the borough. The 2012 edition features 31 artists based in established and upcoming art hubs in Queens and comprise a multi-national and cross-generational group. 
Queens International 2012 presents artists ranging in age from their 20s through their 60s, who reflect Queens’ diversity, hailing from Taiwan, Israel, Mexico, Russia, Switzerland, Lithuania, Japan, Tibet, Uruguay and the US, some new to Queens, and others lifelong residents. 

* Rafael Barrios on Park Avenue. Nine monumental sculptures by this Venezuelan artist >> March 1 - June 30.

Rafael Barrios, Rendering of Acrobática at 53rd Street, courtesy of the artist.

From 51st Street to 67th Street, Park Avenue Malls, Manhattan. Artist Alexander Arrechea will be also on display during springtime.

Vasily Kandinsky, Decisive Rose (Entscheidendes Rosa), March 1932 (detail). Oil on canvas, 81 x 100 cm. Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection 49.1178

The school’s curriculum was based on the principle that the crafts were equal to the traditional arts and was organized according to a medieval-style guild system of training under the tutelage of masters. Kandinsky conducted the Wall Painting Workshop and Preliminary Course and taught at all three of the school’s sequential locations in Weimar, Dessau, and Berlin until 1933, when the Bauhaus was closed due to pressure from the National Socialist (Nazi) government.

* John Chamberlain: Choices  > Hasta Mayo 13 > Guggenheim Museum > John.

With collage—the juxtaposition of heterogeneous elements—and abstraction—the elimination of figurative imagery—as guiding principles, Chamberlain articulated the maxim that permeates his entire oeuvre: “it’s all in the fit.” Throughout his career, modulations in scale and medium provide a vital rhythm to his development. The sculptures range from the size of a fist to the girth of a generous hug to the height of a young, and eventually not so young, tree. Swelling and shrinking, in coats of multicolor, monochrome, or black-and-white paint, the survey of Chamberlain’s career displays the integrity of the artist’s gesture in diverse manifestations. Despite his commitment to abstraction, identifying anthropomorphic and zoomorphic traits in the lyrical, twisting forms is irresistible. Their playful titles are planted like so many red herrings: Belvo-Violet (1962), Miss Lucy Pink (1962), Rooster Starfoot (1976), Lord Suckfist (1989), and SPHINXGRIN TWO (1986/2010).
 

* Francesca Woodman > Una retrospectiva > Hasta Junio 13 > Guggenheim Museum > Woodman.

Francesca Woodman, Polka Dots, Providence, Rhode Island, 1976. Gelatin silver print, 13.3 x 13.3 cm. Courtesy George and Betty Woodman. © 2012 George and Betty Woodman

Francesca Woodman is the first comprehensive survey of the artist’s brief but extraordinary career to be seen in North America. More than thirty years after her death, the moment is ripe for a historical reconsideration of her work and its reception. Woodman’s oeuvre represents a remarkably rich and singular exploration of the human body in space and of the genre of self-portraiture in particular. Her interest in female subjectivity, seriality, Conceptualist practice, and photography’s relationship to both literature and performance are also hallmarks of the heady moment in American photography during which she came of age. 

* Whitney Biennial 2012 >  March 1–May 27 > Sculpture, painting, installations, and photography—as well as dance, theater, music, and film > Whitney Museum.

With a roster of artists at all points in their careers the Biennial provides a look at the current state of contemporary art in America. This is the seventy-sixth in the ongoing series of Biennials and
Annuals presented by the Whitney since 1932, two years after the Museum was founded.

* Cindy Sherman > Hasta Junio 1 > MoMa.

Cindy Sherman. Untitled #466. 2008. Chromogenic color print, 8′ 6″ x 70″ (259.1 x 177.8 cm). The Museum of Modern Art, New York. Acquired through the generosity of Robert B. Menschel in honor of Jerry I. Speyer. © 2012 Cindy Sherman

The exhibition will explore dominant themes throughout Sherman’s career, including artifice and fiction; cinema and performance; horror and the grotesque; myth, carnival, and fairy tale; and gender and class identity. 
Also included are Sherman’s recent photographic murals (2010), which will have their American premiere at MoMA. 

* TESTIMONIOS: 100 Years of Popular Expression > Hasta Mayo 6 > El Museo del Barrio.

 

Drawing on rarely-seen works from El Museo del Barrio's Permanent Collection and select loans from the New York area, Testimonios examines potent works by non-traditionally trained makers. This exhibition celebrates and witnesses mankind’s myriad artistic manifestations by highlighting works that have been born under difficult or collaborative circumstances, or for spiritual or communal celebrations.

*Keith Haring: 1978–1982 > Hasta Julio 8 > Brooklyn Museum > KH.

Keith Haring (American, 1958–1990). Untitled, 1980. Sumi ink on Bristol board, 20 x 26 in. (50.8 x 66.0 cm). Collection Keith Haring Foundation. © Keith Haring Foundation

This is the first large-scale exhibition to explore the early career of one of the best-known American artists of the twentieth century. Tracing the development of Haring’s extraordinary visual vocabulary, the exhibition includes 155 works on paper, numerous experimental videos, and over 150 archival objects, including rarely seen sketchbooks, journals, exhibition flyers, posters, subway drawings, and documentary photographs.

* Abstract Universe > Carol Brown Goldberg > Hasta Mayo 8 > The Gabarron Foundation - Carriage House Center for the Arts> ABSTRACT.

Photo credit: Carol Brown Goldberg, "After Valladolid", 2009. Detail

"Abstract Universe" is an exhibition of large-scale pulverized glass and acrylic paintings by Carol Brown Goldberg. The exhibition is curated by Donald Kuspit, distinguished scholar and art critic, who describes this selection of Goldberg's work as "Baroque Color Field painting" that has been inspired by the artist's reflection on the Creation. The artist states that "In my art, I create a system, a layering, that allows me to get into a flow of timelessness, and the repetition of shapes and forms compound the meditative process. I am in awe at the alchemy of paint, and how fluid can be harnessed to create images that transport us into a realm of mystery." 


* Diego Rivera: Murals for The Museum of Modern Art > Hasta Mayo 14 >> MOMA.

Diego Rivera. Frozen Assets. 1931-32. Fresco on reinforced cement in a galvanized-steel framework, 94 1/8 x 74 3/16 in (239 x 188.5 cm). Museo Dolores Olmedo, Xochimilco, Mexico © 2011 Banco de México Diego Rivera & Frida Kahlo Museums Trust, México, D.F./Artists Rights Society (ARS), New York

In December 1931, two years after its founding, The Museum of Modern Art inaugurated a major exhibition of work by the Mexican artist Diego Rivera. Only the second retrospective presented at the young Museum, the show was wildly popular, breaking attendance records in its five-week run. Rivera’s international celebrity was based on his fame as a muralist, but murals—by definition made and fixed on site—were impossible to transport. To solve this problem, MoMA brought the artist to New York from Mexico six weeks before the opening and provided him with makeshift studio space in an empty gallery. Working around the clock with three assistants, Rivera produced five “portable murals”—freestanding frescoes with bold images commemorating events in Mexican history. After the opening, to great publicity, Rivera added three more murals, now taking on New York subjects through monumental images of the urban working class and the social stratification of the city during the Great Depression. All eight were on display for the rest of the show’s run.

* "Think Green","Pensar en verde" de Mónica Sarmiento Castillo > Art Inspired by Nature > Great Neck Arts Center > Hasta Mayo 31 > GREEN.

Image: Mónica Sarmiento, 3 Palmeras y circular, 2011, 40x40cm, mixta sobre madera

Mónica Sarmiento Castillo's distinctive chromatic and constructivist structuring works are shown in prestigious exhibitions around the world. The focal point of her work is the exploration of nature in painting, sculpture, collage, drawing, and glass as viewed through the pre-Columbian Civilizations. Forests weave together the essence of creation and form the basis of her inspiration, reflecting an arboreal theme.

A view of the 20th-century art through the mid-1970s galleries. Art of the Americas. MFA Boston.  Photo: Alex Guerrero ®2012

A view  of the Wing for Contemporary Art. MFA, Boston. Photo: AlexGuerrero ®2012.