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Warhol Foundation Announces Spring 2018 Grants

$3.6 Million To Be Awarded to 42 Arts Organizations Nationwide

The Andy Warhol Foundation for the Visual Arts has announced the recipients of its Spring 2018 grant round. In total 42 organizations will receive $3.6 million for scholarly exhibitions, publications, and visual arts programming, including artist residencies and new commissions. The Foundation has an open submission process with biannual application deadlines. The program is highly competitive; this round of recipients was selected from an applicant pool of 224 nonprofit arts organizations. Individual grants range from $35,000-$120,000. A complete list of recipients follows.

The Foundation supports contemporary art, particularly work that is experimental, under-recognized, and challenging in nature. A focus on artistic engagement with social and political urgencies is a common thread among many recipients including Gallery 400 in Chicago, Project Row Houses in Houston, Slought in Philadelphia, and first-time grantee, Los Angeles Poverty Department on LA’s Skid Row. The Foundation is committed to supporting women, artists of color, and under-represented practitioners; its grants to the Chinese Culture Foundation of San Francisco, the Heard Museum in Phoenix, the Women’s Center for Creative Work in Los Angeles, and the Alliance for Artist Communities in Providence for its equity, diversity, and inclusion initiatives reinforce this commitment. Seven out of the eight grants for retrospectives will feature female artists including Harriet Bart at the Weisman Art Museum, Suzanne Lacy at the San Francisco Museum of Modern Art, and Zilia Sánchez at the Phillips Collection. Defending freedom of artistic expression is central to the Foundation’s core values and in this round, it will award a grant to PEN America for its programs for visual artists at risk.

Joel Wachs, President of the Foundation, stated, “Many of these organizations are small with budgets well under $1 million, yet they are providing vital professional support to a diverse set of artists while remaining socially engaged in their communities. This work is inspiring at a time when many groups in this country feel threatened – women, people of color, the LGBTQ community, to name a few. At the same time, we are honored to support museum exhibitions that will bring the work of important artists, many of whom have not received the national recognition they deserve, to the public.”

“Artists are at the frontlines of social change and dissent, and need to know that when they take risks, the creative community has their back,” said Suzanne Nossel, Chief Executive Officer, PEN America. “We are extremely grateful to the Warhol Foundation for supporting this work and helping to draw attention to artists who pay a high personal and professional price for daring to express themselves,” she added.

Conrad Meyers, Director, Aggregate Space Gallery, explained the impact of the funding for artists in the Bay Area, “it gives us the opportunity to pay critical artists stipends, supporting the creation of new work, allowing artists to take risks and use their talents to push the audience’s perceptions of what can be accomplished.” He continued, “This funding helps us on our journey of growth from an artist-run space to a reliable long-term resource for emerging artists.”

Spring 2018 Grant Recipients | Program Support

  • Aggregate Space Gallery, Oakland, CA, $90,000 (over 2 years)
  • Alliance of Artists Communities, Providence, RI, $120,000 (over 2 years)
  • Art in General, Brooklyn, NY, $100,000 (over 2 years)
  • Artpace, San Antonio, TX, $100,0000 (over 2 years)
  • Artists in Residence in Everglades, Miami Beach, FL, $80,000 (over 2 years)
  • Artists Space, New York, NY, $100,000 (over 2 years)
  • Borscht Corp. Miami, FL, $50,000
  • BURNAWAY, Atlanta, GA, $35,000 (over 2 years)
  • Chinese Culture Foundation of San Francisco, San Francisco, CA, $100,000 (over 2 years)
  • Gallery 400 at The University of Illinois, Chicago, IL, $100,000 (over 2 years)
  • Hallwalls Contemporary Arts Center, Buffalo, NY, $100,000 (over 2 years)
  • International Studio & Curatorial Program, Brooklyn, NY, $80,000 (over 2 years)
  • KMAC Museum, Louisville, KY, $100,000 (over 2 years)
  • List Visual Arts Center, Massachusetts Institute of Technology, Cambridge, MA, $100,000 (over 2 years)
  • Los Angeles Contemporary Exhibitions, Los Angeles, CA, $100,000 (over 2 years)
  • Los Angeles Poverty Department, Los Angeles, CA, $80,000 (over 2 years)
  • Maysles Documentary Center, New York, NY, $50,000 (over 2 years)
  • PEN America, New York, NY, $100,000 (over 2 years)
  • Project Row Houses, Houston, TX, $100,000 (over 2 years)
  • RAIR, Philadelphia, PA, $85,000 (over 2 years)
  • Recess, Brooklyn, NY, $100,000 (over 2 years)
  • Slought Foundation, Philadelphia, PA, $80,000 (over 2 years)
  • SPACE Gallery, Portland, ME, $100,000 (over 2 years)
  • Washington Project for the Arts, Washington, DC, $80,000 (over 2 years)
  • Women’s Center for Creative Work, Los Angeles, CA, $60,000 (over 2 years)
  • Women’s Studio Workshop, Rosendale, NY, $100,000 (over 2 years)

Spring 2018 Grant Recipients | Exhibition Support

  • The Contemporary Austin, Austin, TX, “The Sorcerer’s Burden” exhibition, $100,000
  • deCordova Sculpture Park and Museum, Lincoln, MA, “Visionary New England” exhibition, $80,000
  • The Heard Museum, Phoenix, AZ, “RE:DEFINE” exhibition, $100,000
  • The Institute of the Arts and Sciences of the UC Santa Cruz Arts Division, for “Newton and Helen Mayer Harrison’s A Future Garden for the Central Coast of California”, at the UCSC Arboretum and Botanic Garden, Santa Cruz, CA, $57,000
  • The Institute of Contemporary Art, Boston, MA, “Huma Bhabha” exhibition, $100,000
  • Institute of Contemporary Art, Los Angeles, Los Angeles, CA, Nayland Blake exhibition, $100,000
  • Museum of the African Diaspora, San Francisco, CA, “Coffee, Rhum, Sugar & Gold: A Postcolonial Paradox” exhibition, $50,000
  • Museum of Contemporary Art, Los Angeles, Los Angeles, CA, “Pattern and Decoration” exhibition, $100,000
  • Newark Museum, Newark, NJ, “Wendy Red Star: Annúkaxua / A Scratch on the Earth” exhibition, $70,000
  • New Museum, New York, NY, Sarah Lucas exhibition, $100,000
  • The Phillips Collection, Washington, DC, “Zilia Sánchez: Soy Isla” exhibition, $100,000
  • Providence College Galleries, Providence, RI, “Beyond Bauhaus” exhibition series, $65,000
  • San Francisco Museum of Modern Art, San Francisco, CA, “Suzanne Lacy: We Are Here” exhibition, $100,000
  • The Miriam & Ira D. Wallach Art Gallery, Columbia University, New York, NY, “Waiting for Omar Gatlato: A Survey of Algerian Contemporary Art” exhibition, $60,000
  • Weisman Art Museum, University of Minnesota, Minneapolis, MN, “Harriet Bart: Abracadabra and Other Forms of Protection” exhibition, $75,000
  • Whitney Museum of American Art, New York, NY, Rachel Harrison exhibition, $100,000

For more details about the organizations and their funded projects, see below. 

Spring 2018 Grants | Program Support

Aggregate Space Gallery | Oakland, CA
Located on an industrial stretch of West Oakland, one could be forgiven for driving right past the nondescript building that houses Aggregate Space. Nestled among church parking lots, storage facilities, and condo developments, the two story structure, with its multiple layers of painted over graffiti, conceals a spacious white-walled gallery with high ceilings and polished floors. Adjacent to the gallery space is a professionally-outfitted micro-cinema used to hold screenings, lectures, and performances. A fully-equipped on-site fabrication shop ensures that Executive Director Conrad Meyer and his team can provide a museum quality presentation for the work of exhibiting artists.

Alliance of Artists Communities | Providence, RI
Alliance of Artists Communities is a national organization that serves the field of artist residencies by hosting conferences and workshops, providing professional development opportunities to member organizations, and conducting research and data-gathering on trends in the field. One of the most critical issues that has surfaced in recent years is the lack of diversity at the leadership level at artist residencies. Not only does this have a negative impact on the experience of artists attending residencies, it contributes to the perpetuation of racial and cultural inequities that pervade the art world at large. The Alliance has developed a multi-pronged approach to identifying and expanding opportunities for people of color and people with disabilities in residency settings – both staff and participants. It provides direct support and mentoring to residency staff though fellowships, engages Board members and staff through education initiatives, curates a track of its annual conference dedicated to equity work, and advocates to members, funders, and other organizations about the importance and relevance of this work.

Art in General | Brooklyn, NY
For more than thirty-five years, Art in General mounted exhibitions and provided other resources to artists from the sixth floor of a former hardware store in Lower Manhattan. Prompted by rising rents and board transitions, the organization relocated to DUMBO in Brooklyn in 2016. The move and subsequent naming of Laurel Ptak as Executive Director afforded it an opportunity to refresh and update its programs. In its new location, Art in General continues to support the production and presentation of new work by local and international artists, and profits from the heightened visibility of its ground floor galleries and studios.

Artpace | San Antonio, TX
Artpace has been an important center for the production and exhibition of contemporary art projects in San Antonio, Texas for the past 23 years. Its residency program is respected around the world for the support it offers to artists, the caliber of work it helps them to produce, and the career opportunities it facilitates during the residency and long after. Artpace has recently expanded its program to include a residency for international curators as well as one for local performing artists. These initiatives not only serve new populations of artists and curators, they also enhance the experience of artists in the existing residency by increasing their contact with critical voices and creative collaborators.

Artists in Residence in Everglades (AIRIE) | Miami Beach, FL
The Everglades National Park is a vast sub-tropical wilderness located at the southern tip of the Florida peninsula that contains 1.5 million acres of forests, wetlands, and coastline. Known for the abundance and variety of its flora and fauna, in this era of heightened awareness of climate change, the park is also notable for its extreme vulnerability to rising sea levels and its proximity to precariously situated cities. A growing understanding of the implications of climate change has motivated many artists to become involved in environmentally-engaged projects; the Artists in Residence in Everglades (AIRIE) is an organization designed to support these artists and to create opportunities for productive exchange across disciplines.

Artists Space | Brooklyn, NY
The venerable institution Artists Space has undergone significant transitions in the past few years, most notably with the hiring of Jay Sanders as executive director and chief curator and the end of its lease at 38 Greene Street, which had housed the organization for twenty-three years. Formerly the curator of performance at the Whitney Museum of American Art, Sanders has revitalized the institution’s interest in performance and spearheaded the construction of a dynamic new home for Artists Space at 80 White Street. Upon opening its new flexible galleries in Spring 2019, Artists Space plans to have four to five major exhibitions a year, combined with a diverse and active schedule of performances, concerts, readings and events, bringing the organization’s full range of programming under one roof for the first time in many years.

Borscht Corp. | Miami, FL
Borscht Corp. was founded by artists in 2008 to support film, video and new media makers in Miami; over the last ten years, it has helped to bring critical attention to the city’s unique stories and storytellers through its programs, services and festivals. Borscht aids in the creation, presentation, and distribution of experimental work by artists who have been historically marginalized or ignored by mainstream and independent film circles. Works supported through Borscht have gone on to garner acclaim at international film festivals, and have been included in gallery shows and exhibitions at major museums.

BURNAWAY | Atlanta, GA
Founded in 2008, Atlanta-based BURNAWAY is an organization dedicated to fostering critical dialogue about visual art in the Southeastern United States. BURNAWAY highlights cultural activity in the region through its online magazine, and connects arts groups and artists through public programs and lectures, collaborations with arts organizations, and a popular writer’s mentorship program.

Chinese Culture Foundation | San Francisco, CA
The Chinese Culture Foundation has taken significant steps over the last three years to expand programming beyond its location on the third floor mezzanine of the Hilton Hotel in San Francisco’s Chinatown. The organization serves as an important resource for city residents, with numerous events, activities, and workshops that complement a robust contemporary arts program. Founded in 1965, CCF grew out of the civil rights movement in the Bay Area, with an emphasis on representation and advocacy for Asian Americans. Today the organization reconnects with that history of civic engagement through its exhibitions and initiatives that call attention to social and political concerns.

Gallery 400 | Chicago, IL
A contemporary arts organization affiliated with the University of Illinois at Chicago, Gallery 400 is committed to both experimental artistic practice and community engagement. Its exhibitions bring socially engaged artists into dialogue with an academic institution that has a long history of progressive activism. Over the past five years Gallery 400 has strengthened its relationships with local community organizations and developed a new initiative, “Chicago Together,” which is curated in collaboration with community partners. In addition to these collaborative projects, the 2018-2020 exhibition program will include ten thematic exhibitions, one artist survey, a large scale commissioned project, and a diverse range of public programs that will complement each exhibition.

Hallwalls | Buffalo, NY
In 1974, a small group of Buffalo art students, Robert Longo and Cindy Sherman among them, began putting up work in the hallway outside their studios in a converted ice-house. They gave their new “gallery” the fitting name “Hallwalls,” and over the forty-three years since, it has proved to be one of the most important venues for contemporary art in western New York. Hallwalls is planning an eclectic set of solo shows by emerging and mid-career artists for the next two years.

International Studio and Curatorial Program | Brooklyn, NY
Founded in 1994, the International Studio and Curatorial Program in East Williamsburg, Brooklyn provides residencies and exhibition opportunities for international artists, curators, and collectives. The organization introduces New York audiences to timely new perspectives from across the globe, calling special attention to the work of under-represented artists. ISCP will present multiple solo and group exhibitions over the next two years. The organization will also work closely with resident artists to produce publications and public programs that serve to advance critical discourse around international contemporary art.

KMAC Museum | Louisville, KY
Located in downtown Louisville, the Kentucky Museum of Art & Craft was founded in 1981 to highlight and promote the rich history of craft in the state. In 2012 with the appointment of Aldy Miliken as Executive Director, the museum began a process of realignment in an effort to bring the traditions, techniques, and values of the region’s craft heritage into a contemporary art context. The organization renovated its four-story cast iron building on Main Street, and formally re-opened its doors as KMAC Museum in 2016. The museum has been completely modernized with light-filled galleries, an inviting atrium, and flexible spaces for public programs. It has continued to support regional artists while significantly increasing the number of international and national artists in its exhibition line up. In all of its programs, craft is emphasized as an active and vital tradition that is integral to the production of contemporary art.

The List Visual Arts Center | Cambridge, MA
The List Visual Arts Center at MIT is a creative laboratory that offers artists space to experiment and push aesthetic boundaries through exhibitions, commissions, and special programs. One of these programs is the List Projects series, through which emerging and underrepresented artists present new work three times a year in the compact Bakalar Gallery. Each project is accompanied by public discussions that link the exhibition’s content to relevant academic scholarship.

Los Angeles Contemporary Exhibitions (LACE)| Los Angeles, CA
Approaching its 40th anniversary, LACE is the longest-running non-profit contemporary art space in Los Angeles. In recognition of the key role it has played in the development of the city’s experimental art and performance scene, the Getty Research Institute recently acquired the organization’s archive, which it will catalogue and digitize, making the history of LACE’s work with thousands of artists available to the public. In the meantime, for the remainder of this year LACE will feature selections from the archive in its Project Room. Even in this moment of attention to its storied past, LACE is very much a forward-facing organization that continues to support artistic exploration and highlight emerging talent, both artistic and curatorial.

Los Angeles Poverty Department | Los Angeles, CA
Founded in 1985 on Los Angeles’ Skid Row by performance artist, director and activist John Malpede, Los Angeles Poverty Department is made up of homeless and formerly homeless people who create live performances about issues they face living in poverty and on the street. Engaging a marginalized community in powerful works of self-representation, LAPD has earned a reputation as a daring and original producer of what is now known as socially engaged art, though thirty years ago its groundbreaking work wasn’t as easily classifiable. In recent years LAPD has once again entered into uncharted waters by opening the Skid Row History Museum and Archive, a site for exhibitions, installations, workshops, performances, public conversations, community meetings, and screenings that seek to change the narrative about people living in poverty; it also houses an archive documenting three decades of activity by Skid Row artists, activists and policy makers.

Maysles Documentary Center | New York, NY
The Maysles Documentary Center in Harlem is an independent film house dedicated to presenting documentary films and videos and committed to opening dialogues between filmmakers and the public. Founded by the late legendary director Albert Maysles in 2005, the Center offers a packed calendar of screenings and post-screening forums every month. The Center also runs educational, after-school and summer programs, a filmmaker’s collaborative for adults, internships, and a junior filmmaker’s program. From the winter of 2018 through the fall of 2019, Maysles Documentary Center will present “The American Experiment (1969–2019),” a year-long film series highlighting the significance and continued importance of the experimental film movement in the U.S.

PEN America | New York, NY
For nearly 100 years, the literary and human rights organization PEN America has promoted the free expression of ideas, information, and beliefs through literature from around the world and has protected the authors of these works when they are threatened with violence, censorship, legal harassment, resource denial, and other forms of persecution. In recent years it has extended the reach of its advocacy efforts into the field of visual arts, coming to the defense of artists who have been attacked for critiquing the dominant culture, bearing witness to inhumanity, and/or seeking to bring about change in repressive power systems.

Project Row Houses | Houston, TX
Founded by seven African-American artists twenty-five years ago in Houston’s Third Ward, Project Row Houses was a pioneer in the field of socially engaged art long before such a field even existed. Under the guidance of artist and founding director Rick Lowe and the leadership of executive director Eureka Gilkey and curator Ryan Dennis, its influential Public Art Program continues to set the standard for artist-led community engagement around the country; its programs to help under resourced neighbors, young single mothers and small local enterprises extend well beyond the borders of its original five city block site.

RAIR | Philadelphia, PA
Embedded within the Revolution Recovery waste recycling facility in Northeast Philadelphia, RAIR (Recycled Artist in Residency) provides an uncommon residency experience for artists with access to more than 450 tons of materials per day. Since its inception in 2010, RAIR’s Directors Billy Dufala and Lucia Thomé have established the program as a unique opportunity for emerging, mid-career, and established artists. By facilitating artists’ direct engagement with the waste stream, RAIR encourages residents to consider their studio practice through the lens of sustainability and to thoughtfully re-asses their processes of material sourcing and waste disposal. The strong working relationship that has developed between RAIR and Revolution Recovery has enabled a dynamic and unusual residency program to thrive within a dump.

Recess | Brooklyn, NY
Coming up on its tenth anniversary next year, Recess has moved across the river from Soho to Brooklyn; it now occupies an entire building that houses a wood shop, recording studio, studio space, resource room and ample program and presentation space. The organization remains true to its founding mission to support artists working collaboratively with the public and has deepened its commitment to facilitating artistic engagement with issues of cultural, economic, and gender inequality.

Slought Foundation | Philadelphia, PA
Presenting art projects and lectures from a storefront in Philadelphia’s University City, Slought is a cultural organization that supports a rich mix of artistic and curatorial practices through a social justice lens. The organization recently celebrated its fifteenth anniversary and has embarked on a period of significant growth: in the past year, Slought completed a major renovation of its galleries, revamped its digital presence, and began to offer stipends to exhibiting artists. Slought also continues to strengthen its ties with the University of Pennsylvania, and helped it to establish the new Institute for Arts, Policy and Social Impact, which will open in the fall of 2018. Over the next two years, Slought will present “Photographies of Conflict,” a series of seven exhibitions highlighting the work of photographers who use the medium to contest dominant narratives of conflicts around the world.

SPACE Gallery | Portland, ME
Located in downtown Portland, next to the Maine College of Art and just down the block from the Portland Museum of Art, SPACE Gallery has become a leading venue for contemporary art in New England, presenting ten exhibitions per year and hosting an adventurous program of experimental sound, film, and performance evenings. The organization has expanded considerably since its founding in 2002, and it now owns the entire building at 534-538 Congress Ave, which houses two exhibitions spaces, an apartment for its artist-in-residency program, and thirty artist studios. With two visual arts curators on staff—Kelsey Halliday Johnson, executive director, and Elizabeth Spavento, visual arts programmer—SPACE is poised to oversee increasingly ambitious exhibitions in the coming years, while actively building upon the organization’s legacy of supporting cross-disciplinary and installation-oriented artist projects.

Washington Project for the Arts | Washington, DC
Washington Project for the Arts in Washington, DC was founded by pioneering curator and local impresario, Alice Denney in 1975. Denney was known as a champion of the avant-garde in the district; she organized exhibitions and festivals and served as a mentor to many emerging artists. That driving spirit of generosity and enthusiasm for the non-traditional has been reinvigorated in the latest iteration of the WPA, now under the leadership of Executive Director, Peter Nesbett. The organization settled into a new purpose-built gallery in November 2015. The bright, flexible space in a former industrial warehouse features ample windows and a large floor-to-ceiling, garage-style door that opens directly onto the street, making the organization highly visible and accessible to the surrounding community. When Nesbett arrived, WPA staff undertook a listening tour-style survey of local artists to assess their needs. In response, WPA, which for years had operated as a resource for practical business training for artists, implemented several institutional changes to better serve the artists it had surveyed and to welcome them into the organization more holistically.

Women’s Center for Creative Work | Los Angeles, CA
The Women’s Center for Creative Work is located along the banks of the Los Angeles River in the city’s Elysian Valley. The organization evolved from a series of community conversations on art and contemporary feminism held in 2013 and hosted by artists Sarah Williams, Katie Bachler, and Kate Johnston. Inspired by the historical impact of The Women’s Building in Los Angeles and empowered by the groundswell of support from local artists, the founders established a pilot program in 2014 to test the viability of a new institution. In 2015 it moved into a flexible, single-story building in LA’s burgeoning Frogtown neighborhood where it hosts an ambitious array of public programs and houses co-working spaces, staff offices, and a modest gallery space for exhibitions. The building serves as a dynamic hub for the organization’s more than 350 members while remaining open to the general public; special programs have also been developed to serve the neighborhood’s working mothers and youth.

Women’s Studio Workshop | Rosendale, NY
Founded in 1974, Women’s Studio Workshop is a visual arts organization in upstate New York with specialized studios for printmaking, ceramics, letterpress printing, photography, and book arts. It provides residencies, classes, and other professional opportunities for women artists around the country. After the successful completion of a five-year capital campaign, WSW has significantly expanded its campus; it now features two renovated exhibition galleries, a book bindery, a climate-controlled archive for prints and artist’s books, and additional housing for visiting artists. WSW’s new artistic director, Erin Zona, and new executive director, Lauren Walling are revamping WSW’s programmatic trajectory by doubling the number of residencies—from thirty to sixty annually—and by leading a new Women’s Art Consortium that brings together leaders from four women-centered arts organizations around the country to collectively examine the role and relevance of these organizations today.

Spring 2018 Grants | Exhibition Support

The Contemporary Austin | Austin, TX
“The Sorcerer’s Burden” exhibition
Created in 2011 from the merger of the Austin Museum of Art and Arthouse at the Jones Center, The Contemporary Austin comprises a unique combination of urban and outdoor locations. The museum commissions and presents cutting-edge contemporary artworks for two sites in the Texas capital: the historic Jones Center in downtown Austin and Laguna Gloria, a fourteen-acre lakeside park that includes a sculpture garden and landmarked villa. In the fall of 2019, the Contemporary will present “The Sorcerer’s Burden,” a thematic group show that will feature the work of eleven emerging and mid-career artists who work in the intersections of art and anthropology. The exhibition includes six major commissions and a scholarly catalogue.

deCordova Sculpture Park and Museum | Lincoln, MA
“Visionary New England” exhibition
In April of 2020, the deCordova Sculpture Park and Museum will present “Visionary New England,” a group exhibition that traces the influence of early 19th century philosophical, spiritual and intellectual movements – particularly Transcendentalism – on contemporary artists. Located in Lincoln, Massachusetts, just down the road from Thoreau’s beloved Walden Pond in one direction and Ralph Waldo Emerson’s historic house in the other, the museum is well positioned to take up the topic.

The Heard Museum | Phoenix, AZ
“RE:DEFINE” exhibition
The Heard Museum in Phoenix, Arizona is an important institution dedicated to Native American art and culture. It has a collection of over 40,000 objects, and its expansive space houses ten galleries, a library, an auditorium, a sculpture garden, and various courtyards and pavilions. In the spring of 2019, the museum will present “RE:DEFINE,” an exhibition of contemporary Native American art. The show will be curated by Ellen Taubman, who organized a groundbreaking series of contemporary Native American art exhibitions, “Changing Hands,” at New York’s Museum of Art and Design in 2002, 2005, and 2012. “RE:DEFINE” will feature 35 artists who are making significant and original contributions to contemporary art practice today. The show will be accompanied by a catalogue and public programs.

The Institute of the Arts and Sciences of the UC Santa Cruz Arts Division | Santa Cruz, CA
Newton and Helen Mayer Harrison’s “A Future Garden for the Central Coast of California”
The Institute of the Arts and Sciences is an interdisciplinary exhibition and event platform at the University of California, Santa Cruz under the leadership of John Weber. Its mission is to explore critical issues of our time through the dual lenses of art and science. Newton Harrison and Helen Mayer Harrison, pioneers of the ecological art movement who worked as an art making team from the 1960s until Helen’s death this spring, have had a decades-long artistic engagement with what could be considered the critical issue of our time, climate change. Starting this spring and continuing for the next five years, the Institute will present Newton and Helen Mayer Harrison’s “A Future Garden for the Central Coast of California,” a long-term installation of ecological art at the UCSC Arboretum and Botanic Garden.

Institute of Contemporary Art, Boston | Boston, MA
Huma Bhabha exhibition
Born in Pakistan and now based in New York, Huma Bhabha has an innovative practice in sculpture, drawing and photography. Taking inspiration from a wide range of sources, from ancient sculpture to German expressionism to horror movies, she is best known for three-dimensional figurative works that blur the lines between the real and the fantastical, the documentary and the imaginary, the ancient and the contemporary. The Institute of Contemporary Art, Boston, is planning a survey of the artist’s work; it will be her first full-scale retrospective in an American museum. Scheduled for the spring of 2019, the show will be accompanied by public programs and by a 200-page catalogue that represents the first significant work of scholarship on the artist.

Institute of Contemporary Art, Los Angeles | Los Angeles, CA
Nayland Blake exhibition
Nayland Blake is a queer, bi-racial American artist who came of age in the late ‘70s and early ’80s, just as gay culture was beginning to experience the nightmare of the AIDS crisis. He found himself at the center of a developing politics of identity that offered a way to focus both art and political activism on critically important issues like AIDS, gay rights, and civil rights. Yet, while concerned with these subjects, Blake’s work in sculpture, drawing, performance and video—and in curation, for which he is also known—is far more opaque and non-ideological than its subjects might suggest.  The Institute of Contemporary Art, Los Angeles is planning a mid-career retrospective of the artist. The grant will also support research and the accompanying scholarly catalogue. The show, the artist’s first since 2003, and his first solo museum presentation in Los Angeles, is scheduled for the fall and winter of 2019-20. It will feature the artist’s work in all media, as well as documentation and ephemera from his own archives.

Museum of the African Diaspora | San Francisco, CA
“Coffee, Rhum, Sugar & Gold: A Postcolonial Paradox” exhibition
In May of 2019, the Museum of the African Diaspora will mount “Coffee, Rhum, Sugar & Gold: A Postcolonial Paradox,” an exhibition that looks at the legacy of European colonialism in the Caribbean though the work of nine contemporary artists. Organized by guest curators Dexter Wimberly and Larry Ossei-Mensah, the exhibition takes a material approach to the haunted history of the region; it aims to reconnect the quintessential Caribbean exports mentioned in its title to the plantation economy that originally produced them through the labor of enslaved Africans for over 300 years. Although the region’s economy has altered and its exports diversified, the impact of centuries of colonial rule is still felt by the hundreds of millions of people who are descended from those who directly suffered under it. The exhibition will be complemented by a scholarly catalogue and related public programs.

Museum of Contemporary Art, Los Angeles | Los Angeles, CA
“Pattern and Decoration” exhibition
When one thinks of the major art movements of the 1970s and ’80s, Minimalism, Conceptualism, and Neo-expressionism might come readily to mind. Yet during these decades, the much less well-known Pattern and Decoration movement also flourished, winning institutional recognition, commercial success, and critical respect. Taking its motifs and colors from the decorative arts—whether needlepoint, Persian tapestry, American quilt design, or Islamic tiles—P&D works were characterized by all-over, repeating patterns, sometimes juxtaposed with each other, sometimes used as backdrops for representational or abstract images. Although interest in the genre faded by the second half of the 1980s, most likely because the movement was self-consciously interested in recuperating women’s artistic work, P&D has been making a belated comeback over the past few years. A new show to be presented at the Museum of Contemporary Art, Los Angeles will survey the movement, presenting an array of works by a diverse group of artists. Curated by MOCA’s Anna Katz and Rebecca Lowery, it will be presented in the winter of 2019–20. It will be accompanied by public programs and by an illustrated catalogue that will be an important contribution to scholarship on the period.

The Newark Museum | Newark, NJ
The Newark Museum recently launched an initiative to reconfigure the installation of its galleries of American Art. The goal of the initiative is to complicate and expand the dominant narrative presented in its exhibitions by including a greater number of works by Latin American, African American, and Native American artists. As a complement to this effort, the museum has opened a new 5,000 square foot space dedicated to special exhibitions and projects by a diverse range of contemporary artists. The first exhibition in this new space will be a comprehensive mid-career survey of the Portland, Oregon-based artist, Wendy Red Star. Opening in February 2019, “Wendy Red Star: Annúkaxua/ A Scratch on the Earth” will be the artist’s first solo museum show on the East Coast and will include new and existing work made over the last fifteen years.

New Museum | New York, NY
Sarah Lucas retrospective
A stubby phallus, erect, protruding from a pair of white jockey shorts fitted onto a chair. Long-limbed, floppy, and headless “stuffed animals” draped over bronze sculptures. A cupid made of cigarettes; a vagina from which a cigarette protrudes. These are some of the works created by Sarah Lucas, a sculptor who first rose to prominence as a member of the Young British Artists in the late 1980s and early 1990s. Her work used humble materials and found objects, reinventing Arte Povera for a feminist era. In the decades since, she has expanded her practice, and now uses a wide range of material in photographs and sculptures—but her work has preserved the humor, surreal charm, focus on gender and sexuality, and capacity to shock that has marked it from the outset. The New Museum is planning the first major U.S. retrospective of the artist’s career; scheduled for the winter of 2019-2020, it will be accompanied by a scholarly catalogue and will travel to the Hammer Museum in Los Angeles.

The Phillips Collection | Washington, DC
“Zilia Sánchez: Soy Isla” exhibition
Zilia Sánchez is a prolific and talented Cuban-born painter and sculptor who lives—and, at the age of 92, still works—in Puerto Rico. She has been making paintings, drawings, shaped canvases, and sculptures since the 1950s. Although Sánchez has had numerous international exhibitions over the course of her 70-year career, she is still little-known outside of Puerto Rico. 2019, however, should mark a change: the Phillips Collection in Washington, D.C. will present “Zilia Sánchez: Soy Isla.” The retrospective exhibition will be organized by Vesela Sretenović, whose research for it was funded by a Warhol grant. Scheduled for spring 2019, the exhibition will be accompanied by a scholarly catalogue and a symposium; Sretenović is also developing a course for the University of Maryland based on her research, and is making a documentary about the artist.

Providence College Galleries | Providence RI
“Beyond Bauhaus” exhibition series
Providence College Galleries presents dynamic visual arts projects and exhibitions that foster innovative artistic practices and cross-departmental collaborations in gallery spaces and in site-specific installations across the college campus. In 2019, on the 100th anniversary of the founding of the Bauhaus, Providence College Galleries will present “Beyond Bauhaus,” a year-long series of exhibitions and commissioned installations featuring contemporary artists whose practices are inspired by the German art school. The exhibition will be complemented by a substantial catalogue.

San Francisco Museum of Modern Art | San Francisco, CA
“Suzanne Lacy: We Are Here” exhibition
In the 1970s, artist Suzanne Lacy began staging interactive public events focused on political or social issues. Over time, her practice came to incorporate many different elements, from performance, sculpture and video installations to photography, public actions and collaborative community projects. “Suzanne Lacy: We Are Here” is a retrospective that will feature work from the last forty years of her practice. The show will be presented simultaneously at SFMOMA and the Yerba Buena Center for the Arts in the summer of 2019 and will incorporate archives, performances, and documentation into the exhibition design.

The Miriam and Ira D. Wallach Art Gallery, Columbia University | New York, NY
“Waiting for Omar Gatlato: A Survey of Algerian Contemporary Art” exhibition
A broad presentation of work by emerging and established Algerian artists, “Waiting for Omar Gatlato: A Survey of Algerian Contemporary Art” will feature both those who have remained in the country and others now working abroad. The exhibition’s title refers to both the iconic Beckett play and a 1976 film about postwar Algerian youth, Omar Gatlato. The show at the Wallach follows both works in addressing the perpetually deferred promise of freedom and stability for this vital nation, which has suffered for much of its history from colonization, violent fundamentalism and authoritarianism. The show will open in late 2019.

Weisman Art Museum, University of Minnesota | Minneapolis, MN
“Harriet Bart: Abracadabra and Other Forms of Protection” exhibition
Harriet Bart is a Minneapolis-based conceptual artist whose sculptures and installations explore themes of autobiography and memory. In 1976, she and a group of friends co-founded the Women’s Art Registry of Minnesota, a feminist art collective that presents exhibitions and hosts a slide registry of women artists, and which has, over the past four decades, functioned variously as a support network, advocacy organization, and consciousness-raising group. The Weisman Art Museum at the University of Minnesota is planning Harriet Bart: Abracadabra and Other Forms of Protection, a full-scale retrospective of the artist, who is the first member of WARM to receive such recognition. The show will consider her entire oeuvre, from the early 1970s to today; a catalogue and symposium will accompany it.

Whitney Museum of American Art | New York, NY
Rachel Harrison exhibition
In October 2019, the Whitney Museum of American Art will present the first career retrospective of the artist Rachel Harrison. The exhibition, organized by co-curators Elizabeth Sussman and David Joselit, will fill the entirety of the Whitney’s fifth floor galleries. The curators are collaborating with the artist to install sculptures, environments, and photo-based work according to a “disrupted chronology” that prioritizes recurring themes over a strict linear timeline. The retrospective will be accompanied by a comprehensive publication and public programs.

ABOUT THE ANDY WARHOL FOUNDATION FOR THE VISUAL ARTS: In accordance with Andy Warhol’s will, the mission of The Andy Warhol Foundation for the Visual Arts is the advancement of the visual arts. The Foundation manages an innovative and flexible grants program while also preserving Warhol’s legacy through creative and responsible licensing policies and extensive scholarly research for ongoing catalogues raisonnés projects. To date, the Foundation has given over $200 million in cash grants to over 1,000 arts organizations in 49 states and abroad and has donated 52,786 works of art to 322 institutions worldwide. More information about the Foundation is available at warholfoundation.org.

Header Image: Richard-Jonathan Nelson “Anastatica” taken during Aggregate Space Gallery performance with Maurya Kerr Photo by Conrad Meyers.