aspenartmuseum                                                                                                       

September:

30                    Movies at the Museum: Before Night Falls (2000)

October:

1                      Alan Shields Poetry Readings

12, 19, 26        Contemporary Art Short Course

14        Ceal Floyer (October 14, 2016–January 22, 2017):

Opening Reception: October 13, 2016

Working predominantly in film and installation, British artist Ceal Floyer addresses notions of the uncanny, the humorous, and the absurd through deceptively simple means in her practice. She creates scenarios and situations that encourage viewers to both do a double take and a second look. By taking note of the details she posits the poetry inherent in the everyday is revealed. In her work Door (1995), for example, an empty slide projector is aimed at the bottom of a door to give the appearance of light coming through from the other side. Floyer’s Aspen Art Museum exhibition, which features a selection of works spanning from 1993–2015, marks the artist’s second major solo museum show in the United States.

14        Gary Hume: Front of Snowman (October 14, 2016–May 21, 2017):

Opening Reception: October 13, 2016

Standing upwards of ten feet tall, British artist Gary Hume’s larger-than-life sculpture of a snowman, Front of Snowman, is installed outdoors on the AAM Commons throughout three seasons (fall, winter, and spring). Hume’s snowman—a recurrent and iconic subject in the artist’s work—straddles the line between representation and abstraction. In this playful, humorous exploration of form and color, the artist has rendered a temporary and ephemeral childhood shape into material permanence.

20                    Architecture Lecture: Jing Liu

28                    Movies at the Museum: The Diving Bell and the Butterfly (2007)                                                                 

November:                                                                                        

2                      Contemporary Art Short Course led by Sarah Thornton

4    Julian Schnabel (November 4, 2016–February 19, 2017):

Opening Reception: November 3, 2016

Julian Schnabel’s Aspen Art Museum exhibition is the first museum presentation to focus on the renowned American artist’s now culturally iconic plate paintings. Largely unexhibited since the early 1980s, Schnabel’s pieces reveal the artist’s interest in material experimentation, the physicality of surface, and the relationship between the figure and abstraction. His AAM show includes a concise survey of these works—from the artist’s first plate painting, The Patients and the Doctors (1978), through to The Walk Home (1985).

4          Mary Ramsden (November 4,2016–February 19, 2017):

Opening Reception: November 3, 2016

For her first solo museum exhibition, British artist Mary Ramsden presents a new series of paintings grouped together in response to the architecture of the AAM’s Gallery 6. Expanding on her interest in prose, social media, and our daily interface with technology, Ramsden’s gestural marks echo the physical residue left when swiping the touch screen of a tablet or smart phone. Setting these urgent scorings among fixed geometric planes, Ramsden’s work alludes to our pervasive relationship with the screen in daily life.

4        Danh Võ (November 4, 2016–June 11, 2017): Opening Reception: November 3, 2016

 

Danh Võ’s We The People (detail) is part of  the artist’s long-term project to reconstruct Frédéric Auguste Bartholdi’s Statue of Liberty on a 1:1 scale. Re-creating only the statue’s fragile copper skin—the thickness of two copper pennies—and using the same fabrication technique as the original, Võ explores the relationship between monumentality and materiality in We The People. By displaying the statue in pieces, the artist offers us the opportunity to relate to an iconic monument on a human scale. Reassembled, if only in the mind of the viewer, we are given the chance to reflect on the collective construction of the concept of liberty itself.

           

17                    Architecture Lecture: Annabelle Selldorf       

18                    Movies at the Museum: Basquiat (1996)                                                                               

December:

30                    Movies at the Museum: Eva Hesse (2016)

January:

13        Adam McEwen (January 13–May 28, 2017): Opening Reception: January 12, 2017

New York–based British artist Adam McEwen is known for works that engage viewers with a dark yet poignant sense of humor. Once employed to write obituaries for the London Daily Telegraph, McEwen began producing fictional obituaries of living subjects, such as Bill Clinton, Kate Moss, and Jeff Koons. His recent sculptural works include objects such as a life-size coffin-carrier fabricated from solid graphite (Bier, 2013) and deployed airbags cast in concrete (an untitled piece from 2015). McEwen’s Aspen Art Museum exhibition marks the artist’s first solo museum show in the United States, and presents a group of works that address the blurred boundary between life and death, reality and fiction, the everyday and the obscure.

                                   

February:

10        Jack Pierson (February 10–May 28, 2017): Opening Reception: February 9, 2017

For more than two decades, New York–based artist Jack Pierson has been using the visual languages of photography, painting, sculpture, and drawing to examine intimate and emotional aspects of everyday life. Gaining recognition alongside a group of photographers known as the Boston School—including David Armstrong, Philip-Lorca diCorcia, Nan Goldin, and Mark Morrisroe, among others—Pierson explores the cultural construction of identity, including how we see and, ultimately, how others see us. The artist’s Aspen Art Museum show is a tightly curated survey re-presenting a series of his pivotal exhibitions from the nineties alongside a new body of work created especially for this exhibition.

 

March:

10        Harris Epaminonda (March 10–May 28, 2017):

Opening Reception: March 9, 2017

In her Aspen Art Museum exhibition, Berlin-based, Cypriot-born artist Haris Epaminonda expands on her practice of carefully arranging found images, objects, and film/video footage together in space. Interested in how objects’ meanings are transformed when placed in new environments, the artist pairs artifacts from different cultures and eras, such as textiles, carvings, and statues, alongside pages of old books. Removing them from their original context, Epaminonda creates new narratives and readings that collapse temporal distance between the past and the present.

           

10        Gravity and Grace (March 10–May 28, 2017):

Opening Reception: March 9, 2017

Taking its title from French mystic, philosopher, and activist Simone Weil, Gravity & Grace examines how objects can function as physical traces and intangible links between the visible and invisible. Including work by Isa Genzken, Felix Gonzalez-Torres, Robert Smithson, On Kawara, and Francesca Woodman, the exhibition reveals our innate desire to make and mark traces of our lives, exploring time not just as a subject matter, but also as an engine of relativity.

 

June:

22        Wade Guyton Peter Fischi David Guyton (June 23–October 2, 2017):

Opening Reception: June 22, 2017               

The Aspen Art Museum’s exhibition Wade Guyton Peter Fischli David Weiss is a collaboration between American artist Wade Guyton (b. 1972) and Swiss artists Peter Fischli (b. 1952) and David Weiss (1946–2012)—the latter two known during their thirty-three-year collaboration as Fischli and Weiss. The show encompasses all six galleries as well as the Commons, Roof Deck Sculpture Garden, and other previously non–art presentation defined spaces. Exploring how our perception of space affects our understanding of objects and images, Wade Guyton Peter Fischli David Weiss transforms the seemingly ordinary into the gloriously extraordinary.

 

Lara Favaretto: Momentary Monument: The Stone (November 3, 2017–September 3, 2018)

AAM Commons

 

Within her work, Italian artist Lara Favaretto often addresses the balance between absence and presence, failure, and aspiration. In 2005, she began creating Momentary Monuments, a series of sculptural works that explore human fragility alongside the futility and impermanence of memorials meant to commemorate their subjects. Favaretto’s Momentary Monuments play with the vernacular of civic sculpture, examining the significance placed on objects intended to commemorate, exalt, and memorialize. Presented in conjunction with her solo exhibition at the Aspen Art Museum (November 3, 2017–February 18, 2018), Favaretto’s Momentary Monument: The Stone will be placed outside on the central corner of the AAM Commons for an entire year. A large block of granite hollowed out from the inside, The Stone has a small slit in which the public can deposit money, allowing the sculpture to function as a public piggybank. All the money collected will go directly to benefit the Aspen Hope Center. In creating a physical depositary for,a charity doing ongoing work within the local community. Favaretto’s sculpture is more than simply a vehicle for donation. It is, in effect, also a monument, reminding all who engage with it of the center’s mission and the need to acknowledge and address the social concerns on which they focus.

                                   

      

 

 

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