Elizabeth Murray News

DC Moore Gallery's presentation at the Armory Show explores the compelling directions of contemporary abstraction through a selection of new paintings by Robert Kushner, Carrie Moyer, and Barbara Takenaga. Each of these artists creates visually stunning work that critically engages both the history of art and our contemporary culture.

Rainbow Group, the entertainment leader behind the hit, original animated series REGAL ACADEMY?, and The Alpha Group US LLC, master toy partner for the series, are thrilled to announce that season one of Regal Academy has returned to Nickelodeon.

The Gene Siskel Film Center (GSFC) of the School of the Art Institute of Chicago (SAIC) will celebrate one of Hollywood's most talented young actresses when it honors Tony and BAFTA winner and four-time Golden Globe nominee Scarlett Johansson

A vibrant image celebrating Gullah culture by Charleston-based artist Jonathan Green was unveiled today by General Director Nigel Redden as the official 2016 Spoleto Festival USA poster.

San Francisco Opera's SF Opera Lab opens its inaugural season with innovative programming that celebrates the power of the human voice theatrically in intimate spaces, including the state-of-the-art Dianne and Tad Taube Atrium Theater in San Francisco Opera's new Diane B. Wilsey Center for Opera.

San Francisco Opera's SF Opera Lab opens its inaugural season with innovative programming that celebrates the power of the human voice theatrically in intimate spaces, including the state-of-the-art Dianne and Tad Taube Atrium Theater in San Francisco Opera's new Diane B. Wilsey Center for Opera.

Sirens marks Carrie Moyer's first exhibition with DC Moore Gallery. Moyer's sumptuous paintings on canvas explore and extend the legacy of American Abstraction while paying homage to many of its seminal female figures among them Helen Frankenthaler, Elizabeth Murray, and Georgia O'Keeffe. Rife with visual precedents, Moyer's compositions reference Color Field, Pop Art and 1970s Feminist art - while proposing a new approach to fusing history, research and experimentation in painting. An exhibition catalogue, with a conversation between the artist and Katy Siegel, will be available.

Washington State native Trisha Brown is considered the most widely acclaimed choreographer of the postmodern era. For over 50 years, she pushed the limits of choreographic movement, changing modern dance forever. At 79, Trisha Brown has choreographed her last dances. In celebration of her life's work, Trisha Brown Dance Company returns to the choreographer's home state to perform the final performances of her works for the proscenium stage as part of a retrospective presented by University of Washington's World Series at Meany Hall.

Washington State native Trisha Brown is considered the most widely acclaimed choreographer of the postmodern era. For over 50 years, she pushed the limits of choreographic movement, changing modern dance forever. At 79, Trisha Brown has choreographed her last dances. In celebration of her life's work, Trisha Brown Dance Company returns to the choreographer's home state to perform the final performances of her works for the proscenium stage as part of a retrospective presented by University of Washington's World Series at Meany Hall.

San Francisco Opera today announced new details of its soon-to-be-completed $21 million renovation of 38,000 square feet in the Veterans Building's fourth floor and basement named the Diane B. Wilsey Center for Opera. Adjacent to the War Memorial Opera House, the Wilsey Center for Opera is scheduled to open in late February 2016, and consolidates most of the Company's operations into a single campus in the vibrant and emerging arts district of San Francisco's Civic Center. The 1932 Beaux Arts-designed Veterans Building recently reopened in September following a 26-month, City-financed $156 million seismic retrofit and renovation of the historic Herbst Theatre, Green Room, meeting rooms, offices and corridors throughout the first three floors.

The Bryn Mawr College Performing Arts Series announces an eclectic season of dance, music and theater. The five-program 2015-2016 season features two nights of performances from the Trisha Brown Dance Company, three nights of performances from Annie Wilson, and one-night only events from Al-Bustan Seeds of Culture, Ronald K. Brown, and Imani Winds. Performances are held at various venues on the campus of Bryn Mawr College, located at 101 North Merion Avenue in Bryn Mawr, PA.

A bright and bold poster designed by Italian artist Ugo Nespolo was unveiled by General Director Nigel Redden as the official 2015 Spoleto Festival USA poster today. Nespolo is the set and costume designer for Spoleto Festival USA's production of Francesco Cavalli's opera Veremonda l'amazzone di Aragona, which will have its American premiere-and first performances in over 350 years-at this year's Festival, running May 22 through June 7 in Charleston, South Carolina.

Shrek the Musical opens at New Stage theatre.

No, YOU Tell IT!: LEGACY is on Sunday 6/8, 7 p.m. as part of The Comic Book Theater Festival at The Brick (575 Metropolitan Avenue between Union Avenue and Lorimer Street, Brooklyn).

In the early 1960s, the shaped canvas emerged as a new form of abstract painting that reflected the optimistic spirit of a postwar space-race era when such forms as parallelograms, diamonds, rhomboids, trapezoids, and triangles suggested speed and streamlined stylization. The shaped canvas is frequently described as a hybrid of painting and sculpture, and its appearance on the scene was an outgrowth of central issues of abstract painting; it expressed artists' desire to delve into real space by rejecting behind-the-frame illusionism. The defining moment for the paradigm occurred in 1964 with The Shaped Canvas, an exhibition at the Solomon R. Guggenheim Museum, curated by influential critic Lawrence Alloway with works by Paul Feeley, Sven Lukin, Richard Smith, Frank Stella, and Neil Williams. Alloway's show defined a key feature of abstraction and revealed the participating artists' desire to overthrow existing aesthetic hierarchies. Half a century later, the shaped canvas remains robust in art, encompassing an array of approaches and provoking questions about the continued relevance of painting.

Coinciding with the 50th anniversary of the Guggenheim Museum's historic show, Luxembourg & Dayan will present The Shaped Canvas, Revisted, a cross-generational exhibition examining the enduring radicality of the painted shaped canvas and introducing such parallel movements as Pop Art and Arte Povera into discussion of the paradigm's place in the history of modern art.

In the early 1960s, the shaped canvas emerged as a new form of abstract painting that reflected the optimistic spirit of a postwar space-race era when such forms as parallelograms, diamonds, rhomboids, trapezoids, and triangles suggested speed and streamlined stylization. The shaped canvas is frequently described as a hybrid of painting and sculpture, and its appearance on the scene was an outgrowth of central issues of abstract painting; it expressed artists' desire to delve into real space by rejecting behind-the-frame illusionism. The defining moment for the paradigm occurred in 1964 with The Shaped Canvas, an exhibition at the Solomon R. Guggenheim Museum, curated by influential critic Lawrence Alloway with works by Paul Feeley, Sven Lukin, Richard Smith, Frank Stella, and Neil Williams. Alloway's show defined a key feature of abstraction and revealed the participating artists' desire to overthrow existing aesthetic hierarchies. Half a century later, the shaped canvas remains robust in art, encompassing an array of approaches and provoking questions about the continued relevance of painting.

In conjunction with William Anastasi: Sound Work, 1963-2013 the Hunter College Art Galleries will present an evening devoted to sound-based art. The evening's program will feature a panel discussion dedicated to an engagement with the broad theories and practice of sound based art. The panelists include curator and critic Robert Storr, Barbara London, former Associate Curator in the Department of Media and Performance Art at The Museum of Modern Art, artist Robert Barry, and artist Stephen Vitiello and will be moderated by Max Weintraub, exhibition curator and Assistant Visiting Professor at Hunter College. The evening will close with a conversation between William Anastasi and art historian Charles Stuckey.

Trisha Brown Dance Company (TBDC) today announced plans for the future course of the company and of Trisha Brown's oeuvre.