Popular Events in 2024(June Updated)

Coinciding with The Noguchi Museum’s 40th anniversary in 2025, works from the Museum’s original second floor installation will return to those galleries for the first time since 2009. Against Time is curated by Matthew Kirsch, Noguchi Museum Curator and Director of Research. Against Time uses as its basis the catalogue The Isamu Noguchi Garden Museum (New York: Harry N. Abrams, Inc., 1987), written by Isamu Noguchi (1904–1988) as a guide to works in the Museum in place of traditional wall labels, which was in turn used to define the Museum’s permanent collection after his death in December 1988. This original installation consisted of sculptures that had accumulated before and after Noguchi’s move to his 10th Street studio in Long Island City in 1961. Noguchi considered a number of these to be personal breakthroughs, works that represented significant turns and returns within his cyclical practice over the course of six decades. Against Time could never replicate Noguchi’s exact vision for these galleries, as they have since been repartitioned after renovations in the early 2000s. Rather, this installation is a distillation of various phases from 1985–88, adapted and reimagined according to archival photographs documenting how Noguchi assiduously arranged and rearranged his works in different constellations in the first years of the Museum.

Cecilia Vicuña is a poet and artist who grew up in the Chilean commune of La Florida, in the Maipo Valley. Born to a family of artists and intellectuals, Vicuña grew up hearing about the persecution and incarceration of individuals who struggled for social justice in the wake of increasingly conservative government agendas. While attending the Slade School of Fine Art in London on a British Council Award in 1972–73, a coup d’état led by General Augusto Pinochet, commander-in-chief of the Chilean army, ushered in a seventeen-year military dictatorship. This led Vicuña to remain in London on a self-imposed exile, where she exhibited her work at the Institute of Contemporary Arts and published her first book, Saborami (1973). At the time, she was largely focused on political activism directed against fascism and human rights violations in Chile and other countries.

The Bass Museum of Art announces a new exhibition as part of the 2024-2025 fall season, Ulla von Brandenburg: In Dialogue, on view September 4, 2024 through July 6, 2025. Ulla von Brandenburg, the German-born artist based in Paris, engages with idiosyncratic moments and overlooked figures from the histories of art and culture. Her exhibitions and projects draw a wide range of subjects, including occultism, psychoanalysis, modernist architecture and Hollywood cinema, into contemporary contexts. Ulla von Brandenburg: In Dialogue is a presentation of von Brandenburg’s work paired with The Bass’s recently acquired ceramic mural by the Lebanese-American artist Etel Adnan (1925–2021). A leading figure in contemporary Arab American visual art and literature, Adnan created rich, geometric fields of color in her paintings and drawings, some translated into large-scale murals and tapestries that reflect the artist’s enduring interest in architecture and the built environment. Comparatively, von Brandenburg’s multifaceted practice combines film, textiles, drawings, watercolors and sound into immersive exhibition scenarios where the different art forms harmonize into a cohesive whole (or Gesamtkunstwerk). Ulla von Brandenburg: In Dialogue explores this cross-generational engagement with geometric abstraction—its interplay of circles, squares and triangles—evident in both Adnan’s mural and von Brandenburg’s practice, and staged alongside the rich history of the Ukrainian-born French artist Sonia Delaunay. Here, Adnan’s lyrical abstract mural (Untitled, 2023), at 14 × 21 feet, serves as both a protagonist and theatrical backdrop in von Brandenburg’s exhibition scenography. The works interweave through the language of abstraction and the artists’ shared interests in the social and spatial environment.

explores the rise of Futurism in contemporary Indigenous art as a means of enduring colonial trauma, creating alternative futures, and advocating for Indigenous technologies in a more inclusive present and sustainable future. Over fifty artworks are on display, some interspersed throughout the museum, creating unexpected encounters and dialogues between contemporary Indigenous creations and historic Autry works. Artists such as Andy Everson, Ryan Singer, and Neil Ambrose Smith wittily upend pop-culture icons by Indigenizing sci-fi characters and storylines; Wendy Red Star places Indigenous people in surreal spacescapes wearing fantastical regalia; Virgil Ortiz brings his own space odyssey, to life in a new, site-specific installation. By intermingling science fiction, self-determination, and Indigenous technologies across a diverse array of Native cultures, envisions sovereign futures while countering historical myths and the ongoing impact of colonization, including environmental degradation and toxic stereotypes.

Starting with the Saracen jousting, a popular event celebrated in the city of Arezzo, the exhibition aims to document war games using prints and drawings from various periods in the Uffizi Gallery, especially the numerous examples of helmets, weapons and armour from the famous collection of the Stibbert Museum. These knightly tournaments became popular in the Middle Ages and continued into the Renaissance, including the Crossbow Palio, which required contestants to have skills in precision, and the ancient Game of the Bridge, a contest of strength to conquer the Ponte Vecchio on foot. Visitors will see the most iconic piece in the exhibition, a 16th-century Buratto or Saracen quintain on loan from the Museo Nazionale del Bargello. Probably a celebration to mark the marriage of Francesco I and Bianca Cappero in 1579, the changes over the centuries have transformed it from a Saracen nobleman to the European warrior we see today. The exhibition emblem is another prestigious work of art, Stefano Della Bella’s Knight in Armour, made for the procession and loaned by the Uffizi Gallery. The sumptuous, ornate costumes and robes evoke the sheer splendor of participating in these spectacular events designed to celebrate the great and the good. In another painting loaned from the CR Florence Foundation, Stefano Della Bella depicts a night procession in the Boboli Gardens in 1637. Arms and armour are loaned by Florence’s Museo Stibbert, which has one of the richest collections of material on the ancient game of bridge in Pisa. Stibbert also loaned a fine set of 17th-century crossbows richly inlaid with hunting scenes, made by a workshop in southern Germany. And the collection of the Ivan Bruschi Foundation lends an interesting letter of challenge from “the unconquered, most glorious and ever-victorious King of the Indies, Brato”, issued to announce the version of the Saracen tournament that was held on August 26, 1674 in honor of Cardinal Corsini, Bishop of Arezzo.

Table Manners brings together tableware, flatware, and drinkware from the SFMOMA Architecture + Design collection spanning nearly 100 years. The exhibition celebrates the ways design has shaped our relationship to food, our bodies, and communities, and how dining can be a profound communal and cultural experience. From self-filling wine glasses and teapots made of tea, to crisp modernist spoons and flatware made from discarded CDs, Table Manners explores the performance of dining. The exhibition includes works by Virgil Abloh, Joe Colombo, Zaha Hadid, Roberto Lugo, and many more, accompanied by illustrations and textiles by Lucy Stark.

The Natural History Museum’s historic diorama halls are the largest exhibitions at the museum, showcasing over 75 incredibly detailed habitats ranging from arctic tundra to tropical rainforest. To celebrate the 100th anniversary of the dioramas, NHM is restoring and reopening a diorama hall that has been closed for decades. There, visitors will experience immersive new installations — by artists RFX1 (Jason Chang), Joel Fernando and Yesenia Prieto (working as a three-artist team), as well as Saul Becker and Lauren Schoth — that call attention to dioramas as a unique combination of art and science and explore biodiversity, ecology, conservation, colonialism, and changing museum display techniques. NHM maintains an active diorama program where staff continue to update and build dioramas, keeping this art form alive. Visitors can examine these illusions of wilderness through a series of displays, engaging programs, and a new book that sheds light on the previously untold history of NHM’s dioramas.

Mesoamerican artists held a cosmic responsibility: as they adorned the surfaces of buildings, clay vessels, textiles, bark-paper pages, and sculptures with color, they (quite literally) made the world. The power of color emerged from the materiality of its pigments, the skilled hands that crafted it, and the communities whose knowledge imbued it with meaning. Color mapped the very order of the cosmos, of time and space. By engineering and deploying color, artists wielded the power of cosmic creation in their hands. We Live in Painting: The Nature of Color in Mesoamerican Art explores the science, art, and cosmology of color in Mesoamerica. Histories of colonialism and industrialization in the “color-averse” West have minimized the deep significance of color in the Indigenous Americas. This exhibition follows two interconnected lines of inquiry—technical and material analyses, and Indigenous conceptions of art and image—to reach the full richness of color at the core of Mesoamerican worldviews.

The story revolves around the fading star Noma Destmond. She lives in her ruined mansion on the legendary streets of Los Angeles and lives a life of the past. When the lighter screenwriter Joe Galius accidentally met her, she saw the opportunity to return to the big screen from him, and then a series of romance and tragedy occurred.

Inspired by traditional Chinese artwork, Cloudscape is a mesmerizing installation that blends traditional artistry with contemporary themes. Artist Xiaojing Yan masterfully crafts intricate cloud forms using paper and natural reed, evoking the essence of traditional Chinese landscape painting. This awe-inspiring work presents a complex interplay of water and cloud motifs that challenge our perception of the natural world.Immerse yourself in Yan's floating masterpiece, where each sculpted cloud tells a story of cultural heritage and environmental consciousness, and invites us to reflect on our relationship with nature.

Discover how weavers in Afghanistan have recorded the country's turbulent history in traditional rugs in this new display. On 24 December 1979 Soviet troops crossed the border into Afghanistan, beginning a protracted 10-year war. As the country was transformed by conflict, Afghan weavers started to include imagery of modern warfare in their carpets and rugs. Birds were replaced by military helicopters. Guns took the place of flowers. Demons fought alongside tanks. This fusion of traditional crafts with the recording of contemporary history created a new artform: Afghan war rugs. This display presents some of the remarkable rugs from the British Museum collection, alongside a selection of objects that explore Afghanistan's complex past and turbulent present. Located between Asia and the Middle East, Afghanistan has always been a point of connection for different cultures. Yet it was also a strategically important territory that dynasties and empires fought over to control.

Serpentine unveils a new site-specific mural by artist Esther Mahlangu. On view in the garden at Serpentine North, the monumental painting celebrates concepts of community and unity. Umuntu ngumuntu ngabantu, which translates directly from Ndebele as ‘I am because you are’, marks her first public artwork in the UK.

Andrés Reisinger is one of the most sought-after visual artists and designers of the 21st Century. He has conquered a unique position in contemporary culture, occupying and defining the fertile space between the digital and physical spheres. Originally from Argentina and currently residing in Spain between Madrid and Barcelona, where his studios are based, Reisinger bridges realms with an instantly recognisable aesthetic that conveys a mesmerisingly clear vision.

Otobong Nkanga has changed the way we understand the Earth and our place in it. “Humans are only a small, minute part of the ecosystem,” the artist has said. “My works connect us to our shared histories, not just through land and geography, but through emotions shaped by events and encounters. These are the cadences of life.” Otobong Nkanga: Cadence presents a new commission by the artist: an all-encompassing environment of tapestry, sculpture, sound, and text that explores the turbulent rhythms of nature and society. Created specifically for MoMA’s Marron Family Atrium, the installation centers on a monumental, multi-paneled tapestry that suggests sprawling ecosystems and galaxies.

Family, art, and entrepreneurship converge in the story of three visionary Peranakan women from Indonesia – Nyonya Oeij Soen King, her daughter-in-law Nyonya Oeij Kok Sing, and her granddaughter Jane Hendromartono. From the 1890s to 1980s, they produced impressive batiks in the renowned batik centre of Pekalongan on Java’s north coast. This exhibition explores the lives and works of these women, revealing how each became a batik master in her own right, and how they responded to the rapid political, cultural, and economic changes of their times to run a business that produced great art.

See the world through a new lens. Experience the miracle of life on Earth through the world's best wildlife photography. Now in its 60th year, our photography exhibition aims to reveal more of nature's stories. It will take you on a visual adventure through different environments and give you a window into the wild animals that call them home. Witness firsthand how our activities, for good or bad, shape the natural worldExplore stunning imagery, from majestic predators on the hunt to breathtaking compositionsWitness powerful stories of survival, fragility, and life's delicate balanceEach photograph is a reminder of the wonder of the natural world. As well as stunning photography, you'll discover through soundscapes, films and expert insights the diversity and beauty of life on Earth, and what we can do together to protect it.

At the invitation of the Musée national Picasso-Paris, Argentine artist Guillermo Kuitca (b. 1961) has created a site-specific work in the chapel of the Hôtel Salé. Since his intervention at the Venice Biennale in 2007, Kuitca has developed a new language, echoing the architecture, which the artist calls ‘cubistoid painting’, in which a set of intersecting lines, like so many folds in the plane, is deployed directly on the walls, forming a new pictorial space.

One Becomes Many explores the enduring legacies that transcend generations in the works of ten Black Brazilian artists. Through traditional motifs, geometric abstractions, and a deep reverence for Brazilian culture, these artists offer glimpses into a world where resilience is not merely a trait but a sacred inheritance. Central to the exhibition is candomblé—the Afro-Brazilian religion that draws on traditions of West African ethnic groups such as the Yoruba, Fon, and Bantu, as well as some aspects Roman Catholicism. Inspired by ritual practices, these artists pay homage to deities and ancestral spirits, exuding divine potency and wisdom in their works. The reimagined symbolic imagery from candomblé serves as a visual testament to the strength of a people who have endured, persisted, and thrived.

Through the expansive finding of fossils and development of new techniques and methods, the 19th century transformed our understanding of the history of Earth. Breaking Ground explores these themes through William Buckland, geologist and palaeontologist, and Mary Buckland (née Morland), a scientific illustrator, the couple at the heart of this exhibition. They both helped to establish new scientific methods and ideas, which led to fascinating discoveries in palaeontology, including the first ever dinosaur to be named to science.

Norman Foster (British, b. 1935), is one of the most esteemed international architects of our time, with projects worldwide. Among innumerable accolades, he was awarded the prestigious Pritzker Prize for Architecture in 1999. This installation focuses on models and designs for a select few of his many celebrated projects, organized into three themes: Working with History; Embracing the Environment, and Community and Culture. All these subjects are underpinned by sustainability, and crucial to Foster + Partners’ vision for an upcoming renovation of The San Diego Museum of Art west wing.

This original art exhibition will introduce works with "science" and "magic" motifs, and will explore Fujiko F. Fujio's unique way of making dreams come true. The secret gadgets of the future in "Doraemon," the science laws of Planet Marl that appear in "Chimpui," the magic used in "Jungle Kurobee," and more... Through the original drawings, you can enjoy the world of "science" and "magic" that only Fujiko F. Fujio could depict.

Hauser & Wirth Southampton presents a focused exhibition of twelve new watercolors by Charles Gaines. Inspired by cottonwood trees he photographed on a 2022 trip to Arizona, ‘Numbers and Trees: The Arizona Watercolors’ provides an intimate encounter with the systems and processes through which the celebrated conceptual artist develops his constantly evolving ‘Numbers and Trees’ series. The trees Gaines photographed during this trip will form the basis of a new series of Plexiglas works that the artist will debut in his forthcoming solo exhibition at the Phoenix Art Museum.

While the landscape genre has long been associated with picturesque vistas, Shifting Landscapes considers a more expansive interpretation of the category, exploring how evolving political, ecological, and social issues motivate artists as they attempt to represent the world around them. Drawn from the Whitney’s collection, the exhibition features works from the 1960s to the present and is organized according to distinct thematic sections. Some of these coalesce around material and conceptual affinities: sculptural assemblages formed from locally sourced objects, ecofeminist approaches to land art, and the legacies of documentary landscape photography. Others are tied to specific geographies, such as the frenzied cityscape of modern New York or the experimental filmmaking scene of 1970s Los Angeles. Still others show how artists invent fantastic new worlds where humans, animals, and the land become one. Whether depicting the effects of industrialization on the environment, grappling with the impact of geopolitical borders, or proposing imagined spaces as a way of destabilizing the concept of a “natural” world, the works gathered here bring ideas of land and place into focus, foregrounding how we shape and are shaped by the spaces around us.

Featuring 25 site-specific, newly commissioned installations, Making Home—Smithsonian Design Triennial explores design’s role in shaping the physical and emotional realities of home across the United States, US Territories, and Tribal Nations. The exhibition is the seventh offering in the museum’s Design Triennial series, which was established in 2000 to address the most urgent topics of the time through the lens of design.

To mark the 100th anniversary of the Griffelkunst-Vereinigung Hamburg e.V., the Hamburger Kunsthalle will show in its Hubertus Wald Forum a broad selection of lithographs, screenprints, etchings, woodcuts, and also photographs and C-prints from the 100 years of the programme, as well as some archival documents. The association has been publishing original graphic editions since 1925, making print series by selected artists available to its members. The works are chosen not according to their formal or thematic coherence but because they provide a repre-sentative idea of the respective artist’s oeuvre based on examples of their graphic work. The Griffelkunst-Vereinigung editions typically showcase established national and international artists alongside lesser-known, often younger artists of diverse nationalities and generations as well as collaborations with printmakers. This extraordinary graphics association today counts 4,500 members throughout Germany. The Hamburger Kunsthalle has been involved from the outset and has presented many of the series in various exhibitions over the years.

Generations of artists have explored the beauties and terrors of the ocean, reflecting on the experiences of those who have lived and lost their lives among the waves. Weaving together artworks by four artists made over centuries and across the Atlantic, this exhibition follows a genealogical thread united by the sea. Echoes of John Singleton Copley’s Watson and the Shark (1778) reverberate in J. M. W Turner’s 1840 Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On), which itself has influenced art created in the 21st century.

Born in Miami to Cuban parents, artist José Parlá (b. 1973, Miami; lives in New York) was raised between mainland United States and Puerto Rico. Influenced by his proximity to Caribbean and Latin American countries, he developed an interest in diverse cultural traits, including Cuban music, hip hop, reggae, calligraphy, dance, and urban architecture and its decay, all of which would become recurring themes in his work. Consistent with his blended culture, Parlá is interested in hybrid forms of abstraction. Through a unique mark-making process, grounded in movement and bodily gestures, Parlá produces a painterly stream of consciousness characterized by addition, erasure, and layering. His physical and textural artistic process challenges conventional visual culture. Pérez Art Museum Miami (PAMM) is honored to be hosting Parlá’s first solo museum exhibition in his hometown. Featuring a new series of never-before-seen works and a site-specific mural, José Parlá: Homecoming will ultimately mirror the artist’s studio. An elaborate, two-part exhibition will allow visitors to observe Parlá’s dance-like technique in real time as he paints a site-specific mural for the first iteration of the exhibition. The second iteration will see the museum gallery transformed and converted into Parlá’s studio—a room full of paint-covered tables, a lively Cuban-inspired record collection, and decades of Parla’s archival memorabilia. In 2021, Parlá contracted a life-threatening case of COVID-19—he was hospitalized and endured a four-month coma during which he suffered a stroke and significant brain bleeding. A radical departure from the traditional use of space in a museum, this presentation not only represents a homecoming to Miami, but also marks a return to himself and his practice after this experience. Celebrating the spirit of resilience and returning to one’s roots, José Parlá: Homecoming is a testament to the profound connections among personal history, art, and creative expression. In addition to the completed mural and studio re-creation, the exhibition will also feature a number of recent works Parlá created upon his return to painting. The result is a process-focused exhibition highlighting an expressionistic painter who conscientiously engages with issues relating to Cuban and broader diasporic identity.

Amy Sherald quickly came to the public eye with her portraits of former US President Barack Obama and his wife. She defined her portrait subjects as "Americans" to express that black people are also an integral part of American identity. The nearly 50 paintings on display continue her figurative representation of the black experience, placing the characters in historically typical and everyday environments, inviting the audience to participate in a more complex debate about the recognized concept of American identity.