The exhibition is organized by the Hudson River Museum.
Not a rose, not a candy, but even better, it’s a Compliment for you in time for Valentine’s Day.
In 2014 he was selected for the national survey exhibition This exhibition is the final episode in the artist’s series on Colonial America, his successful combining of art, history, and sometimes wicked but always fun-to-read commentary on people — Europeans adventurers and explorers, North American Indians, freed and enslaved blacks, and ravishing women who love, laugh, and die on the banks of the Hudson from Manhattan up to Lake Oneida.
The action begins in 1791 and continues through 1793, real time for New York City just flaunting its new identity on the southern tip of the island of Manhattan, and thriving under English rule.
Her work also featured in Site95’s “Transforming New York Street Objects” and FIGMENT Festival NYC make environments eventful and interesting, inviting you to join the fun.His recent solo exhibitions include the Wadsworth Athenaeum (Hartford, CT), Wellin Museum of Art (Clinton, NY), the Visual Arts Center of New Jersey (Summit, NJ), the Nevada Museum of Art (Reno, NV), and the Museum of Contemporary Art (Denver, CO). The fully illustrated catalog that accompanies the exhibition explores Frohawk’s work and contains the full narrative of this final episode, the fifth and last in his series We look for our president in paintings, photographs, and sculpture, where we may see him as a warrior, family man, or a man of faith.The exhibition is organized by the Hudson River Museum and curated its Deputy Director Bartholomew F. Washington, the nation’s first soldier and president, is the prototype for political promotion, too.The landscapes of three artists, Jasper Cropsey, Asher Durand, and James Renwick Brevoort, paintings on view at the Museum, inspired Frohawk’s scenic work for this exhibition, which also include almost a dozen new pieces among them .Also new to Frohawk’s story and the Hudson Valley is a Trojan Horse.
This summer, Kuehnle’s inflatables invade the Hudson River Museum’s limestone Victorian home, Glenview, and the Brutalist concrete spaces in its modern wing, mushrooming in the galleries.