Courtesy Branch Gallery.
With the Nasher’s “Escultura Social” opening today, the Durham art world will be turning its focus to Mexico City. Anyone whose appetite is not sated by the Nasher need only wait one day for Branch Gallery‘s latest exhibition.
Pedro Lasch’s “Latino/a America: The New York & North Carolina Suites” and “If Only to Wake My Neighbors Up” curated by Jerstin Crosby of Hillsborough’s Acid Rain Productions will make their debut at Branch Gallery. Lasch’s “Black Mirror/Espejo Negro” is currently on display at the Nasher. He is also on faculty at Duke in the visual studies department. An opening reception is set for tomorrow, Jan. 16 from 5 to 8 p.m. It is free and open to the public.
The exhibition is up from Jan. 16 to Feb. 28 at Branch.
In conjunction with the Nasher’s newest exhibition “Escultura Social: A New Generation of Art from Mexico City,” artist María Alós has commissioned “Welcome/Farewell” for the exhibition. It is set to be performed at the exhibiton’s Thursday, Jan. 15 opening from 5 to 7 p.m. and again Sunday, Jan. 18 at noon.
In other Nasher news, there will also be a conversation with curator Julie Rodrigues Widholm and artists María Alós, Abraham Cruzvillegas and Pedro Lasch (of “Espejo Negro” fame and soon to be featured at Branch Gallery) Thursday, Jan. 15 at 7 p.m. It is free but reservations are suggested.
The Nasher Museum of Art might not have met its financial goals for its cornerstone exhibit of 2008 El Greco to Velazquez: Art During the Reign of Philip III, but it managed to win some support from Time Magazine, who ranked it third in its list of the top 10 museum exhibits of the year. The magazine praised recently knighted curator Sarah Schroth for her inclusion of lesser known artists:
But some of the most interesting canvases were by lesser-known artists, like Juan Bautista Maino, who were giving a Spanish accent to the Italian Baroque — or Juan Sánchez Cotan, whose almost Surreal pictures of vegetables hanging from strings in bright light against black backgrounds are too strange for any art historical categories to account for them.
For all 50 of the magazine’s top 10 lists, click here.
