Drawn Together explores the intriguing nature of the artistic process. Pairing work from the Cummer Museum’s permanent collection with the artist’s smaller study drawings reveals the time and commitment it takes to conceptualize an idea from start to finish. This often leaves the viewer with two or more standalone masterpieces: the initial sketch and the finished work of art. John Steuart Curry’s Parade to War, Allegory (1938), Claude Lorrain’s Minerva Visiting the Muses on Mount Parnassus (1680), Winslow Homer’s Waiting for a Bite (c. 1874), and Benjamin West’s The Honorable Mrs. Shute Barrington (c. 1808), among others, are featured. Come see some of your favorite works in a new light!

This exhibition is organized by the Cummer Museum of Art & Gardens.

Image:

John Steuart Curry (American, 1897 – 1946), Sketch for Parade to War, 1938, pencil, pen, brush, wash, and ink, with traces of colored pencil on paper, 12 ¼ x 18 ¼ in., Purchased with funds from the Morton R. Hirschberg Bequest, AP.2004.2.1.

Calida Rawles envisions water as a space for Black healing and reimagines the African American community beyond the stories we already know as a part of the United States’ collective history. Merging hyperrealism, poetic abstraction, and the cultural and historical symbolisms of water, Rawles creates unique portraits of Black bodies submerged in and interacting with bright and mysterious bodies of water. The water, itself a sort of character within the paintings, functions as an element that signifies both physical and spiritual healing, as well as historical trauma and racial exclusion. Rawles creates a bridge between her signature style and a story within Miami’s history that is often ignored and obscured.

Rawles delves into the particular experience of Black people in Overtown, a Miami neighborhood that went from a thriving cultural and commercial hub for Black people to a community dismantled by gentrification, systemic racism, and mass displacement. The figures in Rawles’s paintings are residents of the Overtown community—from young children to senior citizens. The exhibition’s focus is on the stories and experiences of those who live in this historic neighborhood. Rawles takes her practice a step further by photographing some of her subjects in natural waters for the very first time, at the historic Virginia Key Beach, which was once racially segregated. By photographing Black subjects in the ocean for the first time, Rawles is able to probe the Atlantic’s history as the site of the supremely exploitative transatlantic slave trade. The finished work critically engages with Miami’s water-entwined climate and mines the history of beauty, oppression, and resilience in the neighboring community of Overtown.

Calida Rawles: Away with the Tides is organized by Maritza M. Lacayo, Associate Curator, with the support of Fabiana Sotillo, Curatorial Assistant. Calida Rawles: Away with the Tides is presented with lead individual support from Allison and Larry Berg and supporting sponsorship from Goldman Sachs. Additional support from PAMM’s International Women’s Committee, Leslie and Greg Ferrero, and Rebkah and Desmond Howard is gratefully acknowledged.

Calida Rawles (American, b. 1976), Towner for Life, 2024, acrylic on canvas, 72 x 102 in., Courtesy the artist and Lehmann Maupin, New York, Seoul, and London.

Over more than six decades, Kuerner Farm in Chadds Ford, Pennsylvania inspired nearly 1,000 artworks in a wide variety of genres and media by one of the most celebrated American artists of the 20th century, Andrew Wyeth.

Andrew Wyeth at Kuerner Farm: The Eye of the Earth brings together over 40 works by Wyeth including some of the artist’s most iconic masterpieces from Kuerner Farm as well as exciting works drawn from Andrew and Betsy Wyeth’s private collection, including works that have never been on public display.

Wyeth’s fondness towards Kuerner Farm, which stands a short walk from the artist’s studio, served as constant inspiration over his long, productive career. Immersed in the layers of the landscape, the farmhouse at its core, and the people who inhabited it (the Kuerner family), Wyeth produced a remarkable array of work, depicting one of the most prevailing connections in American art – the powerful connection between artist and place.

Wyeth often spoke about the inspiration derived from walking and sketching the farm recalling, “The balance, the flash of that black thing, brought the image of the scene clear to my mind, and I recalled the marvelous amber color of the rich landscape and the lucid pond looking almost like the eye of the earth reflecting everything in creation.”

Co-organized by the Brandywine Museum of Art and the Reynolda Museum of American Art, Andrew Wyeth at Kuerner Farm: The Eye of the Earth marks the 25th anniversary of Kuerner Farm’s transition from a family home to a public site visited and sketched by thousands annually.

Generous support for the exhibition is provided by Wells Fargo.

Andrew Wyeth (American, 1917 – 2009), Cornflowers, 1986, watercolor, Collection of the Wyeth Foundation for American Art, B2244. © 2025 Wyeth Foundation for American Art/Artists Rights Society (ARS), New York.

Knowing the West is a travelling exhibition that embraces and examines perceptions of the American West to be more inclusive, complex, and reflective of the diverse peoples who contributed to art and life in and about the West.

Americans often feel they “know the West,” whether informed by direct experience or popular culture. Visions of landscapes and people tangle with ideas of conflict, freedom, and nostalgia. Knowing the West embraces preexisting impressions of the American West and presents a wide variety of artwork from diverse makers from the 19th to early 20th centuries to add richness to what is often a flattened and simplified view of the American West.

Knowing the West is organized by Crystal Bridges Museum of American Art, Bentonville, Arkansas, and co-curated by Mindy N. Besaw and Jami C. Powell with influence and input from a curatorial advisory council.

Image:
Nellie Two Bear Gates (Iháƞktȟuƞwaƞna Dakhóta, Standing Rock Reservation, 1854 – 1935), Suitcase, 1880 – 1910, bead, hide, oilcloth, thread, 12 1/2 in. x 17 11/16 in. x 10 1/4 in., Minneapolis Institute of Arts, Minneapolis, MN. The Robert J. Ulrich Works of Art Purchase Fund. Photo: Minneapolis Institute of Art.

One of Australia’s most acclaimed Indigenous artists, Mick Namarari Tjapaltjarri was a founder of the Western Desert art movement. Mysteries that Remain is an important survey of Namarari’s work, featuring paintings on canvas and board from 1971-1990. It reveals the depth and complexity of Namarari’s artistic experiments as he restlessly strove to present the ancestral narratives of his desert homelands in new and innovative ways. Drawn from the extensive holdings of Namarari’s work in the Kluge-Ruhe Collection at the University of Virginia, Mysteries that Remain tracks Namarari’s progress from his iconographic and ritually explicit works of the 1970s to more abstracted landscapes of the 1990s. It shows Namarari to be an artist who grasped the creative challenge of painting for the art market while never losing sight of the ancestral underpinnings of his country. In turning our focus to Namarari’s art, we might see this reserved figure more clearly. And despite their alluring colors and designs, these paintings retain their mystery, hinting at the spiritual world beyond the painted image. This exhibition sheds new light on this enigmatic and important artist as he moved from detailed figurative works through to grand abstractions. A quiet, reserved man, this exhibition places Namarari in his rightful place as contemporary master.

This exhibition is organized by the Kluge-Ruhe Aboriginal Art Collection of the University of Virginia.

Image:
Mick Namarari Tjapaltjarri (Pintupi, 1926 – 1998), Ceremony at Tjilka, 1973, synthetic polymer paint on composition, 23 15/16 x 18 x 1/2 in., Gift of John W. Kluge, 1997, Kluge-Ruhe Aboriginal Art Collection of the University of Virginia, 1996.0002.002.

Quilts are a democratic art. They provide a window into the lives of the many people who have made and used textiles, across geographic, political, social and economic contexts. Organized by the Museum of Fine Arts, Boston (MFA), Fabric of a Nation: American Quilt Stories showcases 46 remarkable textiles by a variety of individuals—male and female, known and unidentified artists, urban and rural makers, immigrants, and Black, Latinx, Indigenous, Asian and LGBTQ+ Americans. The exhibition explores how the quilt, which is often seen today as a timeless, quintessentially “American” art form, has in fact continuously evolved, shaped by a broadly underrecognized diversity of artistic hands and minds. Dating from the 17th century to the present day, the masterpieces on view reveal a rich—and richly complicated—story of the nation’s shared history, contributing to the evolving conversation about what defines the American experience.

Image:
Bisa Butler (American, b. 1973), To God and Truth, 2019, printed and resist‑dyed cottons, cotton velvet, rayon satin, and knotted string, pieced, appliquéd, and quilted, John H. and Ernestine A. Payne Fund, The Heritage Fund for a Diverse Collection, and Arthur Mason Knapp Fund, ©Bisa Butler. Photograph ©Museum of Fine Arts, Boston.

Organized by