MAMC St. Etienne June 27 2026-Jan 3, 2027 France

Two exhibitions are featuring the work of Sari Dienes

To Be Deciphered:

Following the traces in the collections

https://mamc.saint-etienne-metropole.fr/en/exhibition/be-deciphered

 

                                                                                                      Sari Dienes: Frizz Head 1956

Sari Dienes: Big Square 1956

The Musée d’art moderne et contemporain de Saint-Étienne Métropole houses a collection of nearly 23,000 works, presented through thematic installations that are renewed approximately once a year.

Art history is a field grounded in interpretation, whose methods continue to evolve over time and through dialogue with other disciplines. When encountering a work of art, viewers read forms and colors in order to construct meaning. The art museum thus becomes a space of inquiry, where visitors, consciously or not, engage in the decoding of artists’ messages. Whether explicit or implicit, these messages are capable of carrying an infinite range of narratives drawn from the past, the present, and the future.

This exhibition invites audiences to consider deciphering both as a driving force in artistic creation and as a central concern in the preservation of memory.

Curator: Zoé Marty Heritage Curator and Head of the Collections Department at MAMC+

 

Flying Colors:

A Dialogue with the Collections of the Minneapolis Institute of Art

https://mamc.saint-etienne-metropole.fr/en/exhibition/flying-colors

The Flying Colors – A Dialogue with the Collections of the Minneapolis Institute of Art exhibition brings together approximately 150 works by around forty American artists drawn from the collections of the Minneapolis Institute of Art (Mia) and the MAMC+. This dialogue between the two museums spans nearly 75 years of American art history, from 1950 to the present. During the Second World War, the United States offered refuge to many European artists in search of renewal and freedom, laying the groundwork for the emergence of major artistic movements to come. Chronologically organized, the exhibition aims to demonstrate how artists, often deeply engaged with political and social issues, have consistently upheld and defended the values of otherness. Brought together through the Franco-American FRAME network, the Mia and the MAMC+ celebrate through this project a transatlantic friendship.

In honor of the 250th anniversary of the Declaration of Independence of the United States this year, the Musée d’art moderne et contemporain de Saint-Étienne Métropole (MAMC+) will present an exceptional American season highlighting its landmark collection, with the support of the FRAME network (French American Museum Exchange).

Curator:  Aurélie Voltz General Director of thre MAMC+

 

Sari Dienes Psychadelic at Women Across America Eric Firestone Gallery May 12-July 31 2026

Shttps://www.artsy.net/artwork/sari-dienes-psychedelic

Sari Dienes Psychadelic 

Plaster print c.1950

15 1/2 × 17 1/4 in | 39.4 × 43.8 cm

In 1949, Dienes worked with Stanley Hayter at the famed Atelier 17 at the New School. Printmaking techniques would also become an integral part of her practice, even when making unique works. Through Hayter, who was experimenting with “plaster prints,” Dienes would begin creating plaster reliefs to create prints, and eventually plaster collages incorporating rope and wood. These were the subject of her first of four solo exhibitions at Betty Parsons Gallery. Psychadelic illustrates various experimental processes from the period, including expressionist applications of ink in splatters and drips.

Women Across America 1945-1979 Eric Firestone Gallery May 12 2006

https://www.ericfirestonegallery.com/exhibitions/women-across-america-1945-to-1979

 

Eric Firestone Gallery is pleased to present Women Across America: 1945–1979, an exhibition that showcases connections between women across the country in the post-World War II period. This exhibition highlights the rich tradition of abstraction within the period across various mediums. Taking inspiration from William Gerdts’s sprawling Art Across America: Two Centuries of Regional Painting 1710–1920, the three-volume encyclopedia of art in the United States, this exhibition reimagines what an Americanist Art History of the postwar period might look like if told through women’s art. The show traces a transitional time for women within the art world, with figures such as Adaline Kent and Jeanne Reynal who forged their own paths in order to work as artists, painters like Pat Passlof and Helen Frankenthaler who fought for a place within the New York School, and artists who became outspoken in their feminism during the women’s movement like Miriam Schapiro and Nina Yankowitz. This exhibition furthers the gallery’s commitment to reexamining modern and contemporary art histories of the United States, especially championing underrecognized artists. 

Over the last decade, women artists have increasingly achieved recognition for their role in post-war abstraction. This exhibition will present an expansive view of this art world: connecting now well-established names alongside reintroductions. The curation will create conversations between artists involved with Surrealism, the Studio Craft Movement, Abstract Expressionism, the Washington Color School, and Women’s Art Movement. The exhibition draws together work from artists’ estates, key paintings coming out of private collections for the first time in decades, and distinguished loans.

Taking place over the United States’s semiquincentennial, this exhibition tells various kinds of American stories: regional stories, immigrant stories, and exile stories. In the years leading up to the outbreak of the Second World War, many fled Europe for the United States. Among them were numerous artists, including Sari Dienes (1898–1992) and Hedda Sterne (1910–2011), both of whom trained at European academies, lived and became part of avant-garde circles prior to settling in New York. These artists, though fiercely independent in their respective studio practices, generated connections among artists. Leaving behind much of what they knew, they created channels for social interaction and artistic exchange in their new country. In New York, Dienes established the Ear Inn as an artists’ bar, which hosted performances and happenings.

 

Sari Dienes Psychadelic 1950 Plaster Print

Sari Dienes Central Park c. 1958

On the Street Auf der Strasse April 10-August 31 2025 Kunstmuseum Liechtenstein

https://kunstmuseum.li/?page=21&&lan=en

             

Cloudy Sidewalk 1970.                        Manhole Wild 1 1955          

              DWS c. 1953

Curator Christiane Meyer-Stoll presents a cohort of artists known for

experimentation and presentation of work utilizing the street as a performance venue, subject, and happening.

 

Fresh Window: The Art of Display and Display of Art Museum Tinguely Basel, Switzerland

Exhibitions
Switzerland

 

https://www.museumspass.com/en/exhibition/fresh-window

For decades, there have been close links between the histories of art and shop window display. Besides Jean Tinguely, many other artists have designed pioneering window displays. Conversely, window displays frequently feature as a motif in artworks or serve as a stage for performances and actions. The exhibition will explore this eventful relationship from its beginnings to the present day, while artistic interventions in shop windows in Basel extend the show into public space.

Bonwit Window Displays of Sari Dienes arranged by Gene Moore

Photo by Virginia Roehl 1956                       Tred Squares 1953

       

Monoprint #2 1950                                         Photo by Virginia Roehl 1955

 

   

Sari Dienes at Kunstmuseum Basel 2024

Basel, Kunstmuseum, Neubau, Sammlungspräsentation, 1. OG, Raum 2, 24.06.2024

Snowflake Circle By Sari Dienes c. 1954

Screenbark by Sari Dienes c. 1953

Part of the Kunstmuseum Basel permanent collection, currently on display

https://kunstmuseumbasel-ch.translate.goog/de/sammlung/kunst-ab-1950?_x_tr_sl=de&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc

Fragments of Memory Menil Drawing Institute

          

Installation Menil Drawing Center                                Shell Eye by Sari Dienes c. 1949

                  

Peterboro by Sari Dienes 1953                                    Balcony by Sari Dienes  c. 1953     
                                                     
                                                                       Letterbox by Sari Dienes c. 1975

Fragments of Memory

https://www.menil.org/exhibitions/380-fragments-of-memory

Sep 20, 2024 – Jan 26, 2025

Menil Drawing Institute

Fragments of Memory, a selection of works from the Menil’s permanent collection, explores the ways in which the past imbues the present. In their drawings, the featured artists take up commonplace embodiments of personal and collective memory, such as scrapbooks, snapshots, notes, relics, and odes, to reimagine how we might access fraught memories and contested histories. In the hands of these artists, such as Gael Stack, Luc Tuymans, Sari Dienes, among others with works on view in this exhibition, the past becomes replete with possibility, proposing new understandings of our present.

Memories are incomplete renditions of the past—composites built from slivers of recollections that reveal the emotions behind moments. The material form that memories take, such as bits of ephemera pressed into a scrapbook, can be similarly splintered. The drawings presented in this exhibition were created from the mid-20th century to the present moment and represent different ways that artists have placed fragments of personal experiences and historical events at the heart of their work.

Fragments of Memory is curated by Kelly Montana, Assistant Curator, Menil Drawing Institute.

The Menil Collection

1533 Sul Ross St.
Houston, TX 77006

713-525-9400

Wed–Sun 11am–7pm

Free Admission
© 2024
The Menil Collection

MoMA: New On View Women’s Work 4th floor

https://www.moma.org/calendar/galleries/5639

 

Join us to celebrate Sari Dienes’ Soho Sidewalk c. 1953 on view 4th floor 410.

Ongoing exhibition:

“These are scores ready for you to do.” This sentence introduces Womens Work, a 1975 publication highlighting experimental art by women artists. It was edited by the artist Alison Knowles and the musician Annea Lockwood, who reached out to friends and collaborators to submit language-based scores and instructions for readers to enact. Often emphasizing collectivity and cooperation, they ranged from improvised dance to writing “spatial poems” to creating theater and musical compositions.

Womens Work invoked the language of the second-wave feminist movement and its critique of the invisibility of labor performed by women. It aimed to bring attention to groundbreaking art produced by women, who were under-recognized both because of misogyny in the art world and because of their defiance of art conventions. This gallery features the titular publication and works by its contributors, which span music, dance, drawing, and performance.

Organized by Danielle Johnson, Curatorial Associate, Department of Drawings and Prints.

11 works online

 

  • New on view Sari Dienes Soho Sidewalk c. 1953–55
  • New on view Nye Ffarrabas (formerly Bici Forbes and Bici Forbes Hendricks) Punctuation Poems 1966