The Aldrich Contemporary Art Museum

The artist cites a painterly 19th-century landscape and a geometric 20th-century mural as influences on his own work.

The artist’s Minimalist abstractions helped change the direction of his painting.

Through Nov. 29, the Aldrich Contemporary Art Museum in Ridgefield will display 25 watercolor paintings by Shepherd depicting the victims of police brutality and other race-related incidents.

Titled “There Must Be Some Way Out of Here,” Sheehan’s exhibition prods at the relationship between artisanal craft and industrial production, and posits that the pairing might be uniquely American at heart.

Zoë Sheehan Saldaña: There Must Be Some Way Out of Here evokes a sense of urgency and taps into our current yearning for survival.

“Weather Report” fills a Connecticut museum with the works of 25 artists who explore what’s happening in the atmosphere and, inextricably, to us.

“There Must Be Some Way Out of Here,” on view at the Aldrich Contemporary Art Museum consists of some 50 handmade objects—“artistic camouflage,” as the museum puts it—that appear to be ordinary items one might find in any home.

At the Aldrich Contemporary Art Museum, artworks confront their own untimeliness through appeals to a deeper, more cosmic, sense of space and time.

This was a year of highs that included political protest in the art world, a historic Whitney Biennial, inspiring monuments and a revamped MoMA.

Over the years, many artists have have proven themselves to be staunch supporters of environmental campaigns.

“Safe space” is a loaded term these days yet artist Zoë Sheehan Saldaña astutely mines this concept in all its paradoxes to create an exhibition that explores ideas of safe spaces and self-reliance.

A diverse selection of art ranging from drawings and paintings to sculptures, videos and installations — all featuring weather as the thematic subject — is on view at The Aldrich Contemporary Art Museum.

Harmony Hammond, who began exhibiting and curating in the very early post-Stonewall years, was one of the people responsible for defying and reversing this repression.

Hammond speaks with the conviction of someone who has been fighting for visibility in the art world—and beyond—for a very long time.

Harmony Hammond proves that abstract art can be politically charged and bursting with content.

Contested bodies take center stage in Material Witness, Five Decades of Art, an audacious, and long overdue, museum survey of lesbian artist and activist, Harmony Hammond.

In the artist’s first US survey at the Aldrich Contemporary Art Museum, abstract paintings and sculptures evoke women’s bodies in pleasure and pain.