On loan from the Bank of America Collection, this single-work installation is a dazzling sculpture made of glass beads and wire that hangs from the ceiling, Coalescence (2006) resembles a hovering cloud, a massive spider web glistening with morning dew, or a cluster of atoms magnified to monumental scale. Its open form challenges traditional notions of sculpture as grounded, solid, or weighty, and reveals Shotz’s abiding interest in perception: calling attention to the relationship between an artwork, the viewer, and the space they share. 

Experiment in Gravity is a metal quilt composed of thousands of tiny aluminum hand woven, punched metal parts. The material is made to explore the structure of space itself experienced through the force of gravity. The shape is based on an animation of the same material dropped through space, responding to gravity, and stopped in time.

Experiment in Gravity is installed adjacent to Shotz’s work A Moment in Time, complementing one another with their ethereal and luminescent qualities.

Alyson Shotz' work is included in Rounding the Circle: The Mary and Al Shands Collection, a major exhibition celebrating the extensive and significant collection of contemporary artworks assembled by the late Alfred R. Shands III (1928-2021) and Mary Norton Shands (1930-2009). This presentation also commemorates the transformative gift of art made to the Speed Art Museum, numbering over 100 artworks. 

Taking Space: Contemporary Women Artists and the Politics of Scale invites viewers to consider how space, size, scale, and repetition can be interpreted as political gestures in the practices of many women artists. Inspired by a 2021 exhibition at the Pennsylvania Academy of the Fine Arts (PAFA), Taking Space features 10 works from that original show by Mequitta Ahuja, Jennifer Bartlett, Eiko Fan, Hope Gangloff, Clarity Haynes, Elizabeth Murray, Ana Vizcarra Rankin, Alyson Shotz, Mickalene Thomas, and Dyani Whitehawk.

As part of the Arts Initiative’s interdisciplinary study of time, Grace Farms Foundation presents a new, site-responsive sculpture from artist Alyson Shotz. The reflective work interacts with natural light and animates an interior courtyard of the SANAA-designed River building, describing time as the seasons change.

Alyson Shotz is included in The Line of Wit. The exhibition presents a focused selection of work characterized as humorous, clever, experimental, and inquisitive in nature. Ranging from the 1950s to the present, these works employ unusual materials and techniques, and playfully defy aesthetic conventions demonstrating ingenuity and wit. Bringing together artists of different generations working across a variety of media, the exhibition includes rarely seen treasures and beloved works from the Guggenheim Bilbao’s permanent collection alongside key long-term loans, some of which have never before been on view in the Museum. The mixing of high and low, ordinary and sublime, humor and earnestness can be traced throughout the exhibition challenging hierarchies that underpin the fine arts.

Organized thematically, the exhibition is structured in three distinct sections that embrace the experimental nature of artmaking through a cohesive selection of works by significant postwar and contemporary artists.

The Line of Wit presents a survey of works spanning various styles and movements centered on specific themes that explore ingenuity, experimentation, and distinctive artistic practices. Installed in dialogue with one another, these artworks offer the possibility to contemplate the critical choices artists make in selecting materials and techniques, thereby attesting to their artistic methodology and individual process.

Curator: Lekha Hileman Waitoller

Alyson Shotz will be included in Seeing Differently at The Phillips Collection.

Drawn from its growing collection of nearly 6,000 works, Seeing Differently will highlight over 200 works by artists from the 19th century to the present, including paintings, works on paper, prints, photographs, sculptures, quilts, and videos. Spread throughout the entire museum, the exhibition will explore the complexities of our ever-changing world through themes of identity, history, place, and the senses.

Seeing Differently marks the first major celebration of the museum’s permanent collection in over 10 years. Guided by Duncan Phillips’s belief in the universal language of art as a unifying force for social change, the exhibition will present dynamic, engaging juxtapositions that connect artists past and present across national, racial, and gender lines.

Alyson Shotz will be included in Taking Space: Contemporary Women Artists and the Politics of Scale. The exhibition examines the approaches of women artists for whom space is a critical feature of their work, whether they take the space on a wall, the real estate of a room through sculpture and installation, engage seriality as a spatial visual practice, cast a wide legacy in art history or claim the space of their body. This exhibition invites viewers to consider how size and repetition can be interpreted as political gestures in the practices of many women artists.

For more information, visit www.pafa.org.

Travelling from the Hunter Museum of American Art in Chattanooga, TN, Alyson Shotz: Un/Folding, a solo exhibition of works by the artist, will be on view at the Weatherspoon Art Museum, Greensboro, NC from September 14 to December 22, 2019. 

Fore more information, visit www.weatherspoonart.org

Alyson Shotz will be included in a two-person exhibition, Light & Shadow: Alyson Shotz and Kumi Yamashita, at the Wichita Art Museum, KS. The exhibition will open on August 3, 2019 and will be on view until January 5, 2020. 

For more information, please visit www.wichitaartmuseum.org. 

Alyson Shotz is included in A Nation Reflected: Stories in American Glass, an exhibition featuring more than 100 objects drawn from the Yale University Art Gallery's collection that explore glass as a medium to tell stories about those who live and work in the United States. On view through September 29, 2019. 

Fore more information, visit www.artgallery.yale.edu. 

We are pleased to announce Alyson Shotz: Un/Folding, a solo exhibition of works by the artist at the Hunter Museum of American Art in Chattanooga, TN, on view from March 1 until May 27, 2019. Coinciding with the completion and unveiling of her new permanent commission for the Museum, the Hunter Museum is organizing a special exhibition of Shotz's works that explores forces of nature, folding, feminism and craft. The exhibition will travel to the Weatherspoon Art Museum, Greensboro, NC in the Fall 2019. 

Fore more information, visit www.huntermuseum.org.

We are pleased to announce that Scattering Screen by Alyson Shotz will be featured in the North Forest of Crystal Bridges Museum of American Art in Bentonville, AK. Opening in April 2018, "Work from the collection in the North Forest" is curated by Lauren Haynes. 

For more information about the exhibiton, please visit www.crystalbridges.org. 

In December 2017 the Guggenheim Bilbao will present Art and Space, an exhibition exploring the experience of space featuring Alyson Shotz. The exhibition will be on view December 5, 2017 through April 8, 2018. 

For additional information, please visit guggenheim-bilbao.eus. 

Alyson Shotz's False Branches #2, 2001, will be on display at the San Jose Museum of Art as part of their upcoming permanent collection exhibition Indestructible Wonder. The exhibition will run from August 18, 2016 through January 28, 2017. For more information on Indestructible Wonder and the San Jose Museum of Art, click here. 

For her Morris Gallery presentation, Plane Weave, Shotz has created a large tapestry-like sculpture composed of thousands of pieces of punched aluminum and stainless steel rings of the artist’s design that are connected by hand. A deep investigation into the work of light and gravity on the way that materials function in space, this new work also reflects upon the repeating patterns found in nature.     

For more information click here 

Alyson Shotz: Force of Nature marks the artist’s most ambitious show to date. More than fifty works in various mediums will be on view throughout the Halsey Institute, representing the range of Shotz’s artistic output. The exhibition includes a monumental sculptural installation;  a site-specific, volumetric wall drawing; and a collaborative animation, as well as digital and traditional prints, photographs, and ceramics.

For more information, click here 

The 2015 edition of Parcours will be sited in the historical center of Basel around the city's iconic cathedral, infiltrating key locations such as the Museum of Culture, the Natural History Museum, the Town Hall and the Münsterplatz itself. Parcours looks to engage with Basel’s past and present by weaving artistic interventions into the fabric of the specific location each edition inhabits. Presented on stone walls throughout the Parcours area will be Alyson Shotz’s ‘Imaginary Sculptures’ (2014 – 2015). As six panels of text on enamel, these signs are initially experienced as ordinary street signs. However, each panel contains a short text describing an imagined sculpture, using language to conjure forms in the mind of the viewer, demonstrating the notion that every work of art exists in the imagination, first in the mind of the artist and later in the memory of the viewer.

23 sitespecific artworks by internationally renowned as well as emerging artists will be featured, the biggest selection to date, including works by Alexandra Bachzetsis, Davide Balula, Adriano Costa, Alicia Framis, Piero Golia, Tobias Kaspar, Alicja Kwade, Nate Lowman, Michaela Meise, Jonathan Monk, Vik Muniz, Ciprian Mureşan, Peter Regli, David Renggli, Ugo Rondinone, Yves Scherer, Lara Schnitger, Alyson Shotz, Daniel Silver, Philippe Thomas, Blair Thurman and Francisco Tropa. 

For more information, click here 

The Phillips Collection celebrates the fifth anniversary of Intersections, which since 2009 has presented the work of 21 artists—10 men and 11 women—from the US and abroad. Each artist engaged the museum’s collection and architecture in different ways, creating diverse projects—both aesthetically and conceptually—and employing various media and approaches from wall-drawing, rubber-painting, bicycle spoke sculpture, and digital photography to video projection and yarn installation. This exhibition presents works by Intersections artists that have been acquired to date, both pieces that were featured in past installations and new works that are reminiscent or emblematic of the projects. Most importantly, the anniversary exhibition is a celebration of the Phillips’s mission to actively collect and display contemporary art.

For more information, click here 

Fascinated by the physics of the natural world, sculptor Alyson Shotz makes work that examines phenomena that are often considered inscrutable–gravity, light, space, and time. Using synthetic materials such as glass beads, stainless steel, and mirrors, Shotz renders mathematical and molecular structures on a monumental scale. Her sculptures are intricate, ethereal and responsive to a site’s conditions. Changes in light, time of day, and viewing angle, affect the presence of her work. 

For more information, click here 

This exhibition features recent work by Brooklyn-based sculptor Alyson Shotz, whose practice examines the properties and interactions of light, gravity, mass, and space. Shotz bridges disciplines in her work, drawing on scientific methods, mathematical principles, and literature, among other diverse fields. Often employing nontraditional materials such as glass beads, linen thread, stainless-steel filaments, and welded aluminum to create large-scale abstract sculptures, Shotz expands upon conventional notions of sculptural space and form.

Alyson Shotz: Force of Nature marks the artist’s most ambitious show to date. More than fifty works in various mediums are on view throughout the museum, representing the range of Shotz’s artistic output. The exhibition includes a monumental sculptural installation; a newly created Möbius strip–inspired sculpture commissioned by the museum for its collection; a site-specific, fifty-foot volumetric wall drawing; and a collaborative animation, as well as digital and traditional prints, photographs, and ceramics.

For more information, click here