BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION:

Little Dancer Aged Fourteen \;(1878&ndash\;1881 )\, Edgar Degas&rsquo\;s groundbreaking statuette of a young ballerina that caused a sensation at the 1881 impressionist exhibition\, takes center sta ge in an exploration of Degas&rsquo\;s fascination with ballet and his expe rimental\, modern approach to his work. This exhibition is presented in con junction with the John F. Kennedy Center for the Performing Arts&rsquo\; wo rld-premiere \;musical \;Little Dancer\, whic h runs from October 25 through November 30\, 2014.

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Degas was a keen observer and wry but sympathetic chronicler of the daily life of dancers\, depicting their world off-stage\, at rehearsal or in the wings. \; Degas&rsquo\;s Little Dancer \;showcases this world of gaslight an d struggle\, as captured by the master.

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One of the Gallery&rsquo\;s most popular works of art\, \;Little Dancer Aged Fourteen \;will be presented with 14 additional works from the Gallery&rsquo\;s col lection\, including the monumental pastel \;Ballet Scene \ ;(c. 1907)\, monotypes and smaller original statuettes by Degas that are re lated to \;Little Dancer Aged Fourteen. The exhibition also in cludes the oil painting \;The Dance Class \;(c. 1873) from the Corcoran Gallery of Art.

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The National Gallery of Art has the l argest and most important collection of Degas&rsquo\;s surviving original w ax sculptures in the world. Its wax version of \;Little Dancer Aged Fourteen \;is the only one formed by the artist&rsquo\;s own hand s and the only sculpture he ever showed publicly. Degas did not carve sculp ture but used an additive process. \;Little Dancer Aged Fourteen&nb sp\;was modeled in wax over a metal armature\, bulked with organic mat erials including wood\, rope\, and even old paintbrushes in the arms. Degas elevated the sculpture&rsquo\;s realism by affixing a wig of human hair an d giving his ballerina a cotton-and-silk tutu\, a cotton faille bodice\, an d linen slippers.

DTEND:20150111 DTSTAMP:20140921T205005 DTSTART:20141005 GEO:38.8920695;-77.0199116 LOCATION:National Gallery of Art - Washington DC\,6th and Constitution Aven ue NW \nWashington\, DC 20565 SEQUENCE:0 SUMMARY:Degas's Little Dancer\, Edgar Degas UID:357480 END:VEVENT BEGIN:VEVENT DTEND:20141005T180000 DTSTAMP:20140921T205005 DTSTART:20141005T110000 GEO:38.8920695;-77.0199116 LOCATION:National Gallery of Art - Washington DC\,6th and Constitution Aven ue NW \nWashington\, DC 20565 SEQUENCE:0 SUMMARY:Degas's Little Dancer\, Edgar Degas UID:357481 END:VEVENT BEGIN:VEVENT DESCRIPTION:

With a velvety\, matte surface and extraordinary tonal depth \, the platinum print played an important role in establishing photography as a fine art during the last decades of the 19th century. This exhibition of some 25 photographs will showcase outstanding platinum prints from the p eriod of the 1880s to the 1920s\, including works by Peter Henry Emerson\, Frederick H. Evans\, Alfred Stieglitz\, Edward Steichen\, Alvin Langdon Cob urn\, Clarence White\, Gertrude Kä\;sebier\, and other major figures. DTEND:20150104 DTSTAMP:20140921T205005 DTSTART:20141005 GEO:38.8920695;-77.0199116 LOCATION:National Gallery of Art - Washington DC\,6th and Constitution Aven ue NW \nWashington\, DC 20565 SEQUENCE:0 SUMMARY:A Subtle Beauty: Platinum Photographs from the Collection\, Peter H enry Emerson\, Frederick H. Evans\, Alfred Stieglitz\, Edward Steichen\, Al vin Langdon Coburn\, Clarence White\, Gertrude Käsebier UID:357478 END:VEVENT BEGIN:VEVENT DTEND:20141005T180000 DTSTAMP:20140921T205005 DTSTART:20141005T110000 GEO:38.8920695;-77.0199116 LOCATION:National Gallery of Art - Washington DC\,6th and Constitution Aven ue NW \nWashington\, DC 20565 SEQUENCE:0 SUMMARY:A Subtle Beauty: Platinum Photographs from the Collection\, Alvin L angdon Coburn\, Peter Henry Emerson\, Frederick H. Evans\, Gertrude Käsebie r\, Edward Steichen\, Alfred Stieglitz\, Clarence White UID:357479 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Captain Linnaeus Tripe (1822&ndash\;1902) occupies a special place in the history of 19th-century photography for the outstanding body of work he produced in India and Burma (now the republic of Myanmar) betwee n 1854 and 1860. Although he learned photography in Great Britain from amat eurs who considered it a pastime\, he recognized that it could be an effect ive tool for conveying information about unknown cultures and regions. With few models to follow\, Tripe developed a professional practice under the a uspices of the large bureaucracy of the British East India Company. Reflect ing his military discipline as an officer in the British army\, he achieved remarkably consistent results\, despite the Indian heat and humidity\, whi ch posed constant challenges to photographic chemistry. In addition\, Tripe &rsquo\;s schooling as a surveyor\, where the choice of viewpoint and caref ul attention to visual details were essential\, gave his photographs their distinctive aesthetic rigor.

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This exhibition traces Tripe&rsquo\;s work from his earliest photographs made in England (1852&ndash\;1854)\, to ones created on expeditions to the south Indian kingdom of Mysore (1854)\, to Burma\, (1855)\, and again to south India (1857&ndash\;1858). Many of hi s pictures were the first photographs ever made of celebrated archaeologica l sites and monuments\, ancient and contemporary religious and secular buil dings &mdash\; some now destroyed &mdash\; as well as geological formations and landscape vistas\; thus they provided a new kind of visual information . Yet the dynamic vision Tripe brought to these large\, technically complex photographs and the lavish attention he paid to their execution indicate t hat his aims were not merely documentary but artistic.

DTEND:20150104 DTSTAMP:20140921T205005 DTSTART:20140921 GEO:38.8920695;-77.0199116 LOCATION:National Gallery of Art - Washington DC\,6th and Constitution Aven ue NW \nWashington\, DC 20565 SEQUENCE:0 SUMMARY:Captain Linnaeus Tripe: Photographer of India and Burma\, 1852-1860 \, Linnaeus Tripe UID:357476 END:VEVENT BEGIN:VEVENT DTEND:20140921T180000 DTSTAMP:20140921T205005 DTSTART:20140921T110000 GEO:38.8920695;-77.0199116 LOCATION:National Gallery of Art - Washington DC\,6th and Constitution Aven ue NW \nWashington\, DC 20565 SEQUENCE:0 SUMMARY:Captain Linnaeus Tripe: Photographer of India and Burma\, 1852-1860 \, Linnaeus Tripe UID:357477 END:VEVENT BEGIN:VEVENT DESCRIPTION:

People of India is an exhibition of three series of photogra phs\, taken in India at different time periods spanning the last 150 years.  \;It invites the viewer to compare the ways in which we capture a mome nt or memory\, and whether the essence of a person can be contained within any given moment.

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At the heart of the exhibition is a series of str iking contemporary street portraits by Coventry based photographer Jason Sc ott Tilley. Taken between 1999 and 2009 during ten years of travel across I ndia\, his black and white studies capture a slice of India through a socia l and anthropological lens.

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Also on display is a range of family\, society and army photographs taken by Bert Scott\, Jason Scott Tilley's Ang lo-Indian grandfather which capture defining moments in British-Indian hist ory. Scott was a press photographer for The Times of India newspaper from 1 936 to 1940\, and head of the Indian army's photographic unit in Burma duri ng the Second World War.

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The exhibition also shows work from the se minal 19th century photographic undertaking\, The People of India. The orig ins of this study lay in the desire of the British government to create a v isual documentation of &lsquo\;typical&rsquo\; physical attributes and char acteristics\, as a means of understanding and controlling the Indian popula tion under British rule.

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People of India raises questions about the ways in which we define and document others.

DTEND:20150111 DTSTAMP:20140921T205005 DTSTART:20140926 GEO:52.4068072;-1.5051349 LOCATION:Herbert Art Gallery & Museum\,Jordan Well \nCoventry \, CV1 5QP SEQUENCE:0 SUMMARY:People of India\, Jason Scott Tilley UID:357473 END:VEVENT BEGIN:VEVENT DTEND:20140926T160000 DTSTAMP:20140921T205005 DTSTART:20140926T100000 GEO:52.4068072;-1.5051349 LOCATION:Herbert Art Gallery & Museum\,Jordan Well \nCoventry \, CV1 5QP SEQUENCE:0 SUMMARY:People of India\, Jason Scott Tilley UID:357474 END:VEVENT BEGIN:VEVENT DESCRIPTION:

shed (v.) \; :to lose by natural process\; to be rid of (something not wanted or needed)

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collect (v.) :gather together to form a group\, accumulate\, assemble

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 \;   \;  \;  \;  \;  \;  \;  \;  \; :to regain contr ol of

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shed (n.) :a small structure serving for storage or shelt er

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 \;  \;  \;  \;  \;(v.) :to give or impart\; radiate or send forth (light\, fragrance\, influence)

\n< p>Shed - Collect - Shed: Coventry's Lost and Found \;i s a mixed media exhibition looking at the city of Coventry's character thro ugh objects collected and displayed\, set within a pop-up 'shed' known as t he Coventry Centre for Contemporary Art.

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Artist and Curator Lorsen Camps has worked with Martin Green and Joanna Rucklidge to explore the rela tionship between their own personal collections of found objects and the He rbert's collections.  \;Lost or discarded artefacts ranging from remnan ts of toy figures to shoe heels\, flattened drinks cans and hair clips are carefully ordered and given a new life and meaning.  \;Objects and art works are presented in ways that mix the museum aesthetic with a distinctiv ely \;found \;flavour. Each piece bears traces of life and the lives that make up the city.

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Intriguing and also mundane items are presented - inviting new interactions with found objects (both those w ithin the museum and those discovered on the street) and calling into quest ions what is beautiful and/or valuable.

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The exhibition features thr ee newly commissioned works: Martin Green's \;City Box\, Joann a Rucklidge's \;Going Round In Circles \;and Lorsen Camps &\; Martin Green's \;Paradise Disregarded\, Paradise Reclaimed.

DTEND:20141102 DTSTAMP:20140921T205005 DTSTART:20140816 GEO:52.4068072;-1.5051349 LOCATION:Herbert Art Gallery & Museum\,Jordan Well \nCoventry \, CV1 5QP SEQUENCE:0 SUMMARY:Shed – Collect – Shed: Coventry’s Lost and Found\, Lorsen Camps\, M artin Green\, Joanna Rucklidge UID:357472 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibition of twelve Dutch paintings&mdash\;by Pieter B rueghel the Younger\, Gerrit Dou\, Pieter de Hooch\, Gabriel Metsu\, Jan St een\, and others&mdash\;comes from the New York&ndash\;based Leiden Collect ion curated by Dr. Dominique Nicole Surh\, among the most important private collections of seventeenth-century Dutch art in the world. The selection f ocuses on works by the Leiden \;fijnschilders\, or fine-manner painters. But while these paintings all share a refinement in the handling of paint and precise rendering of detail\, their subject matter varies wid ely\, including portraiture\, landscape\, peasant scenes\, and history pain ting.  \;

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An Eye for Detail \;is part of the Museu m&rsquo\;s &ldquo\;Connecting Research with Practice&rdquo\; initiative\, s upported by the Andrew W. Mellon Foundation. The yearlong visit of these wo rks will help make possible the development of new courses and facilitate i nterdisciplinary study through the intersection of art history and science. At Cornell\, the paintings will be studied by Richard Johnson\, Jr.\, the Geoffrey S. M. Hedrick Senior Professor of Engineering\, whose work involve s thread counting in historic canvases\, and at Cornell High Energy Synchro tron Source (CHESS)\, to search for buried pigments using X-ray fluorescenc e mapping. \;

DTEND:20150621 DTSTAMP:20140921T205005 DTSTART:20140920 GEO:42.4507239;-76.485587 LOCATION:Herbert F. Johnson Museum of Art\,Cornell University 114 Central A venue\n Ithaca\, NY 14853-4001 SEQUENCE:0 SUMMARY:An Eye for Detail: Dutch Painting from the Leiden Collection \, Pie ter Brueghel the Younger\, Cornelis de Man\, Gerrit Dou\, Pieter de Hooch\, Gabriël Metsu\, Jan Steen UID:357471 END:VEVENT BEGIN:VEVENT DESCRIPTION:

One of the most influential figures in the development of ni neteenth-century Scottish landscape painting.

DTEND:20141108 DTSTAMP:20140921T205005 DTSTART:20141003 GEO:55.9561845;-3.1990766 LOCATION:Bourne Fine Art\,6 Dundas St \nEdinburgh\, Scotland EH3 6HZ SEQUENCE:0 SUMMARY:Solo Exhibition\, Sam Bough UID:357468 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141001 DTSTAMP:20140921T205005 DTSTART:20140906 GEO:55.9561845;-3.1990766 LOCATION:Bourne Fine Art\,6 Dundas St \nEdinburgh\, Scotland EH3 6HZ SEQUENCE:0 SUMMARY:SCOTTISH PICTURES Autumn 2014 UID:357467 END:VEVENT BEGIN:VEVENT DESCRIPTION:

&lsquo\;We can make another future: Japanese art after 1989& rsquo\; surveys the art of Heisei\, the current era in the Japanese imperia l calendar\, through the presentation of around 100 works by over 40 contem porary Japanese artists\, drawn from the Queensland Art Gallery Collection. Increasingly cosmopolitan in character and operating with an unprecedented level of international mobility\, the art of this period offers a sophisti cated reflection on the social conditions behind art&rsquo\;s production in Japan and the anxieties that accompany them.

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Beginning in 1989\, H eisei has seen significant challenges for Japan\, as the country has negoti ated the collapse of the &lsquo\;bubble&rsquo\; economy and a social uncert ainty exacerbated by a series of man-made and natural disasters within a ra pidly changing region. But it has also been the period of &lsquo\;Cool Japa n&rsquo\;\, with widespread international interest in Japan&rsquo\;s contem porary cultural production\, while opportunities have emerged for closer en gagement with its neighbours in the Asia Pacific.

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As well as 25 yea rs of Heisei\, 2014 also marks 25 years of the Gallery&rsquo\;s public enga gement with the contemporary art of Japan through the landmark 1989 exhibit ion &lsquo\;Japanese Ways\, Western Means&rsquo\;\, the Asia Pacific Trienn ial of Contemporary Art series\, and other exhibitions\, along with the dev elopment of a significant collection of works by some of the period&rsquo\; s most important artists. \;

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&lsquo\;We can make another future &rsquo\; draws on the specific composition of the Gallery&rsquo\;s Collecti on to propose several overlapping frameworks for considering this fascinati ng period in Japanese history through the art of an extraordinary time. The exhibition explores the emergence of an aesthetic of the digital sublime\; responses to the rich field of consumer culture and new technologies of re presentation and communication\; and critiques of national and sexual ident ity\, which through figuration and performance attest to the central role o f the human body in contemporary social life.

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Accompanied by a comp rehensive exhibition catalogue\, &lsquo\;We can make another future&rsquo\; is a view of contemporary Japan from a specific institutional perspective\ , but one constructed from a deep history of collective research and ongoin g engagement.

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This exhibition will open in two stages. Visit again in mid December to view more artworks from our contemporary Japanese collec tion. \;

DTEND:20150920 DTSTAMP:20140921T205005 DTSTART:20140906 GEO:-27.482061;153.024809 LOCATION:Queensland Art Gallery | Gallery of Modern Art\,Stanley Place\, So uth Bank\, Queensland \nQueensland\, 4101 SEQUENCE:0 SUMMARY:We can make another future: Japanese art after 1989 UID:357466 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For the first time in history\, the very last works by Piet Mondrian and Mark Rothko can be seen side by side. Two iconic pieces of art history will be brought together in the major Mark Rothko exhibition in th e Gemeentemuseum The Hague. A unique opportunity to admire and compare the greatest masterpieces of the two leading first and second-generation pionee rs of abstract art. The exhibition will not travel\; it will only be on vie w in The Hague. Mondrian&rsquo\;s \;Victory Boogie Woogie\, moreover\, is never loaned to other museums. The exhibition will be on show at the Gem eentemuseum The Hague from 20 September through 1 March 2015.

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A blo od-red canvas: Mark Rothko&rsquo\;s last Untitled \;
Rothko painte d his final work &lsquo\;Untitled 1970&rsquo\; shortly before taking his ow n life on 25 February 1970. It is flame-coloured\, or blood-red. A striking choice of colour\, as the artist had produced mainly dark and sombre paint ings in the preceding period. The Dutch art historian and former director o f the Rijksmuseum\, Henk van Os\, calls the painting a &lsquo\;surprise&rsq uo\;. When studying in New York\, Van Os regularly visited Rothko in his st udio\, but he never saw the red canvas at the time. There are now many diff erent theories about the significance of the colour\; some see it as pointi ng to his (presumably planned) suicide.

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Piet Mondrian&rsquo\;s last ode to New York \;
Piet Mondrian was the first European abstract artist to set foot on American soil. He lived and worked in New York for pa rt of his life\, during the heyday of his abstract period. There he produce d masterpieces like &lsquo\;Trafalgar Square&rsquo\; and &lsquo\;Broadway B oogie Woogie&rsquo\;. The paintings made him a celebrity in the American ar t world and had a profound influence on artists worldwide. Mondrian died ra ther suddenly in 1944\, at the age of 72\, before he could finish &lsquo\;V ictory Boogie Woogie&rsquo\;. The diamond-shaped canvas was covered in scra ps of coloured paper and plastic\, showing how Mondrian was experimenting w ith new accents and rhythms. The work is seen as a monument to New York\, t he city that exudes rhythm and unbridled vitality.

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Two abstract art ists in New York \;
Mondrian (from the Netherlands) and Rothko (fr om Russia) spent much of their career in New York. Although the two men nev er actually met\, they did pursue similar paths towards abstract art. Mondr ian was already a celebrity in the New York art world when Rothko started t o paint. Although Rothko wasn&rsquo\;t pleased when an art critic described his works as &lsquo\;blurry Mondrians&rsquo\;\, he was certainly influence d by Mondrian. Indeed\, referring to the Dutch artist&rsquo\;s use of colou r\, Rothko went so far as to call Mondrian the most sensual artist he knew.

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Mark Rothko and Piet Mondrian in The Hague
For the very first time\, work by Mondrian will be hung next to work by Rothko. The Mark Roth ko exhibition will spotlight both the similarities and the differences in t he artistic development of the two leading first and second-generation pion eers of abstract art. It will also throw light on the differences between E uropean and American abstract art\, in particular in terms of format and co mposition. The Mondrian collection of the Gemeentemuseum The Hague is uniqu e in the world\, comprising almost 300 works.

DTEND:20150301 DTSTAMP:20140921T205005 DTSTART:20140920 GEO:52.0899451;4.2806689 LOCATION:Gemeentemuseum Den Haag\,Stadhouderslaan 41 \nDen Haag\, 2517 HV SEQUENCE:0 SUMMARY:ROTHKO AND MONDRIAN SIDE BY SIDE\, Piet Mondrian\, Mark Rothko UID:357465 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A 2012 Guggenheim Foundation Fellow\, Dornith Doherty has al so received grants from the Fulbright Foundation\, the Japan Foundation\, t he United States Department of the Interior\, the Indiana Arts Commission\, and the Society for Contemporary Photography. \; Doherty&rsquo\;s phot ography exhibition documents two international seed banks with microscopic precision and ethereal beauty. A Houston native\, she earned a bachelor of arts from Rice University and a master of arts in photography from Yale Uni versity. \; She lives in Southlake\, Texas and is a professor of photog raphy at the University of North Texas.

DTEND:20150104 DTSTAMP:20140921T205005 DTSTART:20140920 GEO:30.083934;-94.0973435 LOCATION:Art Museum of Southeast Texas\,500 Main Street \nBeaumont\, Texas 77701 SEQUENCE:0 SUMMARY: Oasis\, Dornith Doherty UID:357461 END:VEVENT BEGIN:VEVENT DTEND:20140927T190000 DTSTAMP:20140921T205005 DTSTART:20140927T170000 GEO:30.083934;-94.0973435 LOCATION:Art Museum of Southeast Texas\,500 Main Street \nBeaumont\, Texas 77701 SEQUENCE:0 SUMMARY: Oasis\, Dornith Doherty UID:357462 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In the Garden of Ozymandias \;will include a se lection of Celia Eberle&rsquo\;s surreal mixed media sculpture of diverse a nd mesmerizing materials. Her media\, such as animal bones\, wire\, marble\ , lapis lazuli\, copper\, alabaster\, jasper\, agate\, wood\, coral\, brass \, barite crystals\, newsprint\, cardboard and found objects communicates t he artist&rsquo\;s quirky imagination with technical proficiency in a myria d of media. Celia Eberle lives in Ennis\, Texas.

DTEND:20150104 DTSTAMP:20140921T205005 DTSTART:20140920 GEO:30.083934;-94.0973435 LOCATION:Art Museum of Southeast Texas\,500 Main Street \nBeaumont\, Texas 77701 SEQUENCE:0 SUMMARY:In the Garden of Ozymandias\, Celia Eberle UID:357459 END:VEVENT BEGIN:VEVENT DTEND:20140927T190000 DTSTAMP:20140921T205005 DTSTART:20140927T170000 GEO:30.083934;-94.0973435 LOCATION:Art Museum of Southeast Texas\,500 Main Street \nBeaumont\, Texas 77701 SEQUENCE:0 SUMMARY:In the Garden of Ozymandias\, Celia Eberle UID:357460 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibit features a selection of images from \ ;It Ain&rsquo\;t Easy\, \;a visual narrative that is part auto -bio and part surreal fantasy.  \;It Ain&rsquo\;t Easy \;i s about a boy trying to find his way to a better place. Led by a mysterious smoking figure and tormented by his own shortcomings\, he must traverse a harsh ever changing landscape to find his personal Shangri-La. \;

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DTEND:20141026 DTSTAMP:20140921T205005 DTSTART:20140814 GEO:30.083934;-94.0973435 LOCATION:Art Museum of Southeast Texas\,500 Main Street \nBeaumont\, Texas 77701 SEQUENCE:0 SUMMARY:It Ain't Easy \, Zach Dubuisson UID:357456 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibition presents an overview of photographs from the career of journalist\, author and photographer William Stage\, who has foc used much of his attention on the American Midwest. Portraits of well-known St. Louisans and internationally-recognized artists and writers\, as well photographs of small towns\, historical advertising signs on buildings\, an d a selection of his assemblages are included. Stage worked for the \;< em>Riverfront Times \;from 1982-2004\, and has been a guest commen tator on KWMU-St. Louis Public Radio. His books include \;The Paint ed Ad: A Postcard Book of Vintage Brick Wall Signs \;(2011\, with Margaret Stage)\, \;Have A Weird Day: Reflections and Ruminations o n the St. Louis Experience \;(2003)\, \;Mound City Chronic les \;(1991) and \;Litchfield: A Strange and Twisted Saga of Murder in the Midwest \;(1998)\, among others.

DTEND:20150207 DTSTAMP:20140921T205005 DTSTART:20141003 GEO:38.6400497;-90.2332975 LOCATION:The Sheldon Art Galleries\,3648 Washington Boulevard \n Saint Loui s\, MO 63108 SEQUENCE:0 SUMMARY:PHOTOGRAPHS AND ASSEMBLAGES\, William Stage UID:357454 END:VEVENT BEGIN:VEVENT DTEND:20141003T190000 DTSTAMP:20140921T205005 DTSTART:20141003T170000 GEO:38.6400497;-90.2332975 LOCATION:The Sheldon Art Galleries\,3648 Washington Boulevard \n Saint Loui s\, MO 63108 SEQUENCE:0 SUMMARY:PHOTOGRAPHS AND ASSEMBLAGES\, William Stage UID:357455 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Made by students of the Wilson School French class with thei r language teacher\, Joana Ocros-Ritter\, the photographic portraits and ot her materials in this exhibit provide a view of colonial St. Louis. Student s imagined their own historical French colonial characters and created narr atives around them. Through children&rsquo\;s eyes\, the portraits and writ ings in this exhibition tell stories of discovery\, history\, make-believe\ , and\, ultimately about what makes us human. This exhibition is the last i n a series of programs organized in celebration of the 250th anniversary of the founding of St. Louis.The Clayton-based elementary school uses classic and innovative teaching methods within a warm\, nurturing environment to i nspire their students to excel in all academic areas.

DTEND:20150124 DTSTAMP:20140921T205006 DTSTART:20141003 GEO:38.6400497;-90.2332975 LOCATION:The Sheldon Art Galleries\,3648 Washington Boulevard \n Saint Loui s\, MO 63108 SEQUENCE:0 SUMMARY:THROUGH THEIR EYES: CHILDREN IMAGINE ST. LOUIS HISTORY UID:357452 END:VEVENT BEGIN:VEVENT DTEND:20141003T190000 DTSTAMP:20140921T205006 DTSTART:20141003T170000 GEO:38.6400497;-90.2332975 LOCATION:The Sheldon Art Galleries\,3648 Washington Boulevard \n Saint Loui s\, MO 63108 SEQUENCE:0 SUMMARY:THROUGH THEIR EYES: CHILDREN IMAGINE ST. LOUIS HISTORY UID:357453 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A selection of early- and mid-20th century architectural ren derings that celebrate the art of the architectural delineator are featured in this exhibition from the collection of Kyrle Boldt III. The drawings\, chosen by Boldt for the exhibition\, were created before the days of comput er technology and AutoCad\, and were made to provide the client with a conc rete sense of the building in the space it occupies. Highlights of the exhi bition includes examples of residential\, commercial and industrial designs from the offices of Frank Lloyd Wright\; Harris Armstrong\; Frederick Dunn \; Hefenstellar\, Hirsch and Watson\; Murphy &\; Mackey\; Meyer Loomstei n\; Henry Ives Cobb\; Holabird and Root\, Leonard Haeger\; and many others.

DTEND:20150214 DTSTAMP:20140921T205006 DTSTART:20141003 GEO:38.6400497;-90.2332975 LOCATION:The Sheldon Art Galleries\,3648 Washington Boulevard \n Saint Loui s\, MO 63108 SEQUENCE:0 SUMMARY:AMERICAN BUILDINGS: ARCHITECTURAL DRAWINGS FROM THE COLLECTION OF K YRLE BOLDT III UID:357450 END:VEVENT BEGIN:VEVENT DTEND:20141003T190000 DTSTAMP:20140921T205006 DTSTART:20141003T170000 GEO:38.6400497;-90.2332975 LOCATION:The Sheldon Art Galleries\,3648 Washington Boulevard \n Saint Loui s\, MO 63108 SEQUENCE:0 SUMMARY:AMERICAN BUILDINGS: ARCHITECTURAL DRAWINGS FROM THE COLLECTION OF K YRLE BOLDT III UID:357451 END:VEVENT END:VCALENDAR