current exhibitions & events | ArtSlant https://www.artslant.com/ny/Events/show en-us 40 - The Jewish Museum - April 11th, 2003 - December 31st, 2035 <p>At the heart of The Jewish Museum is its permanent exhibition, <i><a target="_blank" href="http://www.thejewishmuseum.org/exhibitions/CultureAndContinuity">Culture and Continuity: The Jewish Journey</a></i>, representing one of the world's great opportunities to explore Jewish culture and history through art. This vibrant two-floor exhibition features 800 works from the Museum's remarkably diverse collection of art, archaeology, ceremonial objects, video, photographs, interactive media and television excerpts. It examines the Jewish experience as it has evolved from antiquity to the present, over 4,000 years, and asks two vital questions: How has Judaism been able to thrive for thousands of years across the globe, often in difficult and even tragic circumstances? What constitutes the essence of Jewish identity? <br /><br />The exhibition traces the dynamic interaction among three catalysts that have shaped the Jewish experience: the constant questioning and reinterpretation of Jewish traditions, the interaction of Jews and Judaism with other cultures, and the impact of historical events that have transformed Jewish life. <i>Culture and Continuity: The Jewish Journey</i> proposes that Jews have been able to sustain their identity, despite wide dispersion and sometimes tragic circumstances, by evolving a culture that can adapt to life in many countries and under various conditions. Survival as a people has depended upon both the continuity of Jewish ideas and values and the flexibility to adapt to changing circumstances.<br /><br />We invite you to visit the Museum and see <i>Culture and Continuity: The Jewish Journey</i> in person. Visitors to the Museum can enjoy random access audio guide tours of the exhibition, including a "Director's Highlights" audio guide featuring Joan Rosenbaum, Helen Goldsmith Menschel Director of The Jewish Museum, and a special audio guide for children and families. Audio guides are free of charge with Museum admission and were made possible by Bloomberg.<br /><br /><i>Bring a <a target="_blank" href="http://www.thejewishmuseum.org/exhibitions/CultureAndContinuity">copy of the exhibit's web page on the Jewish Museum's Web site </a>to The Jewish Museum Admissions Desk with your e-mail address and you will receive one 50% admissions discount.</i></p> Wed, 08 Jul 2009 17:05:47 +0800 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list WM ROSE - ARTBREAK - August 17th, 2009 - August 17th, 2020 <p>THE GALLERY IS AT  WWW.ARTBREAK.COM    WHERE YOU MAY SEARCH FOR</p> <p> </p> <p>WILLIAM RO-SEY       THERE YOU MAY CONTACT  WCD207@GMAIL.COM TO OFFER THE FAMILY A PRICE IRREGARDLESS OF PRICE MARKED</p> Fri, 25 Dec 2009 06:12:51 +0800 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Peter Borgese - PETER BORGESE MODERN ART GALLERY - September 19th, 2013 - January 6th, 2034 <p>A new chapter of surrealism created by Borgese, painter of modern conceptualism,&nbsp;to captivate, stimulate, and motivate the senses of the viewer for a life time; is exhibited in this body of work at gallery&nbsp;Borgese. There are over 30 original fine art&nbsp;paintings and 20 drawings&nbsp;framed and hung for you to view, purchase, take home or have delivered.</p> Mon, 03 Mar 2014 01:46:25 +0800 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list - Housatonic Museum of Art - August 15th, 2011 - October 20th, 2020 <p>The Housatonic Museum of Art is pleased to announce <em>Polaridad Complementaria: Recent Works from Cuba, </em>an exhibition that<em> </em>introduces North America to the new generation of influential artists from Cuba. <em> </em><em>Polaridad Complementaria </em>is on view in the Burt Chernow Galleries at the Housatonic Museum of Art from <strong>August 15</strong> through <strong>October 20, 2011<br /> </strong> <br /> Developed by the Centro de Arte Contemporaneo Wifredo Lam, Havana, <em>Polaridad Complementaria</em> offers audiences the opportunity to become acquainted with the island’s current and upcoming artistic talent. More than 40 works of painting, drawing, sculpture, photography, video and installation art provide a sense of the serious aesthetic and conceptual concerns that characterizes Cuban art today. The 24 artists presented here are mainly young artists who have attained international recognition. The majority of these artists have taken part in fairs and biennials abroad and all have exhibited in Europe, Latin America and were featured in various editions of the Havana Biennial. Several have exhibited in the United States, including René Peña, Abel Barroso, Aimeé García, Yoan Capote, Eduardo Ponjuán, Lázaro Saavedra, Sandra Ramos and Roberto Fabelo.<br />  <br /> Often compared to American photographer Robert Mapplethorpe, artist René Peña explores the relationship between individuals within society and the struggle for their own identity. Abel Barroso carves three-dimensional pieces using wood and various printing methods to create a conversation about technology and the third-world. From Zulueta, Cuba, Duvier del Dago takes things one step further, combining drawing with handmade 3D design examining the unattainable, whether it be the material or the ideal. From simplistic to intricately fabricated, these artists create a narrative of Cuba today.<br />  <br /> Diverse in both medium and themes, the artists featured in <em>Polaridad Complementaria</em> understand the power of their art to address a wide range of social issues. The exhibition highlights works that connect the local context with global concerns and universal human issues. After many years, <em>Polaridad Complementaria</em> opens a pathway for dialogue and cultural exchange between Cuba and the United States, two countries with historic ties and common cultural processes, despite troubled relations.<br /> <br /> <strong>Margarita Sánchez Prieto</strong> is curator, researcher and art critic at Centro de Arte Contemporaneo Wifredo Lam in Havana and recipient of the National Prize of Curatorship at the 2000 Havana Biennial. She has curated various exhibitions and lectured extensively on Cuban and Latin American art throughout South America, Europe and Canada. Her work has been published in various art magazines and she is the author of the anthology <em>An Outlook of Latin American Art in the Decade of 1980</em>.  <br /> <br /> Director of the Wifredo Lam Contemporary Art Centre and curator and art critic of the Havana Biennial, <strong>Jorge Fernandez Torres</strong> has curated over 15 major exhibitions in Cuba, Spain, Central, and South America. He was a member of the Commission for Cuban Cultural Development of UNESCO in 1997 and on the Advisory Council for the Arts of the National Library of Cuba in 2000 and 2001 as well as Vice Rector of the Higher Institute of Arts in Havana for the past ten years. He is the Author of several texts in catalogues of Cuban art and as professor of contemporary art at the Higher Institute of Arts (ISA), and has lectured all over the world. <br /> <br /> <em>Polaridad Complementaria: Recent Works from Cuba</em> was developed by the <strong>Centro de Arte Contemporáneo Wifredo Lam</strong>, Havana and is toured by International Arts &amp; Artists, Washington, DC. </p> Mon, 10 Oct 2011 09:50:07 +0800 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Molly Dilworth - The James Hotel - May 1st, 2013 - January 1st, 2023 <p>Painting for the garden at The James Hotel, 27 Grand Street, NYC. Opening May 1, 2013.<br /><br />Ghost acreage is extraterritorial land annexed for production. Historically, American land was used to produce cotton for space-constrained Europe; today variations of this practice can be found everywhere in industrial production from food to electronics.<br /><br />The designs for the Urban Garden pillar at The James Hotel were generated by sampling from visual and historical markers on 6th Avenue immediately adjacent to the pillar. Examples include the multicolored z-shaped crosswalk pavers, the Avenue of the Americas lamppost medallions and the statue of Juan Pablo Durate who helped found the Dominican Republic and establish its independence from Hati.<br /><br />During the colonial period, residents of Lower Manhattan and Carribean countries shared the experience of being subjects and revolutionaries. While mostly invisible today, evidence of these histories can be found just outside the Urban Garden.</p> Fri, 10 May 2013 04:03:07 +0800 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list - Queens Museum of Art - November 9th, 2013 - November 9th, 2023 <p>The Queens Museum will always be inextricably linked to the 1939 and 1964 World&rsquo;s Fairs, and with a collection of more than 10,000 objects pertaining to the two expositions, the Museum is a key resource to both scholars and fans. In an effort to provide visitors with a greater understanding of the scope of the Museum&rsquo;s enormous holdings of 1939 and 1964 World&rsquo;s Fair artifacts and memorabilia, the newly installed World&rsquo;s Fair Visible Storage and Gallery on the second floor displays more than 900 three-dimensional pieces arranged by the date of each World&rsquo;s Fair, and within these categories, arranged by donor. The dense installation provides an opportunity to study a large number of related works of World&rsquo;s Fair objects up close, and to compare and contrast a wide range of items from 1939 and 1964. The Visible Storage provides unprecedented access to students, scholars, and the general public to explore the collection that was formerly hidden in the Museum&rsquo;s art vault, off-limits to the public. Many of these objects have never been displayed in the history of the Queens Museum.</p> <p>Visible Storage addresses the challenge of organizing a public exhibition space while fulfilling the traditional purpose of safely displaying and storing an important cross-section of the Museum&rsquo;s collections in a climate-controlled and easily accessible environment. Light sensitive objects, such as documents, photographs and textiles, remain stored in dedicated low-light facilities.</p> <p>These large glass cases now house more than 90% of the three-dimensional objects in the Museum&rsquo;s World&rsquo;s Fair collection. New acquisitions and private collections that, in most cases, have been donated to the Museum, will be added to the Visible Storage allowing visitors to gain new insight into the history and evolution of the World&rsquo;s Fairs through a visual understanding, and a palpable sense of place by exploring these artifacts and memorabilia. Furthermore, with all the objects donated by a particular collector displayed as a group, the collections within the collection become evident.</p> <p>As milestone anniversaries of both the 1939 and 1964 World&rsquo;s Fairs near, Visible Storage pays homage to momentous events in the history of Flushing Meadows Corona Park and the Queens Museum. These objects simultaneously evoke the past and a yearning for tomorrow. Linking thematically with the beloved Panorama of the City of New York and its slightly more modest relative, the Relief Map of the New York City Water Supply System, the Visible Storage completes the triumvirate at the heart of the NYC Building&rsquo;s rich history as a World&rsquo;s Fair pavilion. The World&rsquo;s Fair collection is ever-growing, those interested in donating artifacts can email worldsfair@queensmuseum.org or call 718.592.9700 x122.</p> <p>Also on view within the World&rsquo;s Fair Gallery is <em>ChronoLeap: The Great World&rsquo;s Fair Adventure</em>, a virtual experience and game that transports visitors back in time to the 1964 World&rsquo;s Fair. The World&rsquo;s Fair offered a glimpse of the future, with different pavilions featuring exhibitions showcasing the latest innovations in science and technology as an avenue for better lifestyles. <em>ChronoLeap</em> allows for a virtual experience of the Fair, complete with pavilion tours and a conversation with Fair President Robert Moses. <em>ChronoLeap</em> is organized by Dr. Lori C. Walters, a Research Assistant Professor with the Institute for Simulation and Training and Department of History at the University of Central Florida. Funded by both the National Endowment for the Humanities and the National Science Foundation, the project explores the use of 3D virtual environments as an educational tool to expand the understanding of Science, Technology, Engineering and Mathematics (STEM) education.</p> Mon, 09 Dec 2013 05:54:47 +0800 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Anselm Kiefer - Mass MOCA - September 29th, 2013 - December 1st, 2028 <p>In a major collaboration with the Hall Art Foundation, the keystone of which is a large and long-term exhibition of sculpture and paintings by Anselm Kiefer, MASS MoCA opens a 10,000 square-foot building at MASS MoCA specially re-purposed by the Hall Art Foundation and devoted to the art of Anselm Kiefer.</p> <p>The exhibition includes <em>&Eacute;troits sont les Vaisseaux (Narrow are the Vessels)</em> (2002), an 82-foot long, undulating wave-like sculpture made of cast concrete, exposed rebar, and lead; <em>The Women of the Revolution (Les Femmes de la Revolution)</em> (1992), comprised of more than twenty lead beds with photographs and wall text; <em>Velimir Chlebnikov </em> (2004), a steel pavilion containing 30 paintings dealing with nautical warfare and inspired by the quixotic theories of the Russian mathematical experimentalist Velimir Chlebnikov; and a new, large-format commission created by the artist specifically for the installation at MASS MoCA.</p> <p>Anselm Kiefer, who first visited MASS MoCA in 1990 when it was still in the early planning stages, ranks among the best-known and most important of post-World War II German artists living and working today. Born in 1945 in southern Germany during the final days of the collapse of the Third Reich, Kiefer experienced divided postwar Germany firsthand. Across his body of work, Kiefer argues with history, addressing controversial and even taboo issues from recent history with bold directness and lyricism. Kiefer often turns to literature and history as prime source material for his work, as he did, for example, in the suite of paintings that comprise <em>Velimir Chlebnikov </em>(2004).</p> <p>The artist often builds his imagery on top of photographs, layering his massive canvases with dirt, lead, straw, and other materials that generate a &ldquo;ground&rdquo; that reads literally of the earth itself. Within these thick, impastoed surfaces Kiefer embeds textual or symbolic references to historic figures or places: these become encoded signals through which Kiefer invokes and processes history.</p> <p>A law student, Kiefer switched his studies to art in 1965 and held his first solo exhibit in 1969. During the early 1970s he studied with conceptual artist Joseph Beuys, whose interest in using an array of cultural myths, metaphors, and personal symbolic vocabulary as a means to engage and understand history inspired Kiefer. The artist has described his own art-making process as stimulated by Beuys&rsquo; philosophies: &ldquo;Painting, for me, is not just about creating an illusion. I don&rsquo;t paint to present an image of something. I paint only when I have received an apparition, a shock, when I want to transform something. Something that possesses me, and from which I have to deliver myself. Something I need to transform, to metabolize, and which gives me a reason to paint.&rdquo; Like Beuys, whose works were often constructed of fragile, organic materials (including blood, fat, and honey), Kiefer&rsquo;s works often incorporate unusual, fugitive materials such as ash, clay,and dried plant materials. With their rough-hewn textures and expansive narrative formats that often evoke charred landscape and historical, sometimes apocalyptic settings, Kiefer&rsquo;s work did not conform to the pared-down Minimalist or Conceptualist movements that were becoming mainstream at the time he was a student. Instead he created massive, dark paintings, books constructed of large sheets of lead, and figurative works that explored German folklore and were inspired by Caspar David Friedrich, among others.</p> <p>Kiefer&rsquo;s works are often realized in large formats, which in turn demand special exhibition spaces. MASS MoCA is adept at collaborating with artists, collectors, foundations, and cultural institutions to bring important bodies of art to the public, best exemplified by its 2008 partnership with Yale University Art Gallery, the Williams College Museum of Art, and the studio of Sol LeWitt, which realized a 25-year exhibition devoted to LeWitt&rsquo;s monumental wall drawings, a landmark quasi-permanent installation that was named "#1 Museum Exhibition of the Year" by Time magazine. The museum is proud to host an array of distinct curatorial points of view, within its renovated 19th singular factory campus.</p> <p>The Hall Art Foundation makes available works of postwar and contemporary art from its collection and from the collection of Andrew and Christine Hall for the enjoyment and education of the public. In addition to the dedicated gallery space at MASS MoCA, the Hall Art Foundation operates a contemporary art space in Reading, Vermont.</p> Mon, 14 Apr 2014 09:26:48 +0800 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list - MASS MoCA, North Adams, MA - September 28th, 2013 - December 1st, 2028 <p>In a major collaboration with the Hall Art Foundation, the keystone of which is a large and long-term exhibition of sculpture and paintings by Anselm Kiefer, MASS MoCA opens a 10,000 square-foot building at MASS MoCA specially re-purposed by the Hall Art Foundation and devoted to the art of Anselm Kiefer.</p> <p>The exhibition includes <em>&Eacute;troits sont les Vaisseaux (Narrow are the Vessels)</em> (2002), an 82-foot long, undulating wave-like sculpture made of cast concrete, exposed rebar, and lead; <em>The Women of the Revolution (Les Femmes de la Revolution)</em> (1992), comprised of more than twenty lead beds with photographs and wall text; <em>Velimir Chlebnikov </em> (2004), a steel pavilion containing 30 paintings dealing with nautical warfare and inspired by the quixotic theories of the Russian mathematical experimentalist Velimir Chlebnikov; and a new, large-format commission created by the artist specifically for the installation at MASS MoCA.</p> <p>Anselm Kiefer, who first visited MASS MoCA in 1990 when it was still in the early planning stages, ranks among the best-known and most important of post-World War II German artists living and working today. Born in 1945 in southern Germany during the final days of the collapse of the Third Reich, Kiefer experienced divided postwar Germany firsthand. Across his body of work, Kiefer argues with history, addressing controversial and even taboo issues from recent history with bold directness and lyricism. Kiefer often turns to literature and history as prime source material for his work, as he did, for example, in the suite of paintings that comprise <em>Velimir Chlebnikov </em>(2004).</p> <p>The artist often builds his imagery on top of photographs, layering his massive canvases with dirt, lead, straw, and other materials that generate a &ldquo;ground&rdquo; that reads literally of the earth itself. Within these thick, impastoed surfaces Kiefer embeds textual or symbolic references to historic figures or places: these become encoded signals through which Kiefer invokes and processes history.</p> <p>A law student, Kiefer switched his studies to art in 1965 and held his first solo exhibit in 1969. During the early 1970s he studied with conceptual artist Joseph Beuys, whose interest in using an array of cultural myths, metaphors, and personal symbolic vocabulary as a means to engage and understand history inspired Kiefer. The artist has described his own art-making process as stimulated by Beuys&rsquo; philosophies: &ldquo;Painting, for me, is not just about creating an illusion. I don&rsquo;t paint to present an image of something. I paint only when I have received an apparition, a shock, when I want to transform something. Something that possesses me, and from which I have to deliver myself. Something I need to transform, to metabolize, and which gives me a reason to paint.&rdquo; Like Beuys, whose works were often constructed of fragile, organic materials (including blood, fat, and honey), Kiefer&rsquo;s works often incorporate unusual, fugitive materials such as ash, clay,and dried plant materials. With their rough-hewn textures and expansive narrative formats that often evoke charred landscape and historical, sometimes apocalyptic settings, Kiefer&rsquo;s work did not conform to the pared-down Minimalist or Conceptualist movements that were becoming mainstream at the time he was a student. Instead he created massive, dark paintings, books constructed of large sheets of lead, and figurative works that explored German folklore and were inspired by Caspar David Friedrich, among others.</p> <p>Kiefer&rsquo;s works are often realized in large formats, which in turn demand special exhibition spaces. MASS MoCA is adept at collaborating with artists, collectors, foundations, and cultural institutions to bring important bodies of art to the public, best exemplified by its 2008 partnership with Yale University Art Gallery, the Williams College Museum of Art, and the studio of Sol LeWitt, which realized a 25-year exhibition devoted to LeWitt&rsquo;s monumental wall drawings, a landmark quasi-permanent installation that was named "#1 Museum Exhibition of the Year" by Time magazine. The museum is proud to host an array of distinct curatorial points of view, within its renovated 19th singular factory campus.</p> <p>The Hall Art Foundation makes available works of postwar and contemporary art from its collection and from the collection of Andrew and Christine Hall for the enjoyment and education of the public. In addition to the dedicated gallery space at MASS MoCA, the Hall Art Foundation operates a contemporary art space in Reading, Vermont.</p> Wed, 22 Jan 2014 23:10:19 +0800 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Michael Oatman - Mass MOCA - October 23rd, 2010 - October 31st, 2020 <p><em>all utopias fell</em> is a project in three interrelated parts: <em>The Shining</em>, <em>The Library of the Sun</em>, and <em>Codex Solis</em>.</p> <p><em>The Shining</em> is a 1970s-era &lsquo;satellite&rsquo; that has crash-landed at MASS MoCA. This beautifully reflective, repurposed Airstream trailer &ndash; with large parachutes and active solar panels &ndash; is inspired by an earlier era of pulp aeronauts like Buck Rogers, Tom Swift and Tom Corbett: Space Cadet, as well as the works of Giotto, Jules Verne, NASA, and Chris Marker&rsquo;s 1962 film <em>La Jet&eacute;e</em>. Visitors can climb a staircase in the Boiler Plant and enter into the craft where they will encounter <em>The Library of the Sun</em>. Hybridizing a domestic space, a laboratory and a library, it has the feel of a hermitage, where the occupant will &lsquo;be right back&rsquo;, only it is 30 years later. Videos relating to the sun and its mythology flicker to life on the cockpit&rsquo;s instrumentation panels. In addition to these elements, visitors will be stunned by a stained glass window in what was once the windshield of the vehicle. Once inside the craft, visitors will also be able to view <a href="http://www.massmoca.org/event_details.php?id=371" target="_blank" rel="nofollow"><em>Codex Solis</em>, a massive field of photovoltaic (PVs) or solar panels</a>. At 50kw, the field will generate 7% of the power consumed by MASS MoCA. In addition to this 230-foot long grid, mirrors are interspersed in the middle of the field, and suggest an absent text. The arrangement of mirrors and solar panels is based on a specific quote by an unnamed author, and will not be revealed by the artist; instead the public will be encouraged to spend time with the piece, watch the reflected sky, and solve the riddle as birds and planes, inverted, fly by.</p> <p>Supported by the Massachusetts Technology Collaborative's Renewable Energy Trust and the Massachusetts Cultural Council.</p> Wed, 22 Jan 2014 10:44:50 +0800 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Robert Irwin - Dia:Beacon, Riggio Galleries - June 1st, 2015 - May 6th <p style="text-align: justify;"><strong>Dia Art Foundation Presents Robert Irwin&rsquo;s <em>Excursus: Homage to the Square<sup>3</sup></em></strong></p> <p style="text-align: justify;">The presentation of Robert Irwin&rsquo;s <em>Excursus: Homage to the Square<sup>3</sup></em> (1998&ndash;99) at Dia:Beacon will mark the return of the work to public view, approximately fifteen years after its premiere at Dia Center for the Arts in New York City. Beginning on June 1, 2015, audiences will be able to experience Irwin&rsquo;s "site-conditioned" installation in the museum whose master plan he created. The new installation of <em>Excursus: Homage to the Square<sup>3</sup></em> was developed specifically for Dia:Beacon and will be accompanied by a symposium and a publication. <br /><br /> &ldquo;<em>Excursus: Homage to the Square<sup>3</sup></em> is one of the most important displays of Irwin&rsquo;s environmental installations that&mdash;through the manipulation of existing architecture&mdash;explore physical, sensory, and temporary states,&rdquo; commented Jessica Morgan, Director, Dia Art Foundation. &ldquo;It is a great privilege to install this work at Dia:Beacon and return it to public view, highlighting for audiences the unique interconnections between Irwin&rsquo;s artistic and architectural practices.&rdquo; <br /><br /> The work began as a site-specific installation titled <em>Prologue: x18<sup>3</sup></em> that occupied an entire floor of Dia Center for the Arts, Dia&rsquo;s former exhibition space in New York City, during the spring of 1998. The piece featured white fluorescent lights that were installed within eighteen cubic chambers and defined by floor-to-ceiling scrims; the windows were covered with custom-fabricated blue-and-gray theatrical gels, providing visitors with a maze-like environment of subtly changing shadows to explore. Months into the installation, Irwin took the opportunity to further incorporate color into the piece by wrapping each set of fluorescent lights in complex combinations of vividly colored gels. This new work was retitled <em>Excursus: Homage to the Square<sup>3</sup></em> in reference to Josef Albers&rsquo;s celebrated series. Irwin&rsquo;s layered use of colored gels was directly informed by Albers&rsquo;s method of creating idiosyncratic hues through overlaid layers of translucent paint treatments. <em>Excursus: Homage to the Square<sup>3</sup></em> was acquired by Dia in 2000. <br /><br /> The new installation of <em>Excursus: Homage to the Square<sup>3</sup></em> at Dia:Beacon will represent a singular manifestation of Irwin as an artist. Moving from his interior gallery layouts and flow patterns to the architectural interventions evident throughout the building to the landscaped gardens and forecourt that he designed, audiences will have the opportunity to experience an environment in which Irwin has touched virtually every facet. <br /><br /> &ldquo;<em>Excursus: Homage to the Square<sup>3</sup></em> invites audiences to explore the work of art. What is so unique is that there is no beginning, middle, or end. Audiences can enter the work from a variety of entry points,&rdquo; said Yasmil Raymond, Curator, Dia Art Foundation. &ldquo;It has been such an honor to work closely with Irwin, a pioneer of the L.A.-based Light and Space movement of the 1960s, to reconceive this project for Dia:Beacon and create a long-term plan that will allow Dia to share this work with future generations.&rdquo; <br /><br /> Maintaining Dia&rsquo;s philosophy of displaying single-artist presentations for extended periods of time, <em>Excursus: Homage to the Square<sup>3</sup></em> be on view at Dia:Beacon for two years. <br /><br /> <strong>Symposium</strong> <br /> A symposium on <em>Excursus: Homage to the Square<sup>3</sup></em> is scheduled for fall 2015. <br /><br /> <strong>Publication</strong> <br /> A book will be produced as the next volume in the core series documenting the collection of Dia Art Foundation. <br /><br /> <strong>Funding</strong> <br /> The installation of Robert Irwin&rsquo;s <em>Excursus: Homage to the Square<sup>3</sup></em> is made possible by lead support from the National Endowment for the Arts and Cindy and Howard Rachofsky. Major support is provided by The Brown Foundation, Inc., of Houston and Dia&rsquo;s Commissioning Committee: Marguerite S. Hoffman, Jill and Peter Kraus, and Leslie and Mac McQuown. Additional support is provided by the New York State Council on the Arts, a State agency, and Pace Gallery.</p> Sun, 15 Mar 2015 22:48:11 +0800 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list - Rubin Museum of Art - October 23rd, 2015 - March 27th <p style="text-align: justify;">This exhibition reflects on Sacred Spaces by focusing on devotional activities in awe-inspiring places. In particular, the exhibition presents three distinct but related environments shaped by acts of veneration. What spaces are sacred to you?</p> <p style="text-align: justify;">The Tibetan Buddhist Shrine Room provides an immersive experience inspired by a traditional shrine that would be used for offering, devotion, prayer, and contemplation. Art and ritual objects are presented as they would be in an elaborate private household shrine. The new fourth-floor installation of the Shrine Room will more than double the visitor capacity of its current location.</p> <p style="text-align: justify;">As atmospheric context for the shrine, visitors are transported to the Himalayas by gazing at a panoramic photograph taken in Mustang, Nepal, by Jaroslav Poncar. This impressive vista evokes the high mountainous landscape in which Tibetan Buddhism developed and still flourishes. According to Himalayan cultures, the landscape is animated and full of life and power. The forces of the ground, water, rocks, mountains, and trees all require acts of devotion to fend off dangers and invite blessings.</p> <p style="text-align: justify;">Visitors are also invited to contemplate a video installation created by Deidi von Schaewen. The work documents a Jain communal ritual in which a massive stone sculpture is anointed every twelve years in Shravanabelgola, Karnataka, India. Devotees pour various offering substances over the figure during the course of four days. The twelve-minute two-channel video installation of this sacred rite presents a mesmerizing display of devotional acts such as ablutions, blessings, and prayers.</p> Tue, 30 Jun 2015 00:11:07 +0800 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Britannie Bond - Dream Hotel - Midtown - March 14th, 2016 - April 11th, 2019 <p><a href="http://blog.indiewalls.com/2015/11/collection-notes-suite-dreams/" rel="nofollow">http://blog.indiewalls.com/2015/11/collection-notes-suite-dreams/</a></p> Tue, 12 Apr 2016 23:11:03 +0800 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Group Show - Mass MOCA - May 28th, 2016 - April 3rd <h4 class="image-field" style="text-align: justify;">MASS MoCA curator Denise Markonish remarks, &ldquo;a true state of wonder agitates, mesmerizes, and is almost forcible and shocking. It is a sudden intake of breath, a gaping mouth, a relinquishing of understanding.&rdquo; As commonly used, &ldquo;wonder&rdquo; is sometimes mistaken for curiosity, which centers on the practice of fact-finding and explanation. In&nbsp;<em>Explode Every Day: An Inquiry into the Phenomena of Wonder</em>, viewers experience a purer state of wonder, a state of being poised between knowing and not knowing, and defined by an experience of something truly new.</h4> <p style="text-align: justify;">Harnessing the&nbsp;idea&nbsp;of wonder as a thematic metaphor, the exhibition features both existing and new works by twenty-three international artists, each touching on certain facets of wonder, including: the perceptual/ visionary, the technological/scientific, the philosophical/meditative, time/cosmos, and illusion/fear.</p> <p style="text-align: justify;">Co-organized by Markonish and Columbus, Ohio-based artist Sean Foley,&nbsp;<em>Explode Every Day</em>&nbsp;was inspired by a course that Foley taught at Ohio State University and a long-running conversation&nbsp;between the co-curators. The title for the exhibition was inspired by the writer Ray Bradbury, who often spoke of the need to retain a sense of wonder:&nbsp;&ldquo;You remain invested in your inner child by exploding every day. You don&rsquo;t worry about the future, you don&rsquo;t worry about the past&mdash;you just explode.&rdquo;</p> <p style="text-align: justify;">Jonathan Allen&nbsp;(London, England) is an artist and writer whose work addresses the magic at play within late modernity. His work has been&nbsp;featured in many exhibitions, live projects, and publications, most recently at Tate Britain, Frankfurter Kunstverein, and David Risley Gallery. He is an associate curator at The Magic Circle Museum, London.&nbsp;<a href="http://www.jonathanallen.info/" target="_blank">jonathanallen.info</a></p> <p style="text-align: justify;">Jen Bervin&nbsp;(Brooklyn, NY) is a visual artist and writer whose works combine text and textiles with conceptual elements and a minimalist&rsquo;s eye for the poetic and essential. Her work has been exhibited at the Walker Art Center, The Power Plant, The Eli and Edythe Broad Art Museum, and others. Bervin is the recipient of a Creative Capital grant, a Robert Rauschenberg Residency, and is currently an artist-in-residence at the SETI Institute.&nbsp;<a href="http://www.jenbervin.com/" target="_blank">jenbervin.com</a></p> <p style="text-align: justify;">Lucien Castaing-Taylor&nbsp;and&nbsp;V&eacute;r&eacute;na&nbsp;Paravel&nbsp;(Cambridge, MA) are filmmakers, artists, and anthropologists working at the Sensory Ethnography Lab at Harvard University. Their work has been screened at the&nbsp;AFI, CPH:DOX, Locarno, New York, Toronto, and Viennale Film Festivals, and exhibited at London&rsquo;s Institute of Contemporary Arts, the Centre Pompidou, and the Berlin Kunsthalle. Their 2012 film&nbsp;<em>Leviathan</em>&nbsp;was lauded by critics and won numerous film awards.</p> <p style="text-align: justify;">Jason de Haan&nbsp;(Calgary, Alberta) creates sculptures, drawings, and videos&nbsp;that recognize potential in various unconventional systems, objects, and sets of conditions. Often incorporating non-human forces, temporal shifts, and unforeseen outcomes, de Haan seeks spaces where the invisible, serendipitous, and residual reveal their contingencies. He is represented by Clint Roenisch Gallery, Toronto, ON.&nbsp;<a href="http://www.jasondehaan.net/" target="_blank">jasondehaan.net</a></p> <p style="text-align: justify;">Tristan Duke&nbsp;(Los Angeles, CA) has a background in photography and has long been interested in optics, visual perception, and optical illusion. Through his work with the Museum of Jurassic Technology, Duke became involved in stereoscopic (3D) photography. Most recently he has been exploring laser holography, and hand-etched holograms.&nbsp;<a href="http://www.dadabiti.org/tristan-duke" target="_blank">dadabiti.org/tristan-duke</a></p> <p style="text-align: justify;">Sharon Ellis&nbsp;(Los Angeles, CA) is a painter of&nbsp;timeless landscapes that highlight the interplay between a visible world and an equally present, invisible one. Ellis juxtaposes light and dark values, creating new sculptural forms coupled with deep spaces. Her subjects&mdash;taken from nature&mdash;are painstakingly rendered with multiple layers of transparent glazes, resulting in surfaces that are spacious and immaterial. Ellis is represented by Christopher Grimes Gallery, Los Angeles, CA.</p> <p style="text-align: justify;">Tom Friedman&nbsp;(Easthampton, MA) makes extraordinary works that explore perception, logic, and possibility. His painstakingly rendered sculptures and works on paper inhabit the grey area between the ordinary and the monstrous, the infinitesimal and the infinite, the rational and the uncanny. His work is often deceptive, its handmade intricacy masked by a seemingly mass-produced or prefabricated appearance. Friedman is represented by Luhring Augustine, New York, NY.</p> <p style="text-align: justify;">Christopher Gausby&nbsp;(New York, NY) is an artist, calligrapher, and writer who has reinvented the illuminated manuscript form to create book works meditating on philosophy and aesthetics. These works are in the collection of the New York Public Library and the Newberry Library, Chicago.</p> <p style="text-align: justify;">Hope Ginsburg&nbsp;(Richmond, VA) creates multidisciplinary works that take the form of live events that explore the images, objects, and spaces that they generate. Her pedagogical project,&nbsp;<em>Sponge</em>, is headquartered at the Virginia Commonwealth University School of the Arts, where she is an associate professor. Her recent&nbsp;<em>Breathing on Land</em>&nbsp;project began at the Robert Rauschenberg Residency in Captiva, FL.&nbsp;<a href="http://www.hopeginsburg.com/" target="_blank">hopeginsburg.com</a></p> <p style="text-align: justify;">Laurent Grasso&nbsp;(Paris, France) has long been fascinated with the visual possibilities related to the science of electromagnetic energy, radio waves, and naturally occurring phenomena. He uses imagery culled from cinema and art history to create works in video, sculpture, painting, and drawing, which set up ambiguous juxtapositions of time and space. Grasso is represented by Sean Kelly, NY, and Galerie Perrotin, Paris.&nbsp;<a href="http://www.laurentgrasso.com/" target="_blank">laurentgrasso.com</a></p> <p style="text-align: justify;">Pierre Huyghe&nbsp;(Paris, France) creates films, installations, and public events that blur the traditional distinction between fiction and reality, revealing the experience of fiction to be as palpable as anything in daily life. His playful work addresses complex social topics, such as the yearning for utopia, the lure of spectacle in mass media, and the impact of Modernism on contemporary values and belief systems.&nbsp;Huyghe is represented by Marian Goodman Gallery, NY.</p> <p style="text-align: justify;">The&nbsp;Institute For Figuring&nbsp;(Los Angeles, CA) engages in science and making, steeped in the belief that ideas presented in abstract terms can often be embodied in physical activities. Founded in 2003 by twin sisters Margaret and Christine Wertheim, the IFF develops exhibits and programs for museums, galleries, colleges, and community groups internationally. The IFF&rsquo;s&nbsp;<em>Crochet Coral Reef</em>&nbsp;is one of the largest science+art projects in the world.&nbsp;<a href="http://theiff.org/" target="_blank">theiff.org</a></p> <p style="text-align: justify;">Nina Katchadourian&nbsp;(Brooklyn, New York) creates works in a wide variety of media including photography, sculpture, video, and sound, playing with notions of the everyday, humor, language, and nature.&nbsp;Most recently, she was part of the 2015 Venice Biennial, and Chronicle Books published&nbsp;<em>Sorted Books,&nbsp;</em>a celebration of a 20-year long project. Katchadourian is represented by Catharine Clark Gallery in San Francisco, CA.&nbsp;<a href="http://www.ninakatchadourian.com/" target="_blank">ninakatchadourian.com</a></p> <p style="text-align: justify;">Michael Light&nbsp;(San Francisco, CA) is a photographer focused on the environment and its relationship to contemporary American culture.&nbsp;He has published the archival works,&nbsp;<em>Full Moon</em>&nbsp;(1999), which used lunar geological survey imagery made by the Apollo astronauts to show the moon as a sublime desert, and&nbsp;<em>100 Suns&nbsp;</em>(2003), military photographs of&nbsp;U.S. atmospheric nuclear detonations from 1945 to 1962.&nbsp;<a href="http://www.michaellight.net/" target="_blank">michaellight.net</a></p> <p style="text-align: justify;">Charles Lindsay&nbsp;(New York, NY) is a multidisciplinary artist interested in technology, ecosystems, semiotics, and esoteric forms of humor. He creates immersive environments, sound installations, sculptures built from salvaged aerospace and biotech equipment, videos, and photographs. Lindsay was the first artist-in-residence at the SETI Institute.&nbsp;<a href="http://www.charleslindsay.com/" target="_blank">charleslindsay.com</a></p> <p style="text-align: justify;">Megan and Murray McMillan&nbsp;(Providence, RI) have been collaborating since 2002. They&nbsp;make interdisciplinary projects that incorporate video, installation, performance, and photography. They often start their process by building large sets in their studio or on location. That set then becomes the stage for video and photographs with choreographed actors who activate the set in a filmed performance.&nbsp;<a href="http://www.meganandmurraymcmillan.com/" target="_blank">meganandmurraymcmillan.com</a></p> <p style="text-align: justify;">Ryan and Trevor Oakes&nbsp;(New York, NY) are twin brothers who have been engaged in a conversation about the nuances of vision since they were children. They explored their mutual fascination with vision throughout grade school and during college at Cooper Union&rsquo;s School of Art in New York City. Since graduating in 2004, they&rsquo;ve continued their dialogue with their jointly built artworks addressing human vision, light, perception, and the experience of space and depth.</p> <p style="text-align: justify;">Demetrius Oliver&nbsp;(New York, NY) uses prosaic objects such as teakettles, light bulbs, and umbrellas to evoke poetic associations between physical materials and abstract ideas. Both introspective and transformative, Oliver&rsquo;s practice investigates the cosmos from the vantage point of the studio and the gallery.&nbsp;<a href="http://www.demetriusoliver.com/" target="_blank">demetriusoliver.com</a></p> <p style="text-align: justify;">Dario Robleto&nbsp;(Houston, TX) is an artist whose multifaceted practice links careful research with romantic earnestness and conceptual precision with unorthodox fabrication. His sculptures, prints, and wall works combine esoteric materials and processes to explore forgotten, little-known, or as-yet unfamiliar corners of history, art, and science. Robleto has had over 30 solo exhibitions since 1997, most recently&nbsp;<em>The Boundary of Life Is Quietly Crossed</em>&nbsp;at The Menil Collection in Houston, TX. He is currently an artist-in-residence at the SETI Institute.&nbsp;<a href="http://www.dariorobleto.com/" target="_blank">dariorobleto.com</a></p> <p style="text-align: justify;">Rachel Sussman&nbsp;(Brooklyn, NY) spent nearly a decade developing the critically acclaimed project<em>The Oldest Living Things in the World</em>, researching, working with biologists, and traveling all over the world to photograph continuously living organisms that are over 2,000 years old. University of Chicago Press published the accompanying book in 2014. Sussman has exhibited her work internationally and received numerous awards including a 2014 Guggenheim Fellowship, and has spoken at TED, The Long Now Foundation, and UCLA, among others. She is currently an artist-in-residence at the SETI Institute.&nbsp;<a href="http://www.rachelsussman.com/" target="_blank">rachelsussman.com</a></p> <p style="text-align: justify;">Julianne Swartz&nbsp;(Kingston, NY) works with sound, kinetics, and a range of lo-tech materials to make sculpture, installations, and photographs. Often using optics, magnetism, and the concepts of space and time in her body of work, her installations invite attentive visitors to slow down and sharpen their senses. She is represented by Jos&eacute;e Bienvenu Gallery, NY, and Lisa Sette Gallery, Phoenix, AZ.&nbsp;<a href="http://www.julianneswartz.com/" target="_blank">julianneswartz.com</a></p> <p style="text-align: justify;">Chris Taylor&nbsp;(Providence, RI) exploits the friction generated within a material and process that is a production of convention, tradition, and history. Particularly examining glass, Taylor has learned to blow it upside down and also reproduced a 16th-century Venetian goblet, whose technique was lost for over 500&nbsp;years, which he planted next to the original in The Metropolitan Museum of Art.</p> <p style="text-align: justify;">Fred Tomaselli&nbsp;(New York, NY) draws upon art historical sources and Eastern and Western decorative traditions to create works that explode with mesmerizing patterns through the layering of resin, pharmaceuticals, and organic materials. More recently he has been transforming the front page of&nbsp;<em>The New York Times</em>&nbsp;with gouache and collage. For&nbsp;<em>Explode Every Day,</em>&nbsp;Tomaselli shows an historic sculptural work from the late 1980s. He is represented by James Cohan Gallery, NY.</p> <p style="text-align: justify;">About the Catalog<br />Accompanying the exhibition will be a comprehensive catalog that will, for the first time, gather contributors from diverse fields to investigate this elusive topic and unite them through contemporary art.</p> <p style="text-align: justify;">The book will consist of essays on the history of wonder; wonder and psychology; and literature, science, and unusual natural and paranormal phenomena; as well as in-depth artist interviews and special artist projects. Contributors to the catalogue include: Lawrence Weschler (author of creative nonfiction), Kay Redfield Jamison (clinical psychologist and author), Maria Popova (writer and blogger at&nbsp;<a href="https://www.brainpickings.org/" target="_blank">brainpickings.org</a>), Barbara Maria Stafford (art historian), Jill Tarter (astronomer and former director of the Center for SETI Research), Robin Ince (comedian and co-host of BBC radio&rsquo;s The Infinite Monkey Cage), Stefan Sagmeister (graphic designer), Mary Ruefle (poet), Sam Green (filmmaker of&nbsp;<em><a href="http://measureofthings.com/" target="_blank">The Measure of All Things</a></em>), Steve Holmes (curator), and the exhibition curators. The catalog will be edited by Markonish and co-published by Prestel.</p> <p class="sponsor-field" style="text-align: justify;">This exhibition is supported by the National Endowment for the Arts and a grant from the Artist&rsquo;s Resource Trust, with additional support from the Horace W. Goldsmith Foundation, the Barr Foundation, and the Massachusetts Cultural Council.</p> Sun, 01 May 2016 01:31:59 +0800 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Teiji Furuhashi - MoMA (Museum of Modern Art) - July 30th, 2016 - April 16th <p style="text-align: justify;"><em>Lovers</em>&nbsp;is an immersive, room-sized multimedia installation by Japanese artist Teiji Furuhashi (1960&ndash;1995). Life-sized images of the artist and other fellow members of the Kyoto-based artist collective Dumb Type are projected onto the walls of a darkened room from a tower of computer-controlled video and slide projectors at its center. The figures move like specters around the perimeter of the space, in a looped choreographic sequence made variable by a visitor-activated motion sensor, which intervenes to restart one of the projections when triggered. Confined to their autonomous projections, these eponymous &ldquo;lovers&rdquo; overlap at moments within the sequence, whether running past each other or pausing in a gesture of embrace, yet their bodies never make contact. Made just one year before Furuhashi&rsquo;s death from AIDS-related illness,<em>Lovers</em>&nbsp;speaks to what the artist has described as &ldquo;the theme of contemporary love in an ultra-romantic way.&rdquo; Presented for the first time since its inaugural exhibition at MoMA in 1995, the installation showcases the results of an extensive conservation effort recently completed by the Museum&rsquo;s media conservators.</p> <div class="calendar-credits"> <p style="text-align: justify;">The installation is organized by Klaus Biesenbach, Chief Curator at Large, MoMA, and Director, MoMA PS1; Rajendra Roy, The Celeste Bartos Chief Curator of Film, MoMA; and Cara Manes, Assistant Curator, Department of Painting and Sculpture, MoMA.</p> <img alt="" src="http://www.moma.org/d/assets/W1siZiIsIjIwMTYvMDUvMjAvNnZ3cDJiZnh1Z19hel9tb21hX2xvZ29fb3V0bGluZV9zY3JlZW5fMjQ0eDU1LmpwZyJdXQ/az_moma_logo_outline_screen_244x55.jpg?sha=0db1f00d470e53d9" /> <p style="text-align: justify;">Allianz is a partner of contemporary art at MoMA.</p> </div> Mon, 13 Mar 2017 02:06:10 +0800 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Tony Oursler - MoMA (Museum of Modern Art) - June 18th, 2016 - April 16th <p style="text-align: justify;">Tony Oursler&rsquo;s&nbsp;<em>Imponderable</em>&nbsp;(2015&ndash;16) offers an alternative depiction of modernism that reveals the intersection of technological advancements and occult phenomena over the last two centuries. Presented in a &ldquo;5-D&rdquo; cinematic environment utilizing a contemporary form of Pepper&rsquo;s ghost&mdash;a 19th-century phantasmagoric device&mdash;and a range of sensory effects (scents, vibrations, etc.),&nbsp;<em>Imponderable</em>&nbsp;is an immersive feature-length film inspired by Oursler&rsquo;s own archive of ephemera relating to stage magic, spirit photography, pseudoscience, telekinesis, and other manifestations of the paranormal. Drawing on these objects,&nbsp;<em>Imponderable</em>&nbsp;weaves together a social, spiritual, and empirical history of the virtual image that overlaps with the artist&rsquo;s own family history. A cast of characters including Sir Arthur Conan Doyle, Harry Houdini, Mina &ldquo;Margery&rdquo; Crandon, and members of Oursler&rsquo;s family are portrayed by an eclectic ensemble of artists, musicians, and performers including Kim Gordon, Jim Fletcher, Keith Sanborn, and Constance DeJong. Bringing together Oursler&rsquo;s ongoing interest in mysticism, psychedelia, popular culture, and media history, the work employs macabre humor and theatrical surrealism to reflect on the irrational relationship between belief systems and the authenticity of images.&nbsp;<em>Imponderable</em>&nbsp;is presented in conjunction with selections from Oursler&rsquo;s archive relating to the film.</p> <p style="text-align: justify;">This exhibition coincides with&nbsp;<em>Tony Oursler: The Imponderable Archive</em>, on view at the Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York, June 25&ndash;October 30, 2016.&nbsp;<em>Imponderable</em>&nbsp;was originally commissioned and produced by the LUMA Foundation for the Parc des Ateliers, Arles, France, and LUMA Westbau, Zurich, Switzerland, 2015.</p> <p style="text-align: justify;">Original soundtrack by JG Thirlwell. Scents created by International Flavors &amp; Fragrances Inc.</p> <div class="calendar-credits"> <p style="text-align: justify;">The exhibition is organized by Stuart Comer, Chief Curator, and Erica Papernik-Shimizu, Assistant Curator, Department of Media and Performance Art.</p> <img alt="" src="http://www.moma.org/d/assets/W1siZiIsIjIwMTYvMDUvMjAvM3Jlamk4aDk4al9hel9tb21hX2xvZ29fb3V0bGluZV9zY3JlZW5fMjQ0eDU1LmpwZyJdXQ/az_moma_logo_outline_screen_244x55.jpg?sha=a166b2d0e9c0f72a" /> <p style="text-align: justify;">Allianz is a partner of contemporary art at MoMA.</p> <p style="text-align: justify;">Generous funding for&nbsp;<em>Tony Oursler: Imponderable</em>&nbsp;is provided by The Jill and Peter Kraus Endowed Fund for Contemporary Exhibitions.</p> </div> Mon, 13 Mar 2017 02:04:58 +0800 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Nan Goldin - MoMA (Museum of Modern Art) - June 11th, 2016 - April 16th <p style="text-align: justify;">Comprising almost 700 snapshot-like portraits sequenced against an evocative music soundtrack, Nan Goldin&rsquo;s&nbsp;<em>The Ballad of Sexual Dependency</em>&nbsp;is a deeply personal narrative, formed out of the artist&rsquo;s own experiences around Boston, New York, Berlin, and elsewhere in the late 1970s, 1980s, and beyond. Titled after a song in Bertolt Brecht and Kurt Weill&rsquo;s<em>The Threepenny Opera</em>, Goldin&rsquo;s&nbsp;<em>Ballad</em>&nbsp;is itself a kind of downtown opera; its protagonists&mdash;including the artist herself&mdash;are captured in intimate moments of love and loss. They experience ecstasy and pain through sex and drug use; they revel at dance clubs and bond with their children at home; and they suffer from domestic violence and the ravages of AIDS. &ldquo;<em>The Ballad of Sexual Dependency</em>&nbsp;is the diary I let people read,&rdquo; Goldin wrote. &ldquo;The diary is my form of control over my life. It allows me to obsessively record every detail. It enables me to remember.&rdquo;&nbsp;<em>The Ballad</em>&nbsp;developed through multiple improvised live performances, for which Goldin ran through the slides by hand and friends helped prepare the soundtrack&mdash;from Maria Callas to The Velvet Underground&mdash;for an audience not unlike the subjects of the pictures.&nbsp;<em>The Ballad</em>&nbsp;is presented in its original 35mm format, along with photographs from the Museum&rsquo;s collection that also appear as images in the slide show. Introducing the installation is a selection of materials from the artist&rsquo;s archive, including posters and flyers announcing early iterations of&nbsp;<em>The Ballad</em>. Live performances will periodically accompany&nbsp;<em>The Ballad</em>&nbsp;during the course of the Museum&rsquo;s presentation; performance details will be announced during the course of the exhibition presentation.</p> <div class="calendar-credits"> <p style="text-align: justify;">The installation is organized by Klaus Biesenbach, Chief Curator at Large, MoMA, and Director, MoMA PS1; Rajendra Roy, The Celeste Bartos Chief Curator of Film, MoMA; and Lucy Gallun, Assistant Curator, Department of Photography, MoMA.</p> <img alt="" src="http://www.moma.org/d/assets/W1siZiIsIjIwMTYvMDUvMjAvbmh5b2JmcmF0X2F6X21vbWFfbG9nb19vdXRsaW5lX3NjcmVlbl8yNDR4NTUuanBnIl1d/az_moma_logo_outline_screen_244x55.jpg?sha=75f4e77934f423f4" /> <p style="text-align: justify;">Allianz is a partner of contemporary art at MoMA.</p> </div> Mon, 13 Mar 2017 02:05:40 +0800 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list - Newark Museum - June 18th, 2016 - May 14th <p style="text-align: justify;">This piece of local history about four Newarkers who made a difference features the following key benefactors of the Newark Museum:</p> <p style="text-align: justify;">* Lida Clanton Broner<br /> * Caroline Bamberger Fuld<br /> * Howard W. Hayes<br /> * W. Clark Symington</p> <p style="text-align: justify;">Each of these people brought to the Museum different interests and perspectives, and their collections as well as their ideas helped shape the institution in the first half of the 20th century.</p> Sat, 25 Feb 2017 02:19:49 +0800 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Group Show - The Heckscher Museum of Art - May 21st, 2016 - April 9th <p><em>Synapses: Threads for Thought</em>&nbsp;presents over two dozen works from the Museum&rsquo;s collection as a meandering thread of diverse connections. &nbsp;Paintings, prints, and photographs executed in a range of styles and with varying subjects are arranged so that each work links to those that precede and follow it, but in different ways. &nbsp;The revealed associations in concept and formal concerns enlarge the viewer&rsquo;s interpretation and highlight the interconnectedness of visual experience. &nbsp; With works ranging from a late-16th century Annunciation and George Grosz&rsquo;s&nbsp;<em>Eclipse of the Sun</em>&nbsp;to abstractions by Arthur Dove and photographs by Larry Fink, this exhibition embraces the breadth of the Museum&rsquo;s collection.</p> Thu, 11 Aug 2016 20:27:52 +0800 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Group Show - HUC-JIR Museum - New York - September 8th, 2016 - June 30th <p>Numbers are integral to Jewish rituals, belief, significant historical dates, and daily life. Numbers and numerology have been at the core of Biblical understanding since the Bible was codified and possibly before. Inescapable, numbers are the global language of humanity. In this new exhibition, more than fifty contemporary artists explore the meaning of numbers and their symbolism through a broad range of artistic media.</p> <p>&nbsp;</p> Sat, 03 Sep 2016 05:12:31 +0800 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Marilyn Minter - Brooklyn Museum of Art - November 4th, 2016 - May 7th <div class="exhibition-description"> <p style="text-align: justify;">Marilyn Minter&rsquo;s sensual paintings, photographs, and videos vividly explore complex and contradictory emotions around beauty and the feminine body in American culture. She trains a critical eye on the power of desire, questioning the fashion industry&rsquo;s commercialization of sex and the body.&nbsp;<em>Marilyn Minter: Pretty/Dirty</em>&nbsp;is the first retrospective of her work.</p> <p style="text-align: justify;">Spanning more than four decades, the exhibition begins with the artist&rsquo;s earliest artworks, from 1969 through 1986, including rarely exhibited photographs as well as paintings incorporating photorealist and Pop art techniques. It continues with works from the late 1980s and 1990s that examine visual pleasure in visceral depictions of food and sex. The exhibition culminates in Minter&rsquo;s ongoing investigation of how the beauty industry expertly creates and manipulates desire through images.</p> <p style="text-align: justify;"><em>Marilyn Minter: Pretty/Dirty</em>&nbsp;is co-organized by the Contemporary Arts Museum Houston and the Museum of Contemporary Art Denver. The Brooklyn presentation is organized by Catherine Morris, Sackler Family Curator, and Carmen Hermo, Assistant Curator, Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum.</p> <p style="text-align: justify;">The accompanying book is published by Gregory R. Miller &amp; Company, the Contemporary Arts Museum Houston, and the Museum of Contemporary Art, Denver.</p> <p style="text-align: justify;">&nbsp;</p> </div> <div class="exhibition-sponsors"> <p style="text-align: justify;">This exhibition is supported by generous grants from Gregory R. Miller &amp; Co.; Amy and John Phelan; Jeanne Greenberg Rohatyn/Salon 94, New York; and Lizzie and Jonathan Tisch. Generous support for the Brooklyn Museum presentation is provided by the May and Samuel Rudin Family Foundation, Inc.; the Taylor Foundation; Lizzie and Jonathan Tisch; Richard Edwards and Baldwin Gallery, Aspen; Christina and Emmanuel Di Donna; Stefan Edlis and Gael Neeson;&nbsp;the Bertha and Isaac Liberman Foundation; and Emily Glasser and William Susman.</p> <p style="text-align: justify;"><br /> <em>Marilyn Minter: Pretty/Dirty</em>&nbsp;is part of&nbsp;<em>A Year of Yes: Reimagining Feminism at the Brooklyn Museum</em>, a yearlong series of ten exhibitions celebrating the 10th anniversary of the Elizabeth A. Sackler Center for Feminist Art. Leadership support is provided by Elizabeth A. Sackler, an anonymous donor, the Stavros Niarchos Foundation, the Calvin Klein Family Foundation, and Mary Jo and Ted Shen. Generous support is also provided by the Taylor Foundation, the Antonia and Vladimer Kulaev Cultural Heritage Fund, and The Cowles Charitable Trust.</p> </div> Sun, 26 Mar 2017 00:04:21 +0800 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list