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 02:05:47 -0700 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> Thu, 24 Dec 2009 14:12:51 -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> Sun, 02 Mar 2014 09:46:25 -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> Sun, 09 Oct 2011 18:50:07 -0700 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> Thu, 09 May 2013 13:03:07 -0700 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> Sun, 08 Dec 2013 13:54:47 -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> Sun, 13 Apr 2014 18:26:48 -0700 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 07:10:19 -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> Tue, 21 Jan 2014 18:44:50 -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 07:48:11 -0700 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 08:11:03 -0700 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> Fri, 24 Feb 2017 10:19:49 -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> Fri, 02 Sep 2016 14:12:31 -0700 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> Sat, 25 Mar 2017 09:04:21 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list - Queens Museum of Art - April 10th, 2016 - April 30th, 2018 <p style="text-align: justify;">Austrian immigrants Dr. Egon Neustadt and his wife Hildegard were among the earliest collectors of works by famed American artist Louis C. Tiffany (1848-1933) and they played a critical role in reviving interest in Tiffany&rsquo;s lamps in the mid-twentieth century. In 1935, newly married and living in Flushing, Queens, the Neustadts purchased their first Tiffany lamp &ndash; a small Daffodil, for the incredible price of $12.50 &ndash; from a secondhand shop in Greenwich Village. Tiffany&rsquo;s work was decidedly unfashionable at this time; indeed, Louis C. Tiffany died in 1933 and his Tiffany Studios would declare bankruptcy in 1937. But the Neustadts, undeterred by the current disinterest in Tiffany lamps, were struck by the beauty of the colorful glass and enchanted that the shade had been made by an artist from the beloved country they now called home. Over the course of the next fifty years, their collection grew to include more than 200 lamps of all shapes, sizes, and designs. It remains today the largest and most comprehensive lamp collection ever assembled.</p> <p style="text-align: justify;"><em>A Passion for Tiffany Lamps</em>&nbsp;highlights the extraordinary scope of the Neustadts&rsquo; collection. Examples of Tiffany&rsquo;s most iconic lamps &ndash; the&nbsp;<em>Wisteria</em>&nbsp;and&nbsp;<em>Dragonfly</em>&nbsp;&ndash; will be on view, along with unusual lamps produced in limited number, such as the&nbsp;<em>Pond Lily</em>&nbsp;globe and&nbsp;<em>Peacock</em>&nbsp;hanging shade.</p> <p style="text-align: justify;">In 1995, The Neustadt partnered with the Queens Museum to share its collection with the New York metropolitan area through a permanent Tiffany gallery and educational programming. This partnership has special significance because Tiffany&rsquo;s glass furnace, bronze foundry, and workshops were located in Corona, Queens, less than two miles from the Museum.</p> <p style="text-align: justify;"><em>A Passion for Tiffany Lamps</em>&nbsp;is organized by The&nbsp;Neustadt&nbsp;Collection of Tiffany Glass</p> Mon, 05 Sep 2016 10:24:29 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Janet Taylor Pickett - Montclair Art Museum - September 10th, 2016 - June 18th <p>This exhibition explores the dialogue between Janet Taylor Pickett&rsquo;s artwork and that of renowned French artist Henri Matisse. Employing a diverse range of media, Taylor Pickett is known for using the dress form as an iconic template to express her journey as an African American woman, daughter, mother, and artist. The exhibition features over 76 collages and four handmade books, spotlighting the ongoing creative conversation between the two artists and the profound impact of Matisse on Taylor Pickett&rsquo;s art.</p> Thu, 08 Sep 2016 15:24:52 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list - Asia Society Museum - December 20th, 2016 - January 7th, 2018 <p style="text-align: justify;">This exhibition features a selection of the finest artworks from the renowned Asia Society Museum Collection. Included are Chinese, Korean, and Japanese ceramics, Indian and Cambodian sculpture, and sculptures from South and Southeast Asia and the Himalayas that show the varied imagery associated with the transmission of Buddhism across the region.</p> Fri, 30 Sep 2016 00:01:07 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Group Show - Brooklyn Museum of Art - November 4th, 2016 - June 18th <p style="text-align: justify;">In <em>Iggy Pop Life Class</em>, Turner Prize‒winning artist Jeremy Deller uses the traditional life drawing class to stage a performative event with Iggy Pop as model and subject. The exhibition presents the resulting drawings along with works from our historical collections, chosen by Deller, that depict the male body, examining shifting representations of masculinity throughout history.<br /> <br /> The fifty-three drawings included in the exhibition were created on February 21, 2016, during a one-day life drawing class, using Pop as the unexpected model. The class was held at the New York Academy of Art and included twenty-two artists drawn from New York City&rsquo;s diverse communities, ranging in age from 19 to 80, with varying backgrounds and levels of education and experience. The class was led by artist and drawing professor Michael Grimaldi. The participating artists are Jeremy Day, Jeanette Farrow, Margaret Fisher, Seiji Gailey, Robert Hagan, Tobias Hall, Deirdra Hazeley, Patricia Hill, Okim Woo Kim, Maureen McAllister, Kallyiah Merilus, Guno Park, Kinley Pleteau, Angel Ramirez, Robert Reid, Mauricio Rodriguez, Danielle Rubin, Taylor Schultek, Charlotte Segall, Andrew Shears, and Levan Songulashvili.</p> <p style="text-align: justify;">Deller&rsquo;s collaboration with Pop as a nude model is essential to his concept. A pioneer rock musician&mdash;as a singer, songwriter, musician, and actor&mdash;Pop began performing in the 1960s, becoming known for strenuous and unpredictable stage performances that often left his body battered and cut. As Deller notes, &quot;Iggy Pop has one of the most recognizable bodies in popular culture. A body that is key to an understanding of rock music, and that has been paraded, celebrated, and scrutinized through the years in a way that is unusual for a man. It is also fair to say that it has witnessed a lot. It was for these reasons that I wanted him to sit for a life class.&quot; For Deller, the life drawing class offered the opportunity to study his body in direct and palpable terms.</p> <p style="text-align: justify;"><em>Iggy Pop Life Class </em>is organized by Sharon Matt Atkins, Vice Director, Exhibitions and Collections Management, Brooklyn Museum.</p> <div class="exhibition-sponsors"> <p style="text-align: justify;">Generous support for this exhibition is provided by Mike Wilkins and Sheila Duignan, the FUNd, and Cristina Enriquez-Bocobo.</p> <p style="text-align: justify;">The accompanying book is published by the Brooklyn Museum in association with Heni Publishing, London. This publication is supported by the FUNd.<br /> &nbsp;</p> <p style="text-align: justify;"><em>Iggy Pop Life Class</em> is part of <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> Sat, 25 Mar 2017 09:05:15 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Hanne Darboven - Dia Art Foundation - November 5th, 2016 - July 30th <div class="right rich-text"> <p style="text-align: justify;">Dia presents Hanne Darboven&rsquo;s <em>Kulturgeschichte 1880&ndash;1983 </em>(<em>Cultural History 1880&ndash;1983</em>, 1980&ndash;83) at Dia:Chelsea at 545 West 22nd Street in New York City.&nbsp; The presentation offers audiences the opportunity to experience this important work from Dia&rsquo;s permanent collection, which has not been on view in the United States for over a decade.</p> <p style="text-align: justify;"><em>Cultural History 1880&ndash;1983</em> features 1,590 framed works on paper and 19 sculptural objects. The framed works on paper include photographs of doorways, daily newsmagazine covers, images of cameras and Hollywood celebrities, touristic postcards, the contents of an exhibition catalogue on postwar art, and documentation of prior installations of the work. The specificity of the materials chosen embodies a blending of the personal and the public, telling the story of society at large, while also presenting an autobiography of Darboven herself. From the covers of <em>Der Spiegel</em> with their emphasis on war and brutality, to the racial overtones seen in the slave figures and rainmaker sculptures, to the postcards presenting a bucolic and pastoral prewar Germany, there is a narrative of trauma and recovery that runs throughout Darboven&rsquo;s work. For the viewer,&nbsp;<em>Cultural History 1880&ndash;1983</em> can be an all-encompassing and overwhelming experience, physically impossible to take in at once. It is the magnum opus of an artist whose work remains lesser known than her Minimalist and Conceptual peers, particularly so within the United States.<strong>&nbsp;</strong></p> </div> Fri, 30 Sep 2016 00:35:32 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list Kishio Suga - Dia Art Foundation - November 5th, 2016 - July 30th <div class="right rich-text"> <p style="text-align: justify;">Dia presents an exhibition of Kishio Suga&rsquo;s work at Dia:Chelsea at 541 West 22nd Street in New York City. Suga is a founding member of Mono-ha (School of Things), which emerged in Japan in the 1960s and 1970s and developed in parallel with Postminimal and Land art in the United States and Arte Povera in Europe&mdash;movements at the core of Dia&rsquo;s permanent collection. Curated by Jessica Morgan and Alexis Lowry, this is&nbsp;Suga&rsquo;s first solo museum show in the United States.&nbsp;</p> <p style="text-align: justify;">In this exhibition, Suga responds to the building&rsquo;s unique history as a marble-cutting facility by recreating his&nbsp;<em>Placement of Condition</em>&nbsp;(1973), a signature installation of cut stones that lean precariously away from each other, but are bound together with wire into a mutually dependent and stable network. This work is on view alongside a selection of other significant historical installations and new works conceived specifically for Dia that explore issues of balance and structure and that respond to the physical parameters of the space. His new commission investigates material equilibrium through a series of interweaving metal rods that are perched on top of wooden uprights.<strong>&nbsp;</strong></p> </div> Fri, 30 Sep 2016 00:37:02 -0700 https://www.artslant.com/ny/Events/list https://www.artslant.com/ny/Events/list