Sentences with phrase «artist out to the public»

Not exact matches

And it appears that during one such presentation recently, an artist's representation of Everton's new home might have leaked out to the public.

«As Ana points out in the updated interview in the magazine, right now this is about an image of an artist breastfeeding on the cover of a magazine, but moms face this every day when they try to feed their children in restaurants or on airplanes or in other public places — they are asked to go into seclusion to feed their kids.

Part of musical performance involves narcissism, just as some part of writing or acting or painting or sculpting or making film is deeply self - absorbed, but we don't condemn musicians or artists for daring to put their creations out in public for people to see.

He discusses his appreciation of The Wire, how he approached «the best worst movie ever made,» telling the universal story about dreamers on the outside, the soul of The Room's Tommy Wiseau, choosing to honour other artists, Basquiat, Pollock, the addiction and pitfalls of public persona, relieving ego to find happiness, recognizing workaholic and escapism tendencies to find happiness and what's on his work - out playlist (Jonathan Richman, Jamie XX, Mura Masa, A$ AP Rocky).

An artist list will be available to the public soon, so people will know what to anticipate and look out for over the next several months.

The generosity artists show in putting their work out for public consumption, she notes, «in turn spurs readers to be generous.

When Tony Feher, who's known for building sculptures out of disposable materials, was asked to design a public - art installation for the new federal courthouse in Rockford, Illinois, he wasn't sure he was the best artist for the job.

Walking through the galleries, it's hard to believe the works of such a major artist spent so much of his life out of public view.

The Bank's intention to honour a visual artist — to replace the 18th - century economist Adam Smith — was announced last year when they put out a public call for nominations (our money was on Hogarth).

In 2013, Arts for All and the LA County Arts Commission administered a survey to arts organizations and teaching artists across the County, to find out who provided arts education services to LA County's 2,198 public schools.

While Creative Time is known for presenting serious, ambitious public art projects, they also love to hang out with artists and bring diverse communities together for a day of classic summer fun!

This second exhibition delves into the artist's notion of being an «immigrant,» how he or she responds to the present immigration debate as it is carried out in personal, public, and political spaces, and what approaches the artist takes, from the subtle and conceptual, to the blatantly political.

In the inventive spirit of 18th Street Arts Center's new theme, the Creative Economy, artist Matthias Merkel Hess» project, Fine Art: 626-394-3963, will consist of him contracting out his artistic services to the public.

Their first - hand stories show the general public how contemporary artists of the 21st century add to creative economies through their out - of - the - box thinking while also generously contributing to the well - being of others.

Lucas's method of disturbing the day - to - day activities of the public is akin to the work of Artur Barrio, particularly the older artist's series from the 1970s Situação (Situation) in which he left bundles of bones, blood and excrement on street corners of affluent areas in an attempt to shock those encountering them out of their acceptance of the political status quo.

That's an example of where we picked out a piece of an artist's career to show because it was important for us, and because it was important to give the public the opportunity really study, think about, and look at it.

It wants to reach out to its community, from artists and students to a budding public for art.

The school carries on the legacy of Mrs. Whitney for a new generation of artists and reaches out to the public with a continual schedule of art exhibits and lectures by artists, historians, and art critics.

Taking its title from anthropologist Mary Douglas's analyses of how disturbances arise in the city's physical contours and social order, Matter Out of Place presents new work by New York — based artists who observe, represent, and activate public sites, generating alternative relationships to such strictly defined spaces as the housing project, park, and museum lobby.

With Moving out of the way of an empty space, artist Kamau Amu Patton appropriates the public bulletin board as a site for the dissemination of a guided experience: a visualization exercise to program an experience of human consciousness through a set of instructions.

Always half showman, half recluse, Byars» announcement for a show in Amsterdam in 1975 invited the public to watch for «flash showings» of his paintings in «quiet places out in the city landscape» — situations consisting not of canvases (of which Byars only ever made one) but of actions where the artist dressed in a golden suit and held up a long gilt pole.

Its rich, extensive program includes solo exhibitions by leading international artists who stand out for the experimental nature of their work, and a parallel calendar of talks and cultural events, all in a space that is open to the public free of charge.

More than 50 of his landscapes are gathered together at Brandywine River Museum of Art, a 30 - minute drive out from Philadelphia into a bucolic landscape that has long attracted both the hugely wealthy (two Du Pont family estates, Longwood and Winterthur, are open to the public) and artists from Hudson Valley painters to three generations of Wyeths.

Painting, however, continues to have a large public and young artists setting out to be painters now need more than ever to see how artists of earlier generations successfully resisted the status quo and remained outside what evolved into an academic style, for this is what much of the conceptual, film and photographic work has become; merely another academy.

Select highlights include: Lisson Gallery's sale of an Anish Kapoor work listed as # 1.2 Million; David Kordansky Gallery sold out its booth of Tala Madani paintings, ranging from $ 22,000 to $ 110,000 each, to both collectors and public institutions; Hauser & Wirth placed paintings and sculptures by American artist Lorna Simpson with both museums and private collections, ranging from $ 150,000 to $ 300,000; David Zwirner sold out of works by American sculptor Carol Bove, including four sculptures and one work on paper at prices ranging from $ 50,000 to $ 550,000; Grimm Gallery completely sold out its stand, including works by William Monk ranging from $ 20,000 to $ 26,000; and Mendes Wood DM sold works ranging between $ 10,000 and $ 50,000.

The jury and public are both asked to select the artist whose presentation of work stands out as exceptional in Made in L.A. 2012.

The newly enhanced San Francisco Museum of Modern Art (SFMOMA) officially re-opens to the public on May 14, 2016, but a flurry of press previews, member events, a pink - lit splashy gala that artists like Chuck Close attended dressed in their best out - of - the - box attire, a fancy ball, and even an ABC News Special have already inaugurated the museum.

«Following in the footsteps of 19th - century artists who celebrated the out - of - doors as a place of leisure, renewal, and inspiration, the exhibition Public Parks, Private Gardens: Paris to Provence explores horticultural developments that reshaped the landscape of France and grounded innovative movements — artistic and green — in an era that... Read More

Tonight, «Closed to the Public» has an artist reception beginning at 7 p.m. at Out East Gallery, Tuthill Road, Montauk, NY.

The artist intends to work directly on blighted houses and empty public housing projects to, as the artist has described, «Connect them geographically, to tease out their spirit by pasting the lines of a play onto their face; to insert voice and accentuate aspects of their structure or color on the surfaces of the houses.»

Instead, he created an installation made of several dried - out sunflowers, evoking the spirit of Van Gogh, another great Dutch artist, who happened to be one of the first visitors to the Rijksmuseum when it opened to the public in the late 19th century.

«Speaking out: Siting the Voice in Contemporary Asian Art», Courtauld Institute of Art and Kings College, University of London 2017 Conceptualism — Intersectional Readings, International Framings Conference, AHRC Black Artists and Modernism project in collaboration with Van Abbemuseum, NL, 7 - 9 December 2017 Trinh T Minh - ha Symposium, ICA London, 3 December 2017 Women in Collections Symposium, Contemporary Art Society / Sackler CPD Programme, Leeds City Art Gallery, 19 October 2017 Deviant Researching Symposium, part of Demodernising the Collection, Van Abbemuseum, NL, 21 - 23 September 2016 Now and Then, Here and There Conference, AHRC Black Artists and Modernism, Chelsea College of Art and Design, UAL / Clore auditorium, Tate Britain, 6 - 8 October 2016 Kung Fury: Contemporary Debates in Martial Arts Cinema Symposium, AHRC Martial Arts Studies Network, Birmingham City University, 1 April 2015 Martial Arts Studies Conference, with Luke White, Cardiff University, 10 - 12 June 2015 How to See the World Panel discussion & book launch, with Nicholas Mirzeoff, Jon Bird, Sonia Boyce, Nadja Milner - Larsen, ICA, London 4 June 2015 (In) Direct Speech: «Chineseness» in Contemporary Art Symposium, University of Lisbon, 16 - 19 March 2014 Thinking with Berger Conference, with Juliette Kristensen, Cardiff Metropolitan University, 4 - 5 September 2014 Mega Events & Culture: Arts & Artists Engagement in Events - based Regeneration, Resistance & Research Regional Studies Association, Research Seminar, Queen Elizabeth Olympic Park, London, 17 June 2014 Image — Movement — Story Conference, University of Roehampton, 14 June 2014 SPSL / A to Y Public Lecture, MAI (Montreal Arts Interculturels / University of Concordia, Montreal QC, 12 April 2013 Inter-Asian Connections IV Conference, in the strand «Contemporary Art and the Inter-Asian Imaginary», Koç University, Istanbul.

Highlights features portraits of individuals from the artist's past, who, through various means, were able to make it out of the notorious public housing project.

2011 LHI Art - Sci Symposium: LAND As LAB Free & Open to the Public: Come check out the 1200 acre Land Heritage Institute with media presentation by former Art Lies editor Anjali Gupta and Pastelegram founder / editor Ariel Evans, artists Chris Sauter, Buster Graybill, and collective M12.

In conjunction with the Project Room exhibition, Anderson's work will be featured on over 30 bus shelters around Miami in September 2012 for the Bus Shelter Project, part of Locust Projects» public art initiative Out of the Box, which commissions artists to create new work for public spaces in Miami.

Information session offered for artists and artist collectives interested in applying to Studio in the Park — a residency program that provides an artist or artist collective use of a 150 square foot mobile studio space, situated in an NYC public park, to carry out a community engaged art project over the course of 6 weeks.

«Culturefield, oder die Kunst als Notausgang in die Gegenwelt», Kunstforum, April 2015 «Artist Ryan Gander: Painting is «an illogical act»», BBC.com, 08.07.2014 «Use your imagineering: Ryan Gander's world of pranks and puzzles», The Guardian, 07.07.2014 «Here's looking at you», The Sunday Times, 06.07.2014 «Lost in Kassel», Die Zeit, 06.06.2012 «Ryan Gander», Art, 06.2012 «Der Mann, der vom Himmel fiel», Monopol, 03.2012 «Wir Retronauten», Monopol, Dec 2011 «Eurovision 2036», ArtAsiaPacific, Sep - Oct 2011 (Courtesy the author and ArtAsiaPacific) «Ryan Gander: guessing games raised to a fine art», The Telegraph, 30.08.2011 «Meet Ernö Goldfinger, the unsung hero of furniture design», The Guardian, 07.06.2011 «London: Ryan Gander», L'Uomo Vogue, May 2011 «Ryan Gander», Artforum, 11.03.2011 «Looking Back Looking Forward», Frieze, 01.01.2011 «A Torrent of Ideas on a Beautiful Day», Artforum, Nov 2010 «Ryan Gander: The Happy Prince», The Art Newspaper, 07.09.2010 «Now See This», Art Review, Sep 2010 «Artist of the week 89: Ryan Gander», The Guardian, 25.05.2010 «Reviews: Ryan Gander», Time Out, 20.05.2010 «Intervals: Ryan Gander», Deutsche Guggenheim Magazin, Jan 2010 «Public Artfund Announces Ryan Gander: The Happy Prince», artdaily.org, 2010 «Ryan Gander - Mapping the Studio», Kaléidoscope, # 5 2010 «Jeu de piste avec Ryan Gander», Le Monde, 29.08.2009 «Ryan Gander», Artpress, 07/08.2009 «Ryan Gander.

Artists will splash out with pool auction The Herald; March 11, 2011; Phil Miller; 339 words... artists is donating works to an auction to support the restoration of public baths in GArtists will splash out with pool auction The Herald; March 11, 2011; Phil Miller; 339 words... artists is donating works to an auction to support the restoration of public baths in Gartists is donating works to an auction to support the restoration of public baths in Glasgow.

Power to the people: Artist Jeremy Deller does not make «things» that can be put in a gallery, and relies on the public to help, so he hopes his interactive piece for the Glasgow International Festival of Visual Art will bring out the best in the city.

, providing an artist or artist collective use of a 150 square foot mobile studio space, situated in an NYC public park, to carry out a community engaged art project over the course of 6 weeks.

'» Left out of the mainstream, Chicano / Latino artists had to invent their own institutions — like New York's El Museo, founded over forty - five years ago by artist and educator Raphael Montañez Ortiz to create a sense of identity for New York's Puerto Rican community, or LA's Social and Public Art Resource Center (SPARC), which has been advocating for Latino / Chicano artists since 1976.

Its objectives are to serve as archival support for technical staff who are carrying out research, documentation, conservation and preparing activities, as well as for researchers, teachers and students, not to mention for artists and for the public as a whole.

Born in 1958, Chicago, IL Recent locations include Los Angeles; New Orleans; Baja California, Mexico; San Juan Islands, British Columbia and Portland SOLO EXHIBITIONS 2011 Loose Lips Do Sink Ships, Laurel Gitlen, New York Sorry We're Closed, Brussels, Belgium (forthcoming) 2010 Timothy Taylor Gallery, London 2009 Galerie Laurent Godin, Paris Laurel Gitlen, New York Sorry We're Closed, Brussels, Belgium 2008 State of the Union, Small A Projects, Portland, OR 2007 White Columns, New York SELECTED GROUP EXHIBITIONS 2011 Sex Drive, Haverford College, Haverford, PA (curated by Stuart Horodner) 2010 Bienniale de Belleville, Paris 2009 Sign of the Times, Monique Meloche Gallery, Chicago Diabolique, Dunlop Art Gallery, Regina, Saskatchewan, Canada; Galerie de L'UQAM, Montreal, Canada; Military Museums, Calgary, Canada (curated by Amanda Cachia) Salvador Diaz Gallery, Madrid (curated by Rikrit Tiravanija) 2008 Say Goodbye To..., Clifford Gallery, Colgate University, Hamilton, NY 2008 Altoids Award, The New Museum of Contemporary Art, New York Ambivalent Figuration, Samson Projects, Boston, MA 2007 Memorial to the Iraq War, ICA London (with Harrell Fletcher) BIBLIOGRAPHY Free Speech Zone: Michael Patterson - Carver, monograph edited by Harrell Fletcher, with contributions by Fletcher, Matthew Higgs, and an introduction by Michael Patterson - Carver, (London: Four Corners Books, 2010) Cachia, Amanda, Diabolique, exhibition catalogue, (Dunlop Art Gallery, 2009) Dexter, Emma, «Michael Patterson - Carver» in 60: Innovators Shaping Our Creative Future, edited by Lucas Dietrich, (London: Thames and Hudson, 2009) «Michael Patterson - Carver,» (review) The New Yorker, October 19, 2009 Anne Doran, «Michael Patterson - Carver,» (review) Time Out New York issue 732, October 8 - 14, 2009 Sanders, Gabriel, «Trader Joe's Treasure,» The Forward, July 2008 Yim, Su - jin, «Political Artist Moves in Higher Circles» (Michael Patterson - Carver), The Oregonian, April 2008 Vogel, Carol, «Inside Art: Altoids Award» (Michael Patterson - Carver), New York Times, March 2008 Yim, Su - jin, «An Artist, Discovered» (Michael Patterson - Carver), The Oregonian, August 2007 PUBLIC COLLECTIONS American Folk Art Museum, New York City of Paris Permanent Collection FRAC Bretagne, Châteaugiron, France Museum of Everything, LondTo..., Clifford Gallery, Colgate University, Hamilton, NY 2008 Altoids Award, The New Museum of Contemporary Art, New York Ambivalent Figuration, Samson Projects, Boston, MA 2007 Memorial to the Iraq War, ICA London (with Harrell Fletcher) BIBLIOGRAPHY Free Speech Zone: Michael Patterson - Carver, monograph edited by Harrell Fletcher, with contributions by Fletcher, Matthew Higgs, and an introduction by Michael Patterson - Carver, (London: Four Corners Books, 2010) Cachia, Amanda, Diabolique, exhibition catalogue, (Dunlop Art Gallery, 2009) Dexter, Emma, «Michael Patterson - Carver» in 60: Innovators Shaping Our Creative Future, edited by Lucas Dietrich, (London: Thames and Hudson, 2009) «Michael Patterson - Carver,» (review) The New Yorker, October 19, 2009 Anne Doran, «Michael Patterson - Carver,» (review) Time Out New York issue 732, October 8 - 14, 2009 Sanders, Gabriel, «Trader Joe's Treasure,» The Forward, July 2008 Yim, Su - jin, «Political Artist Moves in Higher Circles» (Michael Patterson - Carver), The Oregonian, April 2008 Vogel, Carol, «Inside Art: Altoids Award» (Michael Patterson - Carver), New York Times, March 2008 Yim, Su - jin, «An Artist, Discovered» (Michael Patterson - Carver), The Oregonian, August 2007 PUBLIC COLLECTIONS American Folk Art Museum, New York City of Paris Permanent Collection FRAC Bretagne, Châteaugiron, France Museum of Everything, Londto the Iraq War, ICA London (with Harrell Fletcher) BIBLIOGRAPHY Free Speech Zone: Michael Patterson - Carver, monograph edited by Harrell Fletcher, with contributions by Fletcher, Matthew Higgs, and an introduction by Michael Patterson - Carver, (London: Four Corners Books, 2010) Cachia, Amanda, Diabolique, exhibition catalogue, (Dunlop Art Gallery, 2009) Dexter, Emma, «Michael Patterson - Carver» in 60: Innovators Shaping Our Creative Future, edited by Lucas Dietrich, (London: Thames and Hudson, 2009) «Michael Patterson - Carver,» (review) The New Yorker, October 19, 2009 Anne Doran, «Michael Patterson - Carver,» (review) Time Out New York issue 732, October 8 - 14, 2009 Sanders, Gabriel, «Trader Joe's Treasure,» The Forward, July 2008 Yim, Su - jin, «Political Artist Moves in Higher Circles» (Michael Patterson - Carver), The Oregonian, April 2008 Vogel, Carol, «Inside Art: Altoids Award» (Michael Patterson - Carver), New York Times, March 2008 Yim, Su - jin, «An Artist, Discovered» (Michael Patterson - Carver), The Oregonian, August 2007 PUBLIC COLLECTIONS American Folk Art Museum, New York City of Paris Permanent Collection FRAC Bretagne, Châteaugiron, France Museum of Everything, London

Oppenheim speaks of growing up in Washington and California, his father's Russian ancestry and education in China, his father's career in engineering, his mother's background and education in English, living in Richmond El Cerrito, his mother's love of the arts, his father's feelings toward Russia, standing out in the community, his relationship with his older sister, attending Richmond High School, demographics of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of development.

Faced with this fundamental change, revolutionary attempts are being carried out by numerous creators to respond to the challenge, both through resistance and through innovation.In the exhibition «Transformers», Choi Jeong - hwa, Didier Fiuza Faustino, Martino Gamper and Pedro Reyes, artists, designers and social activists, with the participation of the public present their projects.

She is a founding member of the women's artist group mit, which carried out actions and performances in public space from 2000 to 2008.

His practice is similar in intent to that of many of the Land art and Light artists coming out of the 1960s and 1970s (Nancy Holt, Robert Irwin, Long, Robert Smithson, James Turrell), who took public space and appropriated it, transforming the environment into something novel and often sculptural This engagement with natural conditions and phenomena necessitated the dematerialisation of the art object and the extension of the «gallery» site for art.

Enlisting the help of independent curator and art critic Maria Seda - Reeder as well as Wave Pool Gallery's Executive Director and social practice artist Calcagno Cullen, the group then brought on board the Contemporary Arts Center's Curator of Education, Jaime Thompson to round out their mission: keeping the words and images of progressive activists and allies in the minds and hearts of the public.

2006 The Downtown Show, The New York Art Scene 1974 - 1984, New York University Grey Art Gallery, New York, US Onestar Shop by Hans Schabus, Art Metropole, Toronto, CA Public Space / Two Audiences, Works and Documents from the Herbert Collection, Museu d'Art Contemporani de Barcelona, ES Draft Deceit, Kunstnernes Hus, NO Location Shots, Galerie Erna Hecey, Brussels, BE Pierre Huyghe: Celebration Park, Musée d'Art Moderne de la Ville de Paris / ARC, FR Cerealart, Cerealart Lounge Pier 90, The Armory Show, New York, US Artists for Chinati, Phillips de Pury & Company, New York, US The Early Show: Video from 1969 - 1979, curated by Constance De Jong, The Bertha and Karl Leubsdorf Art Gallery at Hunter College, New York, US Onestar Press, The First Five Years, The Engholm Engelhorn Gallerie, Vienna, AT Message Personnel, Yvon Lambert, Paris, FR Not Quite Ten Years Without Martin Kippenberger, a project by Chris Hamond, Bar MOT for Kippenberger (MOT), London, UK That Was Then This Is Now, De Appel, Amsterdam, NL Czesław Miłosz / To Allen Ginsberg, Dvir Gallery, Tel - Aviv, IL Mental Image - Wortwerke und Textbilder, Kunstverein St. Gallen Kunstmuseum, CH Conceptual Comics, curated by AA Bronson, Max Schumann, Walter Phillips Gallery at the Banff Centre for the Arts, Banff Alberta, CA Libri Books Bücher, Museo D'Arte Contemporanea, Rivoli (Torino), IT The Shape of Sound, Radio Arte Mobile, Sound Art Museum, Rome, IT Wall Works - Sol LeWitt, C.A. Swintak, Lawrence Weiner, Art Gallery of Ontario, Toronto, Ontario, CA I: An Exhibition in Three Acts, Futura Gallery, Prague, CZ I Will Not Make Any More Boring Art, Lithographs, Publications and Ephemera from The Nova Scotia College of Art & Design, Printed Matter, Inc., New York, US On the Ball, Galerie Anselm Dreher, Berlin, DE Group Exhibition, curated by Peter Kogler, Galerie Mezzanin, Vienna, AT The Title As The Curator's Art Piece, A Summer Show by Mathieu Copeland (spoken word exhibition), Blow de la Barra, London, UK Into Me / Out Of Me, curated Klaus Bisenbach, P.S. 1 Contemporary Art Center, Long Island City, New York, US; KW Institute for Contemporary Art, Berlin, DE A Bit Of Matter And A Little Bit More, screening Turtle, curated by Michael Shamberg, Chelsea Space, London, UK Moving On: Motion, Galerie Thomas Schulte, Berlin, DE The Known and the Unknown, Gallerie Nicolai Wallner, Copenhagen, DK As If By Magic, Bethlehem Peace Center, West Bank & Art School Palestine, Palestine, IL The Materialization of Sensibility: Art & Alchemy, Leslie Tonkonow Gallery, New York, US The Urban Forest Project, Times Square Information Station, Times Square, New York, US Word, curated by L. Brandon Krall, Deborah Colton Gallery, New York, US Printemps de Septembre, Toulouse, curated by Jean - Marc Bustamante, City of Toulouse, FR Contraband, curated by Carolina Grau, Galeria Luisa Strina, São Paulo, BR São Paulo Bienale, Escola São Paulo, São Paulo, BR Busy Going Crazy, collection Sylvio Perlstein, La Maison Rouge, Paris, FR The RxArt Ball, New York, US The Title As The Curator's Art Piece (spoken word exhibition) curated by Matthieu Copeland, Blow de la Barra, London, UK Concrete Language, Contemporary Art Gallery, Vancouver, CA Project 2023 - Arteast Collection 2000 +23, Moderna Galerija Ljubljana, SL Break Even, Andrew Roth Gallery, New York, US Open, CCS Bard Hessel Museum, Annandale - on - Hudson, New York, US Wrestle, CCS Bard Hessel Museum, Annadale - on - Hudson, New York, US Ideal City - Invisible Cities, curated by Sabrina von der Ley & Markus Richter, Europe Projects, Zamość, PL Into A Journey, Meyer Riegger, Karlsruhe, DE Magritte and Contemporary Art: The Treachery Of Images, designed by John Baldessari, LACMA, Los Angeles, California, US Art Metropole: The Top 100, National Gallery of Canada, Ottawa, CA Poster, Paula Cooper Gallery, New York, US Pandora's Reisen, Brigitte March Galerie, Stuttgart, DE Dedica - 20 Anni Della Galleria Alfonso Artiaco, curated by Julia Draganovic, Palazzo delle Arti Napoli, Naples, IT Good Riddance, curated by Claire Davies & Sam Gathercole, MOT, London, UK Art in America: 300 Years of Innovation, curated by Susan Davidson, National Art Museum of China (NAMOC), Beijing, CN Not For Sale, curated by Alanna Heiss, P.S. 1 Contemporary Art Center, New York, US Il Faut Rendre À Cézanne, The Collection Lambert, Avignon, FR

Check out and peek inside the world of 85 working artists, as they open their doors to the public.