Sentences with phrase «cultural legacy for»
The arts commission is responsible for protecting the state's cultural legacy for everyone.
https://www.heraldnet.com/ Not exact matches
Their actual objective in pushing for creationism to be taught in schools as «to defeat scientific materialism and its destructive moral, cultural and political legacies».
... The dynamic movement of society gives absolute value to the present, isolating it from the cultural legacy of the past, without attempting to trace a path for the future.
From these traditions, we have inherited not only the specific substantive emphases that distinguish each from the others but a legacy of common themes as well: (1) a theoretically grounded rationale for the importance of studying religion in any serious effort to understand the major dynamics of modern societies, (2) a view of religion that recognizes the significance of its cultural content and form, and (3) a perspective on religion that draws a strong connection between studies of religion and studies of culture more generally — specifically, studies of.
By developing and implementing programs and providing economic development opportunities, AIANTA helps tribes build for their future while sustaining and strengthening their cultural legacy.
«Like its neighborhood namesake, Five Points Trading Company will provide a nexus for new thoughts, perspectives and cultural exploration, while tapping into the legacy and import expertise of HEINEKEN USA,» stated Littlefield.
• Georgia Equality PO Box 95425 Atlanta, GA 30347 - 0425 Phone: 404-327-9898 Fax: 404-327-9897 Email: [email protected] Website: www.georgiaequality.org / Hawaii • COLAGE Oahu, Oahu, Tom, http://colageoahu.blogspot.com • Ohana O Ke Anuenue (Family of the Rainbow), Oahu, Paul 808-728-3140 • Hawaii LGBT Legacy Foundation Website: http://hawaiilgbtlegacyfoundation.com/ Contact us directly at [email protected] or just send us a letter at: Hawaii LGBT Legacy Foundation P.O. Box 23300 Honolulu, HI 96822 • Aloha Pride Center (serving Hawaii's LGBTQIA communities) call 545-2848 for info Honolulu Gay & Lesbian Cultural Foundation, 941-0424, ext. 18 PFLAG - Oahu (Parents, Families & Friends of Lesbians & Gays), 672-9050 American Friends Service Committee (Gay Liberation Project), 988-2184 Camaron • Big Island Pride 301 Keawe Street, Hilo, HI 96720 (808) 935-5566 • Marriage Project PO Box 11690 Honolulu, HI 96828 Phone: 808-944-4598 Email: [email protected] Website: members.tripod.com/~mphawaii/ Idaho
«With this project we preserve the city's rich economic and cultural legacy while laying the foundation for future prosperity.
Russia and Ukraine are known not only for outstanding cultural legacy but also for beautiful and incredibly charming women.
Once T'Challa's true challenge is revealed, «Black Panther» becomes something deeper than the mere formation of one superhero, engaging such subjects as: the legacy of colonialism; collective memory and interior geography; the tension between autonomy and social conscience; and the need for solidarity within an African diaspora at political and cultural odds with itself.
In a lengthy new piece for The Atlantic, prominent cultural critic (and Black Panther scribe) Ta - Nehisi Coates digs into Barack Obama's presidential legacy as seen from the perspective of the Trump era.
With all this in mind, I recently asked my Latin American History students to debate whether we should celebrate a national holiday in honor of Christopher Columbus — the man most responsible for starting the trans - Atlantic slave trade, an indigenous holocaust, and a legacy of cultural destruction.
The plan reflects on the City's cultural legacy and makes «no small plans» for the future of Chicago and the lives of its residents.
I work for a large publishing house («legacy publishing» as some call it), so don't let it take you by surprise when I say that I believe we, i.e., publishing houses, do indeed play a vital role in today's cultural marketplace.
Choosing a Persian or Farsi name for your Persian cat will carry forward the unique cultural legacy of this feline creature.
Despite being a small country, Bahrain is renowned for its rich cultural and historical legacy, making it an excellent destination for adventurous travellers keen to explore its ancient burial mounds and other significant archaeological sites, such as the well - preserved ruins of residential houses, temples and cemeteries which date back to the third millennium BC.
Thanks to them, and to the many waves of settlers here on The American Riviera ®, there's a rich legacy of cultural institutions and activities that enhance the lives of residents and visitors young and old, enough to keep one busy for a few days or a lifetime.
The Mayan World is one of the most fascinating and unexplainable mysteries of the world for its social, cultural, and political history and for its architectural masterpieces that still today stand through the passage of time, and continue to amaze the millions of tourists that visit per year the archeological sites that represent the legacy of the Mayan Civilization.
For artists who grew up with the Cultural Revolution's legacy of oppressive political and artistic controls, the new era demanded fresh experiments in the language of expression.
2017 — LOG at LUMP Gallery, Raleigh, NC, curated by Maria Britton — AWKWARD MOMENTS, Lesley Heller Workspace, New York, NY 2015 — SACRED PLACES, Smithy Center for the Arts, Cooperstown, NY 2014 — MEMENTO MORI, Field Projects, New York, curated by Deborah Brown — CROWD, curated by Andrea Brown for The Outsider's Studio Collective, Liberty, NY 2013 — NYFA@GOVERNORS, curated by New York Foundation For The Arts for Governor's Island Art Fair, New York 2012 — DAY JOB, curated by Nina Katchadourian, Freedman Gallery, Albright College, Reading, PA, and Pacific Northwest College of Art, Portland, OR 2011 — HEAD CASE, Lesley Heller Workspace, New York, curated by Laurel Farrin — 30: A BROOKLYN SALON, BRIC, Brooklyn, NY, curated by Elizabeth Ferrer — CHAIN LETTER, Samsøn Projects, Boston, MA — NEXT Art Fair, Linda Warren Gallery booth, Merchandise Mart, Chicago 2010 — DAY JOB, The Drawing Center, New York, NY, curated by Nina Katchadourian 2009 — ONCE UPON A TIME AND NOW, Evanston Art Center, IL — THE HAIRY WHO AND IMAGIST LEGACY IN CONTEMPORARY ART, at ART CHICAGO, Merchandise Mart, curated by Lynne Warren, Museum of Contemporary Art, Chicago — ART CHICAGO, Linda Warren Gallery booth, Merchandise Mart (Also 2006, 2007, 2008) 2007 — THE MISSISSIPPI STORY, Mississippi Museum of Art 2006/7 — RAGDALE, Chicago Cultural Center, curated by Margaret Hawkins 2006 — SALTONSTALL: THE FIRST TEN YEARS, curated by Andrea Inselmann Herbert Johnson Museum, Cornell University, Ithaca, NY — RISD BIENNIAL, Exit Art, New York, NY, curated by Robert Storr — ARTLA, Linda Warren Gallery Booth, Santa Monica Civic Center, CA — ART ADORED: Icons from the Permanent Collection, Mississippi Museum of Art, Jackfor the Arts, Cooperstown, NY 2014 — MEMENTO MORI, Field Projects, New York, curated by Deborah Brown — CROWD, curated by Andrea Brown for The Outsider's Studio Collective, Liberty, NY 2013 — NYFA@GOVERNORS, curated by New York Foundation For The Arts for Governor's Island Art Fair, New York 2012 — DAY JOB, curated by Nina Katchadourian, Freedman Gallery, Albright College, Reading, PA, and Pacific Northwest College of Art, Portland, OR 2011 — HEAD CASE, Lesley Heller Workspace, New York, curated by Laurel Farrin — 30: A BROOKLYN SALON, BRIC, Brooklyn, NY, curated by Elizabeth Ferrer — CHAIN LETTER, Samsøn Projects, Boston, MA — NEXT Art Fair, Linda Warren Gallery booth, Merchandise Mart, Chicago 2010 — DAY JOB, The Drawing Center, New York, NY, curated by Nina Katchadourian 2009 — ONCE UPON A TIME AND NOW, Evanston Art Center, IL — THE HAIRY WHO AND IMAGIST LEGACY IN CONTEMPORARY ART, at ART CHICAGO, Merchandise Mart, curated by Lynne Warren, Museum of Contemporary Art, Chicago — ART CHICAGO, Linda Warren Gallery booth, Merchandise Mart (Also 2006, 2007, 2008) 2007 — THE MISSISSIPPI STORY, Mississippi Museum of Art 2006/7 — RAGDALE, Chicago Cultural Center, curated by Margaret Hawkins 2006 — SALTONSTALL: THE FIRST TEN YEARS, curated by Andrea Inselmann Herbert Johnson Museum, Cornell University, Ithaca, NY — RISD BIENNIAL, Exit Art, New York, NY, curated by Robert Storr — ARTLA, Linda Warren Gallery Booth, Santa Monica Civic Center, CA — ART ADORED: Icons from the Permanent Collection, Mississippi Museum of Art, Jackfor The Outsider's Studio Collective, Liberty, NY 2013 — NYFA@GOVERNORS, curated by New York Foundation For The Arts for Governor's Island Art Fair, New York 2012 — DAY JOB, curated by Nina Katchadourian, Freedman Gallery, Albright College, Reading, PA, and Pacific Northwest College of Art, Portland, OR 2011 — HEAD CASE, Lesley Heller Workspace, New York, curated by Laurel Farrin — 30: A BROOKLYN SALON, BRIC, Brooklyn, NY, curated by Elizabeth Ferrer — CHAIN LETTER, Samsøn Projects, Boston, MA — NEXT Art Fair, Linda Warren Gallery booth, Merchandise Mart, Chicago 2010 — DAY JOB, The Drawing Center, New York, NY, curated by Nina Katchadourian 2009 — ONCE UPON A TIME AND NOW, Evanston Art Center, IL — THE HAIRY WHO AND IMAGIST LEGACY IN CONTEMPORARY ART, at ART CHICAGO, Merchandise Mart, curated by Lynne Warren, Museum of Contemporary Art, Chicago — ART CHICAGO, Linda Warren Gallery booth, Merchandise Mart (Also 2006, 2007, 2008) 2007 — THE MISSISSIPPI STORY, Mississippi Museum of Art 2006/7 — RAGDALE, Chicago Cultural Center, curated by Margaret Hawkins 2006 — SALTONSTALL: THE FIRST TEN YEARS, curated by Andrea Inselmann Herbert Johnson Museum, Cornell University, Ithaca, NY — RISD BIENNIAL, Exit Art, New York, NY, curated by Robert Storr — ARTLA, Linda Warren Gallery Booth, Santa Monica Civic Center, CA — ART ADORED: Icons from the Permanent Collection, Mississippi Museum of Art, JackFor The Arts for Governor's Island Art Fair, New York 2012 — DAY JOB, curated by Nina Katchadourian, Freedman Gallery, Albright College, Reading, PA, and Pacific Northwest College of Art, Portland, OR 2011 — HEAD CASE, Lesley Heller Workspace, New York, curated by Laurel Farrin — 30: A BROOKLYN SALON, BRIC, Brooklyn, NY, curated by Elizabeth Ferrer — CHAIN LETTER, Samsøn Projects, Boston, MA — NEXT Art Fair, Linda Warren Gallery booth, Merchandise Mart, Chicago 2010 — DAY JOB, The Drawing Center, New York, NY, curated by Nina Katchadourian 2009 — ONCE UPON A TIME AND NOW, Evanston Art Center, IL — THE HAIRY WHO AND IMAGIST LEGACY IN CONTEMPORARY ART, at ART CHICAGO, Merchandise Mart, curated by Lynne Warren, Museum of Contemporary Art, Chicago — ART CHICAGO, Linda Warren Gallery booth, Merchandise Mart (Also 2006, 2007, 2008) 2007 — THE MISSISSIPPI STORY, Mississippi Museum of Art 2006/7 — RAGDALE, Chicago Cultural Center, curated by Margaret Hawkins 2006 — SALTONSTALL: THE FIRST TEN YEARS, curated by Andrea Inselmann Herbert Johnson Museum, Cornell University, Ithaca, NY — RISD BIENNIAL, Exit Art, New York, NY, curated by Robert Storr — ARTLA, Linda Warren Gallery Booth, Santa Monica Civic Center, CA — ART ADORED: Icons from the Permanent Collection, Mississippi Museum of Art, Jackfor Governor's Island Art Fair, New York 2012 — DAY JOB, curated by Nina Katchadourian, Freedman Gallery, Albright College, Reading, PA, and Pacific Northwest College of Art, Portland, OR 2011 — HEAD CASE, Lesley Heller Workspace, New York, curated by Laurel Farrin — 30: A BROOKLYN SALON, BRIC, Brooklyn, NY, curated by Elizabeth Ferrer — CHAIN LETTER, Samsøn Projects, Boston, MA — NEXT Art Fair, Linda Warren Gallery booth, Merchandise Mart, Chicago 2010 — DAY JOB, The Drawing Center, New York, NY, curated by Nina Katchadourian 2009 — ONCE UPON A TIME AND NOW, Evanston Art Center, IL — THE HAIRY WHO AND IMAGIST LEGACY IN CONTEMPORARY ART, at ART CHICAGO, Merchandise Mart, curated by Lynne Warren, Museum of Contemporary Art, Chicago — ART CHICAGO, Linda Warren Gallery booth, Merchandise Mart (Also 2006, 2007, 2008) 2007 — THE MISSISSIPPI STORY, Mississippi Museum of Art 2006/7 — RAGDALE, Chicago Cultural Center, curated by Margaret Hawkins 2006 — SALTONSTALL: THE FIRST TEN YEARS, curated by Andrea Inselmann Herbert Johnson Museum, Cornell University, Ithaca, NY — RISD BIENNIAL, Exit Art, New York, NY, curated by Robert Storr — ARTLA, Linda Warren Gallery Booth, Santa Monica Civic Center, CA — ART ADORED: Icons from the Permanent Collection, Mississippi Museum of Art, Jackson
Investigation into new platforms for preserving cultural legacy and archiving artists» work Artist Trust is in discussions with libraries, museums and other institutions about the best ways to gather, secure and share the legacies of Washington State artists, from original artwork to cloud - based archives.
A critical theory framework extends across his paintings, sculptures, photography, and video work, investigating legacies of and possibilities for African American intellectual and cultural life.
What role can artistic expression play in maintaining and preserving the cultural heritage — traditions, customs, legacy, foods, language — of diverse cultural groups for future generations?
Broadening an international audience for the area's rich cultural legacy, the exhibition will also shine a spotlight on the visual and performing arts of the area.
We discuss, among other topics, about photography in the Middle East with Peggy Sue Amison, artistic director at East Wing; net art and networked cultures with Josephine Bosma, Amsterdam - based journalist and critic; urban digital art and criticality in the media city with curator and researcher Tanya Toft; art and technology with curator Chris Romero; the politics of surveillance and international security with political scientist David Barnard - Wills; art and architecture with Maaike Lauwaert, visual arts curator at Stroom, an independent centre for art and architecture in the Netherlands; the intersections of art, law and science with curator and cultural manager Daniela Silvestrin; the architecture of sacred places with curator Jumana Ghouth; the historical legacy of feminism today with Betty Tompkins and Marilyn Minter; hacktivism and net culture with curator and researcher Tatiana Bazzichelli; culture, place and memory with Norie Neumark, director of the Centre for Creative Arts in Melbourne; anthropology and the tactical use of post-digital technologies with artist and philosopher Mitra Azar; or feminism and the digital arts with curator Tina Sauerländer.
The exhibition takes writer Aimé Césaire legacy of Negritude as inspiration for examining way cultural identity is reconceived within post-colonial paradigm.
2004 - present Compile a daily listing of opportunities and news for artists via internet 2016 Judge for the DC Commission on the Arts and Humanities Art Bank purchase awards 2016 Cultural Liaison between the Black Washington DC arts Community and Merrill Lynch Corporation, Washington, DC, Creating A Lasting Legacy: African - American Art 2015 Cultural Liaison between the Black Artists of DC and the Congressional Black Caucus, Legacy: The Art of It, Washington, DC
This has included developing a major multi-site exhibition programme, called We Face Forward, of art from West Africa, for the Cultural Olympiad; an exploration of the visual legacies of slavery with Trade and Empire, presented to coincide with the bi-centenary of the abolition of British slavery; and consistent attention to artists from South Asia, including a celebrated 65 - hour drawing and performance installation in 2013 by Indian artist Nikhil Chopra, the presentation of Subodh Gupta's work in the grounds of the Whitworth and video and textile work by Aisha Khalid.
He participated in the recent Stop Asking: We Exist exhibition of African - American craft art at the Society for Contemporary Crafts in Pittsburgh and curated the popular and groundbreaking exhibition Uncommon Beauty in Common Objects: The Legacy of African American Craft Art that toured the United States in the mid-1990's organized by the National Afro - American Museum & Cultural Center in Wilberforce, OH.
Additional support is provided by the National Endowment for the Arts, Milton and Dorothy Sarnoff Raymond Foundation in memory of Sandy and Lynn Laitman; the Amelia Peabody Foundation; Holly Swett; the Feigenbaum Foundation; John Hancock; the Massachusetts Cultural Council; the C & P Buttenwieser Foundation; the Berkshire Bank Foundation — Legacy Region; Price Chopper's Golub Foundation; the Gateway Fund and the William and Margery Barrett Fund of the Berkshire Taconic Community Foundation; and an anonymous donor.
War Prizes: The Cultural Legacy of Slavery & the Civil War Opens September 10, 2011 - March 11, 2012 Click here for the official flyer.
For many 20th century African American arts and cultural figures, the legacy of slavery and the Civil War defined career, influenced private life, and left lasting emotional issues to resolve as they endeavored to reclaim their culture and imagery.
Personally, I think that cultural heritage is always the legacy of intangible attributes of a society that must be elaborated and maintained in the present and bestowed for the benefit of future generations.
Close Readings brings together practices that are by turns invested in uncovering the frailty of language, prodding at cultural anxieties and individual pleasures, excavating and refusing legacies, asking for tenderness, applying pressure, attending to the complications and vulnerabilities of being together while we are implicated — politically, socially, personally — by artworks and their demands on us.
Vox Populi presented a group exhibition with guest - curator Malik Gaines that explored various tactics for representing the complex, contradictory legacies of cultural difference.
The exhibition title is a call for further research, practice and the promotion of cross cultural, networking and greater experiential opportunities for contemporary tapestry at a time of global uncertainty, when the focus on the here and now and its legacy is more pertinent than ever.
«Creative Time Global Residency: Reports From the Field», New York, NY, December 3, 2013 «Urban Imprint: The Art and Science Shaping Our Cities,» hosted by The University of Chicago, Jazz at Lincoln Center's Frederick P. Rose Hall, New York, NY, November 14, 2013 «Cultural Investment: Creating a Civic Identity Through the Arts,» CityLab: Urban Solutions for Global Challenges, NYU Skirball Center for the Performing Arts, New York, NY, October 7, 2013 «One State Together in the Arts» One State Illinois Conference, Quad Cities, IL, June 24, 2013 «Theaster Gates in Conversation with Romi Crawford,» Black Collectivities, Museum of Contemporary Art, Chicago, Chicago, IL, May 4, 2013 «LINC Legacy and Advancements in the Field,» hosted by the Ford Foundation, May 2013 «Constituency Engagement — Culture - Initiated Redevelopment: Strategies in Innovative Constituent Engagement,» Association of Black Foundation Executives, Palmer House Hilton Hotel, Chicago, IL, April 6, 2013 «Creating Heat - The Artist as Catalyst: Theaster Gates at TEDxUNC,» University of North Carolina at Chapel Hill, Chapel Hill, NC, February 9, 2013 «Building CapaCity Session,» World Economic Forum Annual Meeting, Davos, Switzerland, January 26, 2013 «Creative Resilience Session,» World Economic Forum Annual Meeting, Davos, Switzerland, January 25, 2013 «Transformative Art: Theaster Gates,» World Economic Forum Annual Meeting, Davos, Switzerland, January 23, 2013
Informed by Ringgold's legacy as well as the current political climate, the exhibition poses questions about how to reconceptualize cultural representation, engagement, and critique: What spaces for agency are available to black artists today, and by what means have they produced spaces for themselves?
At 81, the conceptual artist and writer is still mining the timely themes of racial identity, cultural legacies, and what it means to be female — as seen in Lorraine O'Grady: Where Margins Become Centers, at the Carpenter Center for the Visual Arts (CCVA), October 29 - January 10.
Finally, this thesis explores the historical legacy of these two exhibitions and relates the questions of identity and difference they illuminate to broader struggles for cultural pluralism at the end of the twentieth century.
Kara Walker's work is well known for the incisive connections it draws between the legacy of slavery in the United States, the evolution of historical narratives and cultural beliefs, and contemporary race relations.
Ideology., Hammer Museum, Los Angeles Polypersephone: Nayland Blake & Claire Pentecost, Iceberg Projects, Chicago 2013 NYC 1993: Experimental Jet Set, Trash and No Star, New Museum, New York A Different Kind of Order: The ICP Triennial, Institute of Contemporary Photography, New York Nayland Blake, Thomas Demand, Trisha Donnelly, Vincent Fecteau & Wade Guyton, Matthew Marks Gallery, Los Angeles Macho Man, Tell It To My Heart: Collected by Julie Ault, Artists Space, New York 2012 The Bearden Project, The Studio Museum, New York Shift: Projects Perspectives Directions, The Studio Museum, New York R.P.F.P. (RIRE.POSITIONNER.FILMER.PERFORMER), École Européenne Supérieure D'Art de Bretagne as part of the festival Transversales Cinématographiques, L'Université Rennes 2, France 2011 Legacy: The Emily Fisher Landau Collection, Whitney Museum of American Art, New York Carter / Nayland Blake, Gallery Paule Anglim, San Francisco The Air We Breathe, San Francisco Museum of Modern Art 2010 Selections from the Hammer Contemporary Collection, Armand Hammer Museum of Art and Cultural Center, Los Angeles Owen Smith and Nayland Blake: Two One - Person Shows, Richard L. Nelson Gallery, University of California, Davis 2009 Consider the Lobster, Center for Curatorial Studies, Bard College, Annandale - on - Hudson, NY Contemporary Outlook: Seeing Songs, Museum of Fine Arts, Boston 2008 The Puppet Show, Institute of Contemporary Art, Philadelphia 2006 Into Me / Out of Me, MoMA PS1, New York.
A gift to the Fine Arts Museums supports groundbreaking exhibitions, provides resources for teachers and students, sustains public programs, and protects a permanent collection that is one of San Francisco's most important cultural legacies.
For nearly 100 years, the Museum has celebrated the diversity of the visual arts and the legacy of New Mexico as a cultural crossroads by collecting and exhibiting work by leading artists from New Mexico and elsewhere.
Recent group exhibitions include «The Whole World is Rotten: Free Radicals and the Gold Coast Slave Castles of Paa Joe», Jack Shainman Gallery, New York, NY (2005), «Common Ground, Discovering Community in 150 Years of Art», Selections from the collection of Julia Norrell, Corcoran Museum of Art, Washington, DC (2004), «Hair Stories», Chicago Cultural Center, Chicago, IL traveling to Scottsdale Museum of Contemporary Art, Scottsdale, Arizona (2003 - 04), «Black President: The Art and Legacy of Fela Aikulapo - Kuti,» curated by Trever Schoonmaker opened at the New Museum, New York, NY and traveled to Yerba Buena Center for the Arts, San Francisco, CA, Barbican Art Gallery, London, UK (2003 - 04).
«Recovering Weeksville» By Brandon Harris The New Yorker The new Weeksville Heritage Center, «Brooklyn's largest African - American cultural center,» cements the legacy of the black landowning community for which it was named.
«American Art Today: Faces and Figures,» The Patricia & Phillip Frost Art Museum (formerly The Art Museum at FIU), Florida International University, Miami, FL, January 17 — March 9, 2003 «The Harlem Renaissance and Its Legacy,» Worcester Art Museum, Worcester, MA, January 18 — April 13, 2003 «A Century of Collecting: African American Art in the Art Institute of Chicago,» Art Institute of Chicago, Chicago, IL, February 15 — May 18, 2003; catalogue «Structures of Difference,» Wadsworth Atheneum Museum of Art, Hartford, CT, February — April 13, 2003 «The Space Between: Artists Engaging Race and Syncretism,» Davis Museum and Cultural Center, Wellesley College, Wellesley, MA, March 18 — June 8, 2003 «Visual Poetics: Art and the Word,» Miami Art Museum, Miami, FL, April 25 — November 16, 2003; brochure «Visualizing Identity,» The Jack S Blanton Museum of Art, University of Texas at Austin, Austin, TX, August 27, 2003 — January 4, 2004 «Drawing Modern: Works from the Agnes Gund Collection,» Cleveland Museum of Art, Cleveland, OH, October 26, 2003 — January 1, 2004; catalogue «Skin Deep,» Numark Gallery, Washington, D.C., March 15 — April 26; brochure «Only Skin Deep: Changing Visions of the American Self,» curated by Coco Fusco and Brian Wallis, International Center of Photography, New York, NY, December 12, 2003 — February 29, 2004; traveled to Seattle Art Museum, Seattle, WA, 2004; Museum of Photographic Arts, San Diego, CA, 2005; catalogue «Supernova,» San Francisco Museum of Modern Art, San Francisco, CA, 2003 «Fast Forward: Twenty Years of White Rooms,» White Columns, New York, NY, 2003; catalogue «Today's Man,» curated by John Connelly, Hiromi Yoshii Gallery, Tokyo, Japan, 2003 «The Disembodied Spirit,» curated by Alison Ferris, Bowdoin College Museum of Art, Brunswick, ME, 2003; catalogue «The Alumni Show,» curated by Nina Felshin, Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, CT, 2003; catalogue «Crimes and Misdemeanors,» Contemporary Arts Center, Cincinnati, OH, 2003 «DL: The Down Low in Contemporary Art,» Longwood Art Gallery at Hostos, Bronx, NY, 2003 «The Paper Sculpture Show,» organized by ICI, Sculpture Center, Long Island City, NY, 2003; traveled to Contemporary Art Center of Virginia, Virginia Beach, VA; Hunter Museum of American Art, Chattanooga, TN; Southeastern Center for Contemporary Art, Winston - Salem, NC; Orange County Museum of Art, Newport Beach, CA «An American Legacy: Art from the Studio Museum,» The Parrish Art Museum, Southampton, NY, 2003 «Stranger in the Village,» Guild Hall, East Hampton, NY, organized by the Museum of Modern Art, NY, 2003 «On the Wall: Wallpaper and Tableau,» The Fabric Workshop and Museum, Philadelphia, PA, 2003 «Family Ties,» curated by Trevor Fairbrother, Peabody Essex Museum, Salem, MA, 2003 «Influence, Anxiety, and Gratitude (Toward and understanding of trans - generational dialogue as a gift economy),» curated by Bill Arning, MIT List Visual Arts Center, Cambridge, MA, 2003 «American Art Today: Faces & Figures,» The Art Museum at Florida International University, Miami, FL, 2003
Ethel Linklater passed away July 7, 2004 leaving a strong cultural legacy behind for her many children, grandchildren and great grandchildren.
Capturing viewers in similarly vivid ways, yet using more analog techniques, is Mumbai - based artist Nalini Malani, revered for her experimental drawings, films, photographs, performances and video - shadow plays that often explore the cultural legacies of a partitioned India.
Thursday, April 20, 7:00 p.m. -LCB- 56 Broadway -RCB- Dr. Renato Rosaldo, the second Black Mountain College Legacy Research Fellow at UNC Asheville, anthropologist, and practitioner of antropoesía (anthro - poetry), will discuss cultural citizenship and the possibilities for social healing with UNC Asheville Professor of Political Science Dr. Ken Betsalel and Professor of Anthropology Dr. Heidi Kelley.