See
how other contemporary artists draw inspiration from Serra's meditative works.
Not exact matches
thru 3/11; New Pictures thru 3/3; Etc. / MoMA PS1 / 22 - 25 Jackson / Long Island City Donut Muffin curated by J. Duffett & T. Gonzales / Dorsky Curatorial Programs / 11 - 03 45th Ave., Long Island City / thru 3/10
How Much Do I Owe You / No Longer Empty @ The Clock Tower / 29 - 27 41st Ave., Long Island City / thru 3/13 Nancy Dwyer; Visual Conversations / Fisher Landau Center for Art / 38 - 27 30th Long Island City, Queens / thru 4/7 Emerging
Artist Fellowship / Socrates Sculpture Park / 32 - 01 Vernon Blvd. / LIC / thru 3/31 Process and Progress: Engaging in Community Change / Bronx River Art Center / 305 E 140 / The Bronx / thru 5/30 Joan Semmel / Bronx Museum / 1040 Grand Concourse, The Bronx / thru 6/9
Contemporary Cartographies / Lehman College / Bedford Park Blvd West, The Bronx / 2/5 thru 5/11 Reception 3/18 Vital Signs: Dean Dempsey; Susan Fenton, Amy Jenkins; Lorie Novak; Dread Scott / Pelham / 155 Fifth Ave. / Pelham / thru 3/30
OTHER: Walter De Maria / The Broken Kilometer / DIA / 393 West Broadway / ongoing Walter De Maria / The New York Earth Room / DIA / 141 Wooster / ongoing A. Ruppersberg; R. Artschwager; El Anatsui; V. Overton; S. Finch; T. Houseago; Lilliput (group) / High Line Park Leo Villareal / Madison Square Park / thru 2/15 Sandra Gibson & Luis Recoder / Madison Square Park / thru 4/5 Opening 3/1 Monika Sosnowska / Public Art Fund / Doris C. Freeman Plaza: 5th Avenue @ 60th / thru 2/17 Mark di Suvero / Brooklyn Bridge Park Pier 1 / ongoing Oscar Tuazon / Public Art Fund / Brooklyn Bridge Park / thru 4/26 SELECTED EVENTS: Monday, 2/4, 6:30 PM / David Diao on Barnett Newman / DIA / 535 W 22 — floor 5 / $ Tuesday, 2/5, 6:30 PM / Donald Baechler on his work / New York Studio School / 8 W 8 / FREE Tuesday, 2/5, 7 PM / Vitaly Komar on his work / SVA / Amphitheater / 209 E 23 / FREE Tuesday, 2/5, 8 PM / Trenton Doyle Hancock on his work / Columbia / Prentis Hall / 632 W 125 / FREE Wednesday, 2/6, 6:30 PM / Rebecca Rabinow on Matisse / New York Studio School / 8 W 8 / FREE Wednesday, 2/6, 7 PM / Mierle Laderman Ukeles on her work / The New School Kellen Auditorium / 66 Fifth Avenue / FREE Thursday, 2/7, 6:30 PM / Christopher K. Ho reads, with curators Sara Reisman & Herb Tam / MOCA / 215 Centre / RSVP / FREE Friday, 2/8, 9 AM / Performa: Black Surrealism film program / NYU Einstein Aud.
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.
We have worked with the gallery to create a show of historical and
contemporary works from their collection and
other places that re-evaluates
how artists have chosen to represent themselves across a whole range of media.
2005 The Last Generation, curated by Max Henry, Apex Art, New York, NY, USA; traveling to Jousse Entreprise, Paris, France Superstars: From Warhol to Madonna, Kunstforum / Kunsthalle Wien, Vienna, Austria The Painted World, P.S. 1 Center for
Contemporary Art, Long Island City, New York, USA The Disasters of War: From Goya to Golub, Ezra and Cecile Zilkha Gallery, Wesleyan University, Connecticut, USA Post No Bills, curated by Matthew Higgs, White Columns, New York, USA Helga's Art Collection, Museo Extremeno e Iberoamericano de Arte Contemporaneo, Badajoz, Spain The Art of Aggression: Iraqi Stories and
Other Tales, curated by Jean Cruthchfield and Robert Hobbs, Reynolds Gallery, Richmond, Vancouver, Canada 2004 Editions Fawbush: A Selection, Sandra Gehring Gallery, New York, USA Last one on is a soft Jimmy, Paula Cooper Gallery, New York, USA Bill Adams, Wayne Gonzales, Cameron Martin: Paintings, KS Art, New York, NY Word of Mouth, A Selection: Part 1, Dinter Fine Art, New York, USA La Lettre Volée, F.R.A.C. Franche - Comté Musée des Beaux - Arts de Dole, France The Freedom Salon, Deitch Projects, New York, USA Bush League, Roebling Hall, Brooklyn, New York, USA Painting (Wayne Gonzales, Roger Metto, Jason Middlebrook, Cristian Rieloff), Galleri Charlotte Lund, Stockholm, Sweden 2003 Parallax Views: Art and The JFK Assassination (Ant Farm & T.R. Uthco, Wayne Gonzales, Eric M. Jensen), Hallwals
Contemporary Arts Center, Buffalo, New York, USA 150
artists make 150 T - Shirts, Daniel Silverstein Gallery, New York, USA Cartoon, Riva Gallery, New York, USA Melvins, Anton Kern Gallery, New York, USA 2002 The Presidential Suite, Nassau County Museum of Art, Roslyn Harbor, New York, USA Gravity Over Time, curated by John Pilson, 1000 Eventi, Milan, Italy From the Observatory, Paula Cooper Gallery, New York, USA Subject Matters, curated by Norman Dubrow, Kravets / Wehby Gallery, New York; Conner
Contemporary Art, Washington, USA 2001
How is everything?
In
How to See: Looking, Talking and Thinking about Art David Salle strips away complicated theory and describes
contemporary art in the plain language
artists use when talking to each
other.
Whether through painting, drawing, sculpture, video, or
other media,
contemporary artists have drawn on the centuries - old tradition to create works of conceptual vivacity, beauty, and emotional poignancy in the present time.Structured according to the classical categories of the still - life tradition — Flora, Food, House and Home, Fauna, and Death, each chapter in Michael Petry's book explores
how the timeless symbolic resonance of the memento mori, has been rediscovered for a new millennium.
While I'd love for the Museum of Fine Arts, Houston to pass on one of its never - ending «once in a lifetime» opportunities to rent
other museums» Impressionist collections, it's hard to see
how San Antonio's interests don't include giving the city its first look at a significant concentration of works by the
artist Green has argued made the most important painting of the 20th century — especially since SAMA's
contemporary collection includes painters such as Hans Hofmann and Richard Diebenkorn whom Matisse influenced.
In the tradition of
other spaces founded and run by
artists, Art + Practice is dedicated to imagining a new model for
how contemporary art functions in our communities.
The exhibition combines visual displays by professional futurists with works (mostly new works premiered here) by
contemporary artists, to see what these two contexts might have in common and
how they might question each
other.
Several of the
artists represented in the exhibition studied and / or worked in Spain, or were influenced by Spanish art in
other ways; seeing their paintings in the context of the Meadows» collection of Spanish art, especially those works from the same period, will enable visitors to detect early European influences, and understand
how many of these Mexican
artists later began to forge their own artistic path distinct from their European
contemporaries.
Just last week, on the occasion of the Luciano Benetton Collection's traveling exhibition Imago Mundi: The Art of Humanity, I moderated a panel discussion with the esteemed critic Eleanor Heartney and brilliant
artist Shahzia Sikander about art and globalization:
how cultural identities, political boundaries, and
other socio - political considerations have affected the practices and work of
contemporary artists.
Kenny Schachter ROVE, London Props & Propositions, Cleveland Institute of Art, Cleveland, Ohio 2004 Five Ways to Say the Same Sadness, University Art Museum, University at Albany, New York eRacism: electronica,
Contemporary Art Museum St Louis, St. Louis, Missouri reFunkt: prints & dvds, The Project, New York eRacism, Rutgers University, New Brunswick, NJ; traveled to
Artists Space, New York 2003 Foddah, Drew University, Madison, New Jersey Some: Of Place and Desire, ArtHouse, Austin eRacism, DiverseWorks, Houston, TX; traveled to Portland Institute of
Contemporary Art, Portland 2002 What's Inside a Boy, The Project, Los Angeles eRacism, ICA at Maine College of Art, Portland Incontinent, Wood Street Gallery, Three Rivers Arts Festival, Pittsburgh, Pennsylvania 2001 Hole Theory, The Project, New York 2000 Eracism: White Room, ThreadWaxing Space, New York The Hole Inside The Space Inside Yves Klein's Asshole, Concordia University, Montreal Eating The Wall Street Journal And
Other Current Consumptions, Mobius, Boston 1998 Recent Work, The Project, New York 1996 Buddy Performance Objects, with Jim Calder, Touchstone Theater, Bethlehem, Pennsylvania 1993 William Pope.L, Horodner Romley Gallery, New York 1992 William Pope.L, Drew University, Madison, New Jersey 1991
How Much is that Nigger in the Window, 30 performances, writings and installations, Franklin Furnace, New York
The program's main goals are to provide a stimulating and supportive environment in which students can thrive and develop as
artists, to foster rigorous critical engagement with
contemporary art and
other cultural forms, and to produce an ongoing conversation, through work as much as through words, about what we make,
how we make it and why.
In this thought - provoking conversation, hosted by the Leadership Advisory Committee,
contemporary artist Kerry James Marshall and art historian Kymberly Pinder discussed
how artists have shaped the public reception of African American art history through their writings and
other activist gestures.
Although many
contemporary artists have broadened the term «studio» to encompass any space where they work and even where they present this work to an audience, The Studio program wants to propose a view from the
other side:
How have socioeconomic changes, the mutation of labor, and the increasing role of media in everyday life of society transformed the possibilities of the studio?