Sentences with phrase «modern context by»

I certainly get shocked looks from modern Christians when I suggest that homilies on «the Good Samaritan» should place it in modern context by renaming it «the Good al - Qaeda» or «the Good Taliban» or «the Good Hamas» — because, at the time Rabbi Jesus of Nazareth allegedly lived, the Jews regarded Samaritans the way we regard al - Qaeda or the Taliban or Hamas today.

Not exact matches

Other Uses of Funds In view of the near impossibility of replicating the debt cancellations of prior millennia in the modern context, we have re-interpreted the prior objective of seeking to sustain a property - owning democracy in terms of equity participation by the State to enable any (young) person to afford the down - payment for a home, to finance a start - up business, and to benefit (if academically gifted) from tertiary education.

In modern history the work ethic was first given a great impetus by the Protestant Reformation, in which context Martin Luther and John Calvin argued convincingly that the great and good life was ultimately experienced not in the monastery or convent, but in working at one's job in everyday life.

But this is a historical question; what is important in this context is the fact that the subsequent development of Greek, medieval and modern philosophy was largely dominated by the contrast between the timeless realm of Being and the temporal realm of change; in this sense, it was a continuation of the dialogue between Parmenides and Heraclitus, with Parmenides having an upper hand.

Modern realism must indeed acknowledge that «all knowing [is] context relevant in much the same way as» the physical realm discovered by modern science - and all creation is immediately dependent upon and contextualised by, for its very existence and intelligibility, the Mind oModern realism must indeed acknowledge that «all knowing [is] context relevant in much the same way as» the physical realm discovered by modern science - and all creation is immediately dependent upon and contextualised by, for its very existence and intelligibility, the Mind omodern science - and all creation is immediately dependent upon and contextualised by, for its very existence and intelligibility, the Mind of God.

But in the context of Adventures of Ideas there is no doubt in my mind that even mediated by modern institutions, he has deep roots in the antiquity that produced Christianity.

Moreover, by modern standards, the charters were both extremely limited documents — overwhelmingly concerned with feudal administration, with little relevance to those living outside the context of medieval England.

Or to look at it in the Chinese context, the term has something in accordance with Mr Sun Yat - sen's vision of a government in modern China: a government of the people, for the people and by the people («San Min Zhu Yi»).

His The New Machiavelli: How to Wield Power in the Modern World (The Bodley Head, # 20.00) attempts to provide a political context by drawing on Machiavelli.

This knowledge could play an important role in the design of future vaccination campaigns, but also highlights a deeper evolutionary logic which modern humans sometimes are governed by: as social beings, in the right circumstances, we can afford to take into account a broader societal context, but when we get the chance to invest in the evolutionary «core values» (survival and procreation) the larger context is easily forgotten.

Instead, they set out to show that by using population scaling, researchers might be able to put historical and modern violence in context.

«From the chemical standpoint,» the critical difference between «efficient» native diets and diets characterized by the «displacing foods of modern commerce,» according to Dr. Price, was that «all the efficient dietaries were found to contain two to six times as high a factor of safety in the matter of bodybuilding material, as the displacing foods» (emphasis added).11 The foods that served a «bodybuilding» purpose varied substantially according to the group and location studied, but in all instances, traditional societies emphasized the most nutrient - dense land and sea animal and plant foods that could be obtained in their context, ranging from the exceptionally high - vitamin dairy products, whole rye sourdough bread and occasional meat of the isolated Swiss to the fish, cereals and sweet potatoes of Kenya's Maragoli tribe.

Byrne, by comparison, does a better Shelly Duvall, blending matriarchal concern with wide - eyed naiveté — though that sort of character feels a bit outdated in modern context.

It also raises the stakes on pop music drop - ins (having a character sing a modern - day pop song in an out - of - context time period) by having the guts to use a Radiohead song.

App Inventor was developed by MIT to teach students programming in a fun context that every modern student understands, mobile phones!

By understanding the habits and needs of the modern learner, L&D teams can focus their efforts on creating a learning platform that delivers context - rich digital resources to address what your employees are searching for online, but in a way that's relevant to your organization and «how things are done here».

She began her school's change process by having teachers explore what learning looked like in the context of modern learning theories, what teaching strategies would be used in conjunction with such theories, the depth of learning, and how that learning was assessed.

«The New Buffettology» which was authored by both Mary Buffett (ex-Warren Buffett's Daughter - In - Law) and David Clark back in 2002 is so far the best selling Warren Buffett book based on modern context.

Battlefield is one of the largest shooters in modern gaming, truly rivalled by only Counter-Strike and Call of Duty, which both fill their respective roles in the grander context of the greater competitive gaming culture.

Founded by Lucy Mitchell - Innes and David Nash, who previously headed the worldwide Contemporary and Impressionist & Modern Art divisions of Sotheby's, Mitchell - Innes & Nash places exemplary contemporary artists within a historical context, revealing a continuity of ideas and aesthetic virtuosity from the Modern era through the present day.

Tibbits is complaining that they don't show enough work by Houston artists from the juried shows of yesteryear and / or the Fresh Paint era, and that's a proposition that needs to be evaluated in the context of how those museums present historical and modern American art in general.

«Journeys with The Waste Land» includes work by more than 60 artists who have been inspired by T.S. Eliot's great modern lament, or whose art resonates in the context of the poem.

Tate St Ives presents international modern and contemporary art in the unique cultural context of St Ives, including works from the Tate Collection, in particular works by the artists from the St Ives school.

In Selah, Biggers reclaims representation of the African diaspora in the context of North America by combining tribal motifs with markers of modern history, creating a collection that is at once both socio - politically aware and, perhaps unintentionally, groovy.

I started letting go of thoughts such as, «it's so hard to be an artist / native artist in the current modern context» or «one artist in millions gets taken seriously by contemporary culture and the art market».

While a few recent publications — like the essays by Richard Flood, Frances Morris, Robert Lumley, and Karen Pinkus in the catalogue of the 2001 exhibition «Zero to Infinity: Arte Povera 1962 - 1972,» co-organized by the Walker Art Center and Tate Modern, or the overview Arte Povera (1999), edited and illuminatingly introduced by Carolyn Christov - Bakargiev — have begun to consider arte povera in a broader social context, the field is still plagued by the idea that its artists were primarily enamored of low, or literally «poor,» materials, and by the argument that arte povera's antitechnological bent is a misinterpretation of American Minimalism.

Organized as part of The Phillips Collection's 90th anniversary, Eye to Eye features a group of paintings by modern American artist Joseph Marioni in the context of the museum permanent collection.

Works by Olaf Breuning were most recently to be seen at the exhibition Swiss Video at the Tate Modern in London (2006), and at the Mori Art Museum in Tokyo in the context of all about laughter (2007).

The works of art that we could dub as formalist already achieved fame by other names — modern art, abstract art, the avant - garde, yet they here are presented in the context of their philosophical origin.

Presented by The Friends of Education of The Museum of Modern Art, Conversations: Among Friends explores works of art as reflections of their political and social contexts.

Theater 3 (The Celeste Bartos Theater), mezzanine, The Lewis B. and Dorothy Cullman Education and Research Building Presented by The Friends of Education of The Museum of Modern Art, Conversations: Among Friends explores works of art as reflections of their political and social contexts.

While this main installation recalls an ongoing body of research into the 18th - century phantasmagoria shows of Jean - Gaspard Robertson — as first seen in Oursler's iconic piece, The Influence Machine (2002) commissioned by Artangel and restaged at Tate Modern in 2013 — another new series situates these reconfigured faces squarely in the context of the 21st century.

Growing up in the Midwest, he was heavily influenced by Chicago's modern architecture and developed an in - depth understanding of contemporary art within the context of architecture while working at the Des Moines Art Center and the High Museum of Art.

In an email, he told me that the word «museum» in the African context called to mind Benin - born artist Meschac Gaba's Museum of Contemporary African Art 1997 — 2002, a 12 - room installation acquired by Tate Modern in London in 2013.

Collection, Cornell Fine Arts Museum, Orlando, FL Commemorating 30 Years (1976 — 2007): Part Three (1991 — 2007), Rhona Hoffman Gallery, Chicago, IL The Blake Byrne Collection, The Nasher Museum of Contemporary Art, Duke University, Durham, NC 2006 Do Not Stack, Roberts & Tilton, Los Angeles, CA Black Alphabet: ConTEXTS of Contemporary African - American Art, Zacheta, National Gallery of Art, Warsaw, Poland Down By Law, Wrong Gallery at the Sondra Gilman Gallery, Whitney Museum, New York, NY Hangar — 7 Edition 4, Salzburg Airport, Salzburg, Austria Redefined: Modern and Contemporary Art from the Collection, Corcoran Gallery of Art, Washington, D.C. Relics and Remnants, Jamaica Center for Arts and Learning, Jamaica, NY 2005 Maximum Flavor, ACA Gallery, Atlanta College of Art, Atlanta, GA Neo-Baroque, Tema Celeste, Verona, Italy Neovernacular, Turner Gallery, Los Angeles, CA Kehinde Wiley / Sabeen Raja: New Paintings, Conner Contemporary Art, Washington, D.C. 2004 Eye of the Needle, Roberts & Tilton, Los Angeles, CA Glory, Glamour & Gold, The Proposition, New York, NY She's Come Undone, Greenberg Van Doren, New York, NY The New York Mets and Our National Pastime, Queens Museum of Art, Queens, NY Beauty, Kravets + Wehby, New York, NY African American Artists in Los Angeles, A Survey Exhibition: Fade, City of Los Angeles Cultural Affairs Department, Los Angeles, CA 2003 Peripheries Become the Center, Prague Biennale 1, Galleria Nazionale Veletrzni Palac Dukelskych Hrdinu 47, Prague, Czech Republic Superreal, Marella, Milan, Italy New Wave, Kravets Wehby Gallery, New York, NY Re: Figure, College of DuPage, The Guhlberg Gallery, Glen Ellyn, IL 2002 Painting as Paradox, Artists Space, New York, NY Mass Appeal, Gallery 101, Ottawa, Canada Ironic / Iconic, The Studio Museum of Harlem, New York, NY Black Romantic, The Studio Museum of Harlem, New York, NY 2001 It's Bigger Than Hip Hop, Rush Arts, New York, NY

The show pushes our conceptions of the boundaries of Indian abstraction by including works like 17th century Islamic tiles from the CSMVS permanent collection along with the selection of modern abstract works from the Foundation's collection.The layered interpretation of Indian abstraction as well as the inclusion older works, usually unmentioned in this modern context, make this a show a must see.

Group exhibitions include: Languages and Experimentations, Mart, Rovereto (2010), Richard Prince and the Revolution (curated by Jonathan Monk), ProjecteSD, Barcelona, The Associates, Dundee Contemporary Arts, Dundee (both 2009), Contemporary Scottish Art: New Acquistitions & Loans, Scottish National Gallery of Modern Art, Edinburgh, On Interchange / Interludes of a Collection, Museum Kurhaus Kleve, Kleve (both 2008), Tate Triennial: New British Art, Tate Britain, London (2006), The Last Generation, Apex Art, New York, Solo Show Solo Soul, FRAC Haute - Normandie, Rouen, Herald Street & The Modern Institute present, GBE, New York, Theorema, Collection Lambert: Musèe d'art d'Avignon, Avignon (all 2005), Genesis Sculpture, Domaine Pommery, Reims (2004), Context, Form, Troy (Young Scene 03), Secession, Vienna (2003).

African Art Collectives includes a short presentation by Elvira Dyangani Ose, Curator International Art Tate Modern, placing Issa Samb's work in the context of Laboratoire Agit» Art and other African art collectives, exploring the situations and politics that motivated them.

By analyzing the different color theories that took shape in the turbulent socio - political context that characterized the 20thcentury, the exhibition reflects on a perspective that considers light, its vibrations and the world of emotions, while challenging the standardization of the use of color in the modern age (synthetic colors) and the digital era (RGB colors offered by various online palettes), a leveling that considerably reduces our ability to distinguish colors in the real worlBy analyzing the different color theories that took shape in the turbulent socio - political context that characterized the 20thcentury, the exhibition reflects on a perspective that considers light, its vibrations and the world of emotions, while challenging the standardization of the use of color in the modern age (synthetic colors) and the digital era (RGB colors offered by various online palettes), a leveling that considerably reduces our ability to distinguish colors in the real worlby various online palettes), a leveling that considerably reduces our ability to distinguish colors in the real world.

The photo works by Sherrie Levine after Walker Evans, Andreas Feininger, Edward Weston, Alfred Stieglitz and other masters of early modern photography are among the most radical works in this context.

«One way of understanding the relation of the terms «modern,» «modernity,» and «modernism» is that aesthetic modernism is a form of art characteristic of high or actualized late modernity, that is, of that period in which social, economic, and cultural life in the widest sense [was] revolutionized by modernity... [this means] that modernist art is scarcely thinkable outside the context of the modernized society of the late nineteenth and twentieth centuries.

one - person exhibition 1996 Nexus Contemporary Art Center, Atlanta, «Obsession» group exhibition 1995 TZ» Art & Co., New York, Testwall installation Museum of Modern Art, Saitama, Japan, «The Language of Place,» group exhibition curated by Sarah Rogers (Wexner Center, Director of Exhibitions) 1993 SPACES Gallery, Cleveland, «Form Out of Context,» four - person exhibition 1992 «American Pluralism» group exhibition curated by Terry Barrett.

His work has been featured in Recognize, National Portrait Gallery, Smithsonian Institution, Washington, DC (2008); Black Alphabet — contexts of contemporary African - American art, Zacheta National Gallery of Art, Warsaw, Poland (2006); Down By Law, Wrong Gallery at the Sondra Gilman Gallery, part of the Whitney Biennial, New York, NY (2006); and Redefined: Modern and Contemporary Art from the Collection, Corcoran Gallery of Art, Washington, DC (2006).

MoMA's early history is marked by an ongoing interest in celebrating forms and techniques not usually considered in the context of fine art — perhaps the outgrowth of its habitual revolt against the strictures of good taste as the museum worked to legitimize «ugly» and «nonsensical» Modern art in the 1930s.

Hudson & 8th Ave. / thru 7/20 Opening 6/14 Flip Side thru 8/12; Fiercely Modern thru 9/16; Etc. / Rubin Museum / 150 W 17 Screens: N.Beloufa; R.Harrison; J.Kessler; J.Kline; G.Sagri; N.Guagnini; J.Preiss; A.Yi / Murray Guy / 453 W 17 / thru 6/15 John Stezaker; Troy Brauntuch / Petzel / 456 W 18 / thru 6/13 Paul McCarthy; Damon McCarthy / Hauser & Wirth / 511 W 18 (new, second NYC location) / thru 7/26 Opening 6/20 Jorge Macchi / Alexander and Bonin / 132 10th Ave. @ 18 / thru 6/22 Ralph Fasanella / Edlin / 134 Tenth Ave. / thru 6/22 Heavy Metal; Tabitha Vevers thru 6/29; James Weingrod thru 7/27 / Bookstein / 138 Tenth Ave. @ 19 Great Leap / Cohen / 251 W 19 / thru 6/25 Fluxus Documents / Fluxus Foundation / 454 W 19 / thru 6/29 Songs for Spirit Lake / Rauschenberg Foundation Project Space / 455 W 19 / thru 6/29 Frank Nitsche / Koenig / 459 W 19 (new location) / thru 7/20 Maintenance Required curated by Whitney ISP fellows / Kitchen / 512 W 19 / thru 6/22 Lucien Samaha / Lombard - Freid / 518 W 19 / thru 8/2 Opening 6/6 Rashawn Griffin / Gasser Grunert / 524 W 19 / thru 6/15 Cui Fei / Chambers / 522 W 19 / thru 6/7 Jeff Koons / Zwirner / 525 & 533 W 19 / thru 6/29 Abstract Expressionism, In Context: Seymour Lipton / Rosenfeld / 100 Eleventh Ave. @ 19 / thru 8/2 Laddie John Dill / Nyehaus / 358 W 20 / thru 7/26 Toyin Odutola / Shainman / 513 W 20 / thru 6/29 Jeff Ladouceur / ZieherSmith / 516 W 20 / thru 7/12 Anna Ostoya / Bortolami / 520 W 20 / thru 6/7 Dario Escobar / Bienvenu / 529 W 20 — floor 2 / thru 7/18 Vanishing Point / Bitforms / 529 W 20 — floor 2 / thru 7/19 Marcos Bontempo / Ricco - Maresca / 529 W 20 — floor 3 / thru 6/15 Jerry Meyer / Bibro / 529 W 20 — floor 4 / thru 7/6 Go - Slow / Skoto / 529 W 20 — floor 5 / thru 7/31 Textures: The Written Word in Contemporary Art / ACA / 529 W 20 — floor 5 / thru 6/15 Victor Pesce / Harris / 529 W 20 — floor 6 / thru 7/26 Spring Revival: D.Brice; C.Haub; R.MacArthur; M.Palmer; S.Piwinski; R.Rodriguez; Y.Sanchez; D.Smith; J.Urso / Markel / 529 W 20 — floor 6 / thru 6/29 Perla Krauze / Scott / 529 W 20 / floor 7 / thru 6/22 George Sugarman / Snyder / 529 W 20 — floor 10 / thru 6/15 Sopheap Pich / Rollins / 529 W 20 — floor 10 / thru 6/14 Shio Kusaka / Kern / 532 W 20 / thru 6/22 Richard Serra thru 6/15; Blinky Palermo thru 6/29 / Zwirner / 537 W 20 (new, additional location) Mac Adams / Dee / 545 W 20 / thru 8/9 Martin Boyce; Hannah Starkey / Bonakdar / 521 W 21 / thru 6/8 (extended) Bruce Conner / Cooper / 521 W 21 / thru 6/22 Shaking the Habitual: Michael Bevilacqua; James Busby; Jeff Elrod / Kravets Wehby / 521 W 21 / thru 6/14 Anselm Kiefer / Gagosian / 522 W 21 / thru 6/8 Garth Weiser / Kaplan / 525 W 21 / thru 6/22 Ugo Rondinone / Gladstone / 530 W 21 / thru 7/3 Mark di Suvero / Cooper / 534 W 21 / thru 6/29 Sean Scherer / Guided By Invoices / 558 W 21 / thru 6/8 Ellsworth Kelly / Marks / 502 W 22 / thru 6/29 Mark Woods / Newman Popiashvili / 504 W 22 / thru 6/22 Ann Toebbe / Rowe / 504 W 22 / thru 6/15 Ellsworth Kelly / Marks / 522 W 22 / thru 6/29 Wolf Kahn / Ameringer McEnery Yohe / 525 W 22 / thru 7/26 Opening 6by Whitney ISP fellows / Kitchen / 512 W 19 / thru 6/22 Lucien Samaha / Lombard - Freid / 518 W 19 / thru 8/2 Opening 6/6 Rashawn Griffin / Gasser Grunert / 524 W 19 / thru 6/15 Cui Fei / Chambers / 522 W 19 / thru 6/7 Jeff Koons / Zwirner / 525 & 533 W 19 / thru 6/29 Abstract Expressionism, In Context: Seymour Lipton / Rosenfeld / 100 Eleventh Ave. @ 19 / thru 8/2 Laddie John Dill / Nyehaus / 358 W 20 / thru 7/26 Toyin Odutola / Shainman / 513 W 20 / thru 6/29 Jeff Ladouceur / ZieherSmith / 516 W 20 / thru 7/12 Anna Ostoya / Bortolami / 520 W 20 / thru 6/7 Dario Escobar / Bienvenu / 529 W 20 — floor 2 / thru 7/18 Vanishing Point / Bitforms / 529 W 20 — floor 2 / thru 7/19 Marcos Bontempo / Ricco - Maresca / 529 W 20 — floor 3 / thru 6/15 Jerry Meyer / Bibro / 529 W 20 — floor 4 / thru 7/6 Go - Slow / Skoto / 529 W 20 — floor 5 / thru 7/31 Textures: The Written Word in Contemporary Art / ACA / 529 W 20 — floor 5 / thru 6/15 Victor Pesce / Harris / 529 W 20 — floor 6 / thru 7/26 Spring Revival: D.Brice; C.Haub; R.MacArthur; M.Palmer; S.Piwinski; R.Rodriguez; Y.Sanchez; D.Smith; J.Urso / Markel / 529 W 20 — floor 6 / thru 6/29 Perla Krauze / Scott / 529 W 20 / floor 7 / thru 6/22 George Sugarman / Snyder / 529 W 20 — floor 10 / thru 6/15 Sopheap Pich / Rollins / 529 W 20 — floor 10 / thru 6/14 Shio Kusaka / Kern / 532 W 20 / thru 6/22 Richard Serra thru 6/15; Blinky Palermo thru 6/29 / Zwirner / 537 W 20 (new, additional location) Mac Adams / Dee / 545 W 20 / thru 8/9 Martin Boyce; Hannah Starkey / Bonakdar / 521 W 21 / thru 6/8 (extended) Bruce Conner / Cooper / 521 W 21 / thru 6/22 Shaking the Habitual: Michael Bevilacqua; James Busby; Jeff Elrod / Kravets Wehby / 521 W 21 / thru 6/14 Anselm Kiefer / Gagosian / 522 W 21 / thru 6/8 Garth Weiser / Kaplan / 525 W 21 / thru 6/22 Ugo Rondinone / Gladstone / 530 W 21 / thru 7/3 Mark di Suvero / Cooper / 534 W 21 / thru 6/29 Sean Scherer / Guided By Invoices / 558 W 21 / thru 6/8 Ellsworth Kelly / Marks / 502 W 22 / thru 6/29 Mark Woods / Newman Popiashvili / 504 W 22 / thru 6/22 Ann Toebbe / Rowe / 504 W 22 / thru 6/15 Ellsworth Kelly / Marks / 522 W 22 / thru 6/29 Wolf Kahn / Ameringer McEnery Yohe / 525 W 22 / thru 7/26 Opening 6By Invoices / 558 W 21 / thru 6/8 Ellsworth Kelly / Marks / 502 W 22 / thru 6/29 Mark Woods / Newman Popiashvili / 504 W 22 / thru 6/22 Ann Toebbe / Rowe / 504 W 22 / thru 6/15 Ellsworth Kelly / Marks / 522 W 22 / thru 6/29 Wolf Kahn / Ameringer McEnery Yohe / 525 W 22 / thru 7/26 Opening 6/6

When each blip is appreciated for its individual, segmented surface qualities they display abstract expressionist tendencies, marking a seminal tabula rasa in the context of Modern painting, also evinced by Zero's contemporaries, including Gajin Fujita, Takashi Murakami and Barry McGee.

In keeping with The Met Breuer's mission to present modern art in the context of the history of art, this exhibition will include select works from The Met collection by other artists who shaped Hartley's vision, including French modernist Paul Cézanne, Japanese printmakers Utagawa Hiroshige and Katsushika Hokusai, and American painters Winslow Homer and Albert Pinkham Ryder.

«Kiki Smith: A Gathering, 1980 - 2005,» which opens today at the San Francisco Museum of Modern Art, provides context for the commissioned piece by Smith that hangs in the new de Young Museum.

«Ernest C Withers and Glenn Ligon: I Am A Man Teaching Galleries One and Two,» Contemporary Art Museum St Louis, MO, January 20 — March 28, 2006 «Down by Law, curated by The Wrong Gallery,» Whitney Museum of American Art, New York, NY, January 21 — May 15, 2006 «Collective Histories / Collective Memories: California Modern,» Orange County Museum of Art, Newport Beach, CA, February 6 — September 24, 2006 «Exhibition of Work by Newly Elected Members and Recipients of Honors and Awards,» American Academy of Arts and Letters, New York, NY, May 19 — June 12, 2006 «Legacies: Contemporary Artists Reflect on Slavery,» New - York Historical Society, New York, NY, June 16, 2006 — January 7, 2007; catalogue «The Past Made Present: Contemporary Art and Memory,» Museum of Fine Arts, Houston, TX, September 2, 2006 — January 15, 2007 «Group Dynamic: Portfolios, Series, and Sets,» Des Moines Art Center, Des Moines, IA, September 15 — December 29, 2006 «black alphabet: conTEXTS of contemporary african - american art,» Zacheta National Gallery of Art, Warsaw, Poland, September 22 — November 19, 2006 «Interstellar Low Ways,» Hyde Park Art Center, Chicago, IL, October 15, 2006 — January 14, 2007 «Process and Collaboration: Celebrating Twelve Years at 1315 Cherry Street,» The Fabric Workshop and Museum, Philadelphia, PA, December 2, 2006 — January 6, 2007 «Defamation of Character,» organized by Neville Wakefield, PS 1 Contemporary Art Center, Long Island City, New York, October 29, 2006 — January 8, 2007 «Voodoo Macbeth,» curated by David A Bailey, De La Warr Pavilion, East Sussex, UK, October 7, 2006 — January 22, 2007 «Yes Bruce Nauman,» Zwirner & Wirth, New York, NY, July 7 — September 9, 2006 «Gifts go in one direction,» curated by Alexander Nagel, apexart, New York, NY, July 5 — August 12, 2006 «SUBJECT,» Lyman Allyn Museum, New London, CT, May 13 — August 14, 2006 «Invitational Exhibition of Painting and Sculpture,» American Academy of Arts and Letters, New York, NY, March 7 — April 9, 2006 «Dark Places,» Santa Monica Museum of Modern Art, Los Angeles, CA, January 21 — April 22, 2006 «Skin Is a Language,» Whitney Museum of American Art, New York, NY, January 12 — May 21, 2006 «Portraits of Artists: A selection of photographic works from the collection,» Luhring Augustine, New York, NY, January 7 — February 11, 2006

2015 Ocean of Images: New Photography 2015, Panel Discussion with Quentin Bajac and Roxana Marcoci; artists Ilit Azoulay, Lucas Blalock, David Hartt, and Katja Novitskova; and artist collective DIS, The Museum of Modern Art, New York, NY, USA Core Program Lecture: David Hartt, The Museum of Fine Arts, Houston, TX, USA Artist's talk, The Art Institute of Chicago, IL, USA Where architecture Meets Art, Panel discussion with Amanda Williams, Jessica Stockholder, David Hartt, moderated by Yesomi Umolu, Public program for The Chicago Architecture Biennial, Chicago Cultural Center, Chicago, IL, USA Artist's talk, Simon Fraser University, Vancouver, Canada Kasten in Context: New Peers: Barbara Kasten in conversation with David Hartt, Takeshi Murata, and Sara VanDerBeek, Institute of Contemporary Art, The University of Pennsylvania, PA; USA