Yto Barrada's Autocar — Tangier, Figs 1 - 4 is on view at MoMA as part of
their new collection installation.
Not exact matches
Labels Tindale, Monster Alphabets, Convict, Catini, Emily Muco, Katherine Dunmill, Bhalo and Apate presented confident
collections in a
new installation runway.
Showing a
new collection of leather and cowhide bags and cuffs styled with beautiful native flora and screening a stunning short film, Convict finished the WA Designer
Installation show with confidence and grace.
Farah purchased it 4 years ago and performed an extensive mechanical refresh that included an engine rebuild,
new wiring, and the
installation of a DMC «Fix Everything» kit, a
collection of over 40 items prone to failure that have been upgraded based on DMC's knowledge of the car.
The international art gallery
collection, with locations in some of the world's most iconic cities, will be collaborating with us to showcase
installations from two artists, for a
new and exciting celebration of colour.
Besides
new abstract
installation work, Holland's «Visual Orgasms» series, a
collection of looped moving images that «reflect popular media's pressured attempt to make sex visually consumable,» according to a release, will also be included.
New York - based artist Patrick Meagher's
installation that other modern world (2000 — 2002), which references architecture and modern social structures, is a
collection of individual sculptures made from expanded bead - Styrofoam.
The Mead unveils its renovated main gallery and opens six
new exhibitions and
installations that offer a fresh perspective on the Amherst College art
collection.
PUBLIC
INSTALLATIONS Weir Farm National Historic Site / National Park Service, Wilton, CT CowParade,
New York City / Museum of the City of
New York,
New York, NY Islip Art Museum, East Islip,
New York, NY SELECTED PERMANENT
COLLECTIONS Centre Pompidou, Paris, France
2012 Dark Flow Lurking, David Castillo Gallery, Miami, FL a small world... (
installation on view from the permanent
collection), The Jewish Museum,
New York, NY Transmission LA: AV Club, Geffen Contemporary at MoCA, Los Angeles, CA African American Art Since 1950: Perspectives from the David C. Driskell Center, David C. Driskell Center, College Park, MD Contemporary Mandala:
New Audiences,
New Forms, Emory University Visual Art Gallery, Atlanta, GA US Embassy in Tokyo Exhibition for Ambassador John V. Roos, Tokyo, Japan
Art Basel Miami Beach, with GAVLAK Los Angeles / Palm Beach, Miami, FL (catalogue) Ten Year Anniversary Show, Gavlak, Palm Beach, FL and Los Angeles, CA Re (a) d, curated by Ryan Steadman, Nathalie Karg Gallery,
New York, NY The Valentine's Day Cardiovascular, Geoffrey Young Gallery, Great Barrington, MA Puente, KINMAN, London, UK 2014 The Go Between: Selections from the Ernesto Esposito Collection, Museo di Capodimonte, Naples, Italy Art Basel Miami Beach, Gavlak booth, Miami Beach, FL 100 Painters of Tomorrow:
New York Exhibition, One Art Space,
New York, NY Inaugural Exhibition, Gavlak, Los Angeles, CA The Armory Show, Gavlak Booth, Pier 94,
New York NY Painting: A Love Story, Contemporary Arts Museum Houston, Houston, TX (catalogue) 2013 Art Basel Miami Beach, Gavlak Booth, Miami Beach, FL (catalogue) This is the Story of America, Brand
New Gallery, Milan, Italy Rema Hort Mann Foundation LA Arts Initiative Auction, Hannah Hoffman Gallery, Los Angeles, CA Acid Summer, Curated by Matthew Craven, DCKT Contemporary,
New York, NY All Fucking Summer, Gavlak, Palm Beach, FL Whitney Museum Art Party Benefit Auction, Whitney Museum of American Art,
New York, NY MiArt2013, Gavlak Booth, Milan, Italy The Armory Show, Focus: USA, Gavlak Booth # 908,
New York, NY (catalogue) Art Rotterdam, Office Baroque Gallery, Rotterdam, Netherlands My Echo, My Shadow, Gavlak, Palm Beach, FL 39 Great Jones, Galerie Eva Presenhuber, Zurich (catalogue) 239 Days, School of Visual Arts MFA Alumni Show, Allegra LaViola Gallery,
New York, NY 2012 News From Chicago and
New York City, Curated by Henning Strassburger, Fiebach Minninger, Cologne, Germany Time, After Time, Curated by ARTNESIA, Ronchini Gallery, London, UK (catalogue) SUNY
New Paltz Alumni Show, Dosky Projects, Long Island City, NY What's the Point, Jen Bekman Gallery,
New York, NY It's a Small, Small World, Curated by Marilyn Minter and Organized by Hennessy Youngman, Family Business,
New York, NY The Virgins Show, Curated by Marilyn Minter, Family Business,
New York, NY Just the Tip, SVA MFA Fine Arts Thesis Exhibition, Organized in Collaboration with Mike Egan, Visual Arts Gallery,
New York, NY (catalogue) 2011 MFA Fine Arts Fall Open Studios, School of Visual Arts,
New York, NY Sentimental Education, Gavlak, Palm Beach, FL Things Fall Apart, Curated by Asya Geisberg, Visual Arts Gallery,
New York, NY Abstract Means, Curated by Richard Brooks, Visual Arts Gallery,
New York, NY MFA Fine Arts Spring Open Studios, School of Visual Arts,
New York, NY Celebrating 15 Years: Young Artists at Heckscher, Heckscher Museum of Art, Huntington, NY College Art Association
New York MFA Exhibition, Hunter College / Times Square Gallery,
New York, NY Vuu Collective W / S 2011 Show, K&K Gallery, Brooklyn, NY 2010 MFA Fine Arts Winter Open Studios, School of Visual Arts,
New York, NY Emerge to be Seen, Westside Gallery,
New York, NY Marks That Matter, Juried by Gillian Jagger, Muroff Kotler Visual Arts Gallery, SUNY Ulster, Stone Ridge, NY The
New, Art (That Matters), Oyster Bay, NY
New York Art & Culture Exhibition Series, Albany International Airport, Albany, NY 2009 No Girls Allowed: BFA Thesis Exhibition, Samuel Dorsky Museum of Art, SUNY
New Paltz,
New Paltz, NY Best of Show: 2009 Best of SUNY Exhibition, State University Plaza, Albany, NY 2008 Crit 3: Work from Students and Alumni of SUNY
New Paltz, Curated by Kathy Goodell, Spencertown Art Gallery, Spencertown, NY Somewhere I Have Never Traveled, Smiley Art Gallery,
New Paltz, NY Three, Smiley Art Gallery,
New Paltz, NY SPECIAL PROJECTS 2013 Shinola x Andrew Brischler,
Installation & Capsule Collection, Tribeca Flagship Store,
New York, NY Converse Footwear for Publicolor, organized by Grey Area
COLLECTIONS Norton Museum of Art, West Palm Beach, FL AWARDS AND HONORS 2015 Painting Fellowship,
New York Foundation for the Arts
The
new installation will increase the number of works on view from the
collection, which will henceforth be presented in a
new purpose - designed gallery space off the Museum's Concourse dedicated to Islamic art.
The
installation also features imaginative
new works made by Hamilton in response to the house and its
collection, alongside contributions from invited collaborators.
Public art of Julian Opie is spread around the globe, from continuous animations on LCD screens such as Suzanne Walking (2002) in Dublin or Galloping Horse (2012) in Yorkshire Park, or
installation Public
collections, including the Tate Gallery in London, the National Museum of Art in Osaka, and the Museum of Modern Art in
New York poses Opie's works from different periods.Besides the institutional frame, he has been collaborating with the famous pop band Blur, creating the cover for their Best of the album, and with a rock star Bryan Adams.
A large
installation of his work was recently acquired by the Centre Georges Pompidou (Paris) and he is represented in public
collections worldwide, including the Museum of Modern Art (
New York), the Solomon R. Guggenheim
Collection (
New York), The National Gallery of Art (Washington), the Tate
collection (London), The South African National Gallery (Cape Town) and the Johannesburg Art Gallery.
Exhibiting works from both national and international contemporary artists (in parallel to the permanent
collection of mainly Leipzig - based artists), G2's
NEW ACQUISITIONS includes paintings, works on paper, photographs and
installations by Judith Bernstein, Melissa Gordon, Anne Imhof, Jeanette Mundt, Raymond Pettibon, Daniel Steegmann Mangrané, Thomas Ruff and Rirkrit Tiravanija to name just a few.
Today we have a
new collection of
installation photos and performance shots from the first few days of «Juxtapoz x Superflat <» including works by Toilet Paper Magazine and Yuji Ueno.
Gianni has an upcoming show titled «AUDIBLE» opening — March 27th 7pm - 10 pm; running through April 16th at Stone Malone Gallery, located at 7619 1/2 Melrose Ave, Los Angeles — featuring an expressive
collection without concealment of Arone's
new paperworks,
installation, sculpture and paintings.
He developed his idea of the permanent
installation of his work and
collections first in
New York, at 101 Spring Street, and later in Marfa, Texas.
Hirshhorn assistant curator Mika Yoshitake discusses her
new installation of permanent
collection works on the second floor
His photographs, multi-media projects, and public
installations have been exhibited internationally, and are included in many public
collections, including the Metropolitan Museum of Art,
New York; the Los Angeles County Museum of Art; the Victoria & Albert Museum, London; the National Gallery of Art, Washington, D.C.; the J. Paul Getty Museum, Los Angeles; the Brooklyn Museum,
New York; the Santa Barbara Museum of Art; the Yale University Art Gallery; and the Museum of Fine Arts, Houston, among others.
In bravura
installations, as in the Dakis Joannou
collection at the
New Museum, frat boys rule, too.
Since joining the McNay in 2005, he greatly expanded the postwar and contemporary art
collection in range and number, while developing
new collecting areas including photo - based work and
installation art.
For the 20th edition, Paris Photo will introduce Poeme, an immersive environment in which to explore photography
collections, a digital
installation that invents
new ways to view images.
Detail view of
installation at Galerie Lelong, New York, 2015 Installation with LED lights, aluminum, video projection and six lightboxes with black and white transparencies Variable dimensions Original photograph by Koen Wessing (1942 - 2011): Estelí, Nicaragua, September 1978 The collection and copyright of Koen Wessing is administered by the Nederlands Fotomuseu
installation at Galerie Lelong,
New York, 2015
Installation with LED lights, aluminum, video projection and six lightboxes with black and white transparencies Variable dimensions Original photograph by Koen Wessing (1942 - 2011): Estelí, Nicaragua, September 1978 The collection and copyright of Koen Wessing is administered by the Nederlands Fotomuseu
Installation with LED lights, aluminum, video projection and six lightboxes with black and white transparencies Variable dimensions Original photograph by Koen Wessing (1942 - 2011): Estelí, Nicaragua, September 1978 The
collection and copyright of Koen Wessing is administered by the Nederlands Fotomuseum, Rotterdam
In 2005, the artist opened lesser
new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the great
new york in her Williamsburg loft, which was a response to Greater
New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the great
New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit /
installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a
collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser
new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the great
new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser
new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the great
new yorkten years later at Greater
New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the great
New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser
new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the great
new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its
new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the great
new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media
installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater
New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the great
New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greater.
Amalia Pica, Eavesdropping, 2011; drinking glasses and glue, dimensions variable;
collection of J. K. Brown and Eric Diefenbach;
installation view,
New Museum,
New York, 2012; © Amalia Pica; photo: Benoit Pailley, courtesy Marc Foxx Gallery, Los Angeles
This will be her largest showcase with the gallery to date, featuring 15
new paintings, 15 ink drawings, and even an
installation of the artist's extensive
collection of limited edition accessories, decor, and homegoods.
A
new gallery will be located in the expanded sculpture garden, offering exhibition space for indoor sculpture and other works in NOMA's
collection that complement the garden's
installations.
BOLT Resident Marissa Lee Benedict presents a
new immersive
installation depicting the artist's ongoing investigation into processes of research,
collection, extraction, and cultivation,
With its significant links to the South Florida community, this
installation, part of Pérez Art Museum Miami's permanent
collection, promises a powerful initial experience for visitors to the
new building.
Brian Eno,
New Urban Spaces Series # 4: «Compact Forest Proposal,» 2001; sound
installation with portable CD players, string lights, wood, cardboard, polyethylene foam, and mannequin; dimensions variable; commissioned by SFMOMA;
collection SFMOMA, gift of the artist; © Brian Eno; photo: Katherine Du Tiel
Her research into belief systems and ethnographic
collections informs her practice, notably her
installation about one of the first large uprisings on the African continent, Rumours that Maji was a lie... (2014), first shown at the Jeu de Paume in Paris last year, and later developed as a
new project, Kinjeketile Suite, which was exhibited this year at the South London Gallery.
Coney Island Visions of an American Dreamland, 1861 — 2008 WNPR, Feb. 13, Coney Island and Bushnell Park's Carousel Artistry by Mallory O'Donoghue The Boston Globe, Feb. 12, Atheneum assembles a first - rate
installation by Sebastian Smee WNPR, Feb. 12, Wadsworth Explores Coney Island, the «Microcosm of the American Experience» by Ray Hardman The Modern Art Notes (MAN) Podcast, Feb. 12, No. 171: Dennis V. Geronimus, Robin Jaffee Frank by Tyler Green WNPR, Feb. 11, Where We Live, An Arts Wheelhouse Examines Connecticut Museums The Boston Globe, Feb. 10, Coney Island comes to the Wadsworth Atheneum by Mark Feeney Apollo Magazine, Feb. 10, Five favourites from the Wadsworth Atheneum's
new galleries The New Yorker, Feb. 9, Change Artist: The works of Piero di Cosimo by Peter Schjeldahl The Art Newspaper, February 2015, Wadsworth Atheneum restores spaces it very nearly lost by Julia Halperin The Hartford Courant, Feb. 2, «Coney Island On the Silver Screen» Series at Atheneum by Susan Dunne The New York Times, Feb. 1, Wadsworth Atheneum's New Spaces for Contemporary Art by Susan Hodara The Guardian, Jan. 30, Wadsworth Atheneum: oldest public museum in US comes back from brink by Martin Pengelly The Hartford Courant, Jan. 25, Three Satellite Shows Compliment Dynamic «Coney Island» Exhibit at Wadsworth Atheneum The Hartford Courant, Jan. 18, Renovated Wadsworth Galleries Show Off Contemporary Collections by Susan Dunne The Wall Street Journal, Jan. 17, Coney Island Comes Alive in Art Show by Ellen Gamerman The Art Newspaper, January 2015, Return of Wadsworth's LeWitt Elle Decor, January / February 2015, Boardwalk Empire ARTnews, January 2015, Editors» Picks American Art Review, January 2015, Coney Island: Visions of an American Dreamland by Robin Jaffee Frank The Art Newspaper, The Year Ahead 2015, Museum Openi
new galleries The
New Yorker, Feb. 9, Change Artist: The works of Piero di Cosimo by Peter Schjeldahl The Art Newspaper, February 2015, Wadsworth Atheneum restores spaces it very nearly lost by Julia Halperin The Hartford Courant, Feb. 2, «Coney Island On the Silver Screen» Series at Atheneum by Susan Dunne The New York Times, Feb. 1, Wadsworth Atheneum's New Spaces for Contemporary Art by Susan Hodara The Guardian, Jan. 30, Wadsworth Atheneum: oldest public museum in US comes back from brink by Martin Pengelly The Hartford Courant, Jan. 25, Three Satellite Shows Compliment Dynamic «Coney Island» Exhibit at Wadsworth Atheneum The Hartford Courant, Jan. 18, Renovated Wadsworth Galleries Show Off Contemporary Collections by Susan Dunne The Wall Street Journal, Jan. 17, Coney Island Comes Alive in Art Show by Ellen Gamerman The Art Newspaper, January 2015, Return of Wadsworth's LeWitt Elle Decor, January / February 2015, Boardwalk Empire ARTnews, January 2015, Editors» Picks American Art Review, January 2015, Coney Island: Visions of an American Dreamland by Robin Jaffee Frank The Art Newspaper, The Year Ahead 2015, Museum Openi
New Yorker, Feb. 9, Change Artist: The works of Piero di Cosimo by Peter Schjeldahl The Art Newspaper, February 2015, Wadsworth Atheneum restores spaces it very nearly lost by Julia Halperin The Hartford Courant, Feb. 2, «Coney Island On the Silver Screen» Series at Atheneum by Susan Dunne The
New York Times, Feb. 1, Wadsworth Atheneum's New Spaces for Contemporary Art by Susan Hodara The Guardian, Jan. 30, Wadsworth Atheneum: oldest public museum in US comes back from brink by Martin Pengelly The Hartford Courant, Jan. 25, Three Satellite Shows Compliment Dynamic «Coney Island» Exhibit at Wadsworth Atheneum The Hartford Courant, Jan. 18, Renovated Wadsworth Galleries Show Off Contemporary Collections by Susan Dunne The Wall Street Journal, Jan. 17, Coney Island Comes Alive in Art Show by Ellen Gamerman The Art Newspaper, January 2015, Return of Wadsworth's LeWitt Elle Decor, January / February 2015, Boardwalk Empire ARTnews, January 2015, Editors» Picks American Art Review, January 2015, Coney Island: Visions of an American Dreamland by Robin Jaffee Frank The Art Newspaper, The Year Ahead 2015, Museum Openi
New York Times, Feb. 1, Wadsworth Atheneum's
New Spaces for Contemporary Art by Susan Hodara The Guardian, Jan. 30, Wadsworth Atheneum: oldest public museum in US comes back from brink by Martin Pengelly The Hartford Courant, Jan. 25, Three Satellite Shows Compliment Dynamic «Coney Island» Exhibit at Wadsworth Atheneum The Hartford Courant, Jan. 18, Renovated Wadsworth Galleries Show Off Contemporary Collections by Susan Dunne The Wall Street Journal, Jan. 17, Coney Island Comes Alive in Art Show by Ellen Gamerman The Art Newspaper, January 2015, Return of Wadsworth's LeWitt Elle Decor, January / February 2015, Boardwalk Empire ARTnews, January 2015, Editors» Picks American Art Review, January 2015, Coney Island: Visions of an American Dreamland by Robin Jaffee Frank The Art Newspaper, The Year Ahead 2015, Museum Openi
New Spaces for Contemporary Art by Susan Hodara The Guardian, Jan. 30, Wadsworth Atheneum: oldest public museum in US comes back from brink by Martin Pengelly The Hartford Courant, Jan. 25, Three Satellite Shows Compliment Dynamic «Coney Island» Exhibit at Wadsworth Atheneum The Hartford Courant, Jan. 18, Renovated Wadsworth Galleries Show Off Contemporary
Collections by Susan Dunne The Wall Street Journal, Jan. 17, Coney Island Comes Alive in Art Show by Ellen Gamerman The Art Newspaper, January 2015, Return of Wadsworth's LeWitt Elle Decor, January / February 2015, Boardwalk Empire ARTnews, January 2015, Editors» Picks American Art Review, January 2015, Coney Island: Visions of an American Dreamland by Robin Jaffee Frank The Art Newspaper, The Year Ahead 2015, Museum Openings
Recent group exhibitions include: Eclectic: The Julie & Robert Breckman
Collections at the V&A, London (2017); Summer Exhibition — International Artistic Duos at the Royal Academy London (2016); Seeing Round Corners, Turner Contemporary, Margate (2016); and Beauty < Immortality, a
new permanent
installation at Piccadilly Circus underground station (opened 2016).
Brian Eno,
New Urban Spaces Series # 4: «Compact Forest Proposal,» 2001 (detail); sound
installation with portable CD players, string lights, wood, cardboard, polyethylene foam, and mannequin; dimensions variable; commissioned by SFMOMA;
collection SFMOMA, gift of the artist; © Brian Eno; photo: Katherine Du Tiel
She is also beginning to plan for the
new installations of PEM's American art
collections and collaboratively developing two
new co-curated exhibitions: an exhibition on Jacob Lawrence's Struggle Series of 1954 - 56 and
It is also, like Frank Gillette's video
installation, Aransas (in the
collection of the University Art Museum and shown here in 1978), an extension of the long tradition of landscape painting into the relatively
new medium of video.
The exhibition also includes
new work from Darbyshire's recent CAPTCHA series, and previous
installations reinvigorated with artefacts from the Manchester City
Collections.
Through drawings, photographs, video,
installations, and architectural models drawn from MoMA's
collection, the exhibition highlights how artists have used the house as a means to explore universal topics, and how architects have tackled the design of residences to expand their discipline in
new ways.
Members enjoy an exclusive preview of American Legends: From Calder to O'Keeffe, a
new installation of the permanent
collection featuring works from the first half of the twentieth century by eighteen iconic American artists.
She is also beginning to plan for the
new installations of PEM's American art
collections and collaboratively developing two
new co-curated exhibitions: an exhibition on Jacob Lawrence's Struggle Series of 1954 - 56 and In American Waters, which will reevaluate the importance of the sea to American painters.
The 2014 recipient of the Gish Prize for her contributions to art and social change, Lin has been the subject of solo museum exhibitions and created outdoor
installations for public and private
collections from
New York to
New Zealand.
The dinner included performances by members of the Dallas Opera — and a preview of Carl Andres
new sculpture permanent to a courtyard, which joins his
installation of concrete poetry, Cuts into Space — long a part of the
collection.
This mission is reflected in the initial
installation of its permanent
collection of art from the World War II era to the present, AMERICANA, at the
new home of the 29 - year - old South Florida institution formerly known as Miami Art Museum (MAM).
In this
new show, a video
installation that's «a
collection and synthesis of some of [his] concerns» is paired with a few delicate, painterly paintings of peeled potatoes, along with a bronze sculpture of... yet another peeled potato.
Photography from the
Collections, Wadsworth Atheneum Museum of Art, Hartford, Connecticut Hand made in America, Sprovieri Gallery, London, England Collector's Choice, Exit Art,
New York, USA (selected by Gregory Allen) Drawing, Stephen Friedman Gallery, London, England 1999 Waste Management, Art Gallery of Ontario, Canada On the Ball: The Sphere in Contemporary Sculpture, DeCordova Museum and Sculpture Park, Lincoln, Massachusetts, USA Collectors Collect Contemporary Art: 1990 - 1999, Institute of Contemporary Art, Boston, USA (catalogue) Zero - G: When Gravity Becomes Form, Whitney Museum of American Art at Champion, Stamford, Connecticut, USA (catalogue) Ideas in Things, Irvine Fine Arts Center, Irvine, California, USA Holding Court, L & R Entwistle & Co Ltd, London, England Stuff, TBA Exhibition Space, Chicago, Illinois, USA 1998 More Pieces for the Puzzle: Recent Additions to the Collection, The Museum of Modern Art, New York, USA Hindsight: Recent Work from the Permanent Collection, Whitney Museum of Contemporary Art, New York, NY Young Americans Part II, Saatchi Gallery, London, England Poussière (Dust Memories), Fonds Regional d'art Contemporain de Burgogne, Dijon, France; Fonds Regional d'Art Contemporain Bretagne, Galerie du Trib, Rennes, France (catalogue) Blunt Object, The David and Alfred Smart Museum of Art, The University of Chicago, Chicago, Illinois, USA Drawing the Question, Dorsky Gallery, New York, USA (brochure) Dust Breeding, Fraenkel gallery, San Francisco, CA; Luhring Augustine Gallery, New York, USA (catalogue) Transience and Sentimentality: Boston and Beyond, The Instate of Contemporary Art, Boston, USA Humble County, D'Amelio Terras, New York, USA Pop Surrealism, Aldrich Museum of Contemporary Art, Ridgefield, USA (catalogue) Word perfect, Gallery 400, University of Illinois at Chicago, Chicago, USA Bob and Wheel, dfn Gallery, New York, USA At the Threshold of the Visible: Minuscule and Small - Scale Art, 1964 - 1996, Johnson Museum of Art, Cornell University, Ithica NY; Meyerhof Galleries, Maryland Institute of Art, Baltimore, MD; Art Gallery of Ontario, Toronto, Ontario, Canada; Art Gallery of Windsor, Windsor, Ontario, Canada; Virginia Beach Centre for the Arts, Virginia Beach, VA; Santa Monica Museum of Modern Art, Santa Monica, CA; Edmonton Art Gallery, Edmonton, Alberta, Canada, (ICA travelling exhibition) 1997 A Lasting Legacy: Selections from the Lannan Foundation Gift, The Geffen Contemporary at MOCA, Los Angeles, USA New Work: Drawings Today, San Francisco Museum of Modern Art, San Francisco, USA (catalogue) Identity Crisis: Self - Portraiture at the End of the Century, Milwaukee Art Museum, Milwaukee, USA (catalogue) Inaugural installation of the new galleries of contemporary art, The Art Institute of Chicago, USA Dane County Collects, Madison Art Centre, Madison, USA (brochure) Frankensteinian, Caren Golden Fine Art, New York, USA Lovecraft, Centre for Contemporary Art, Glasgow; Cabinet Gallery, London, Engl
New York, USA (selected by Gregory Allen) Drawing, Stephen Friedman Gallery, London, England 1999 Waste Management, Art Gallery of Ontario, Canada On the Ball: The Sphere in Contemporary Sculpture, DeCordova Museum and Sculpture Park, Lincoln, Massachusetts, USA Collectors Collect Contemporary Art: 1990 - 1999, Institute of Contemporary Art, Boston, USA (catalogue) Zero - G: When Gravity Becomes Form, Whitney Museum of American Art at Champion, Stamford, Connecticut, USA (catalogue) Ideas in Things, Irvine Fine Arts Center, Irvine, California, USA Holding Court, L & R Entwistle & Co Ltd, London, England Stuff, TBA Exhibition Space, Chicago, Illinois, USA 1998 More Pieces for the Puzzle: Recent Additions to the Collection, The Museum of Modern Art,
New York, USA Hindsight: Recent Work from the Permanent Collection, Whitney Museum of Contemporary Art, New York, NY Young Americans Part II, Saatchi Gallery, London, England Poussière (Dust Memories), Fonds Regional d'art Contemporain de Burgogne, Dijon, France; Fonds Regional d'Art Contemporain Bretagne, Galerie du Trib, Rennes, France (catalogue) Blunt Object, The David and Alfred Smart Museum of Art, The University of Chicago, Chicago, Illinois, USA Drawing the Question, Dorsky Gallery, New York, USA (brochure) Dust Breeding, Fraenkel gallery, San Francisco, CA; Luhring Augustine Gallery, New York, USA (catalogue) Transience and Sentimentality: Boston and Beyond, The Instate of Contemporary Art, Boston, USA Humble County, D'Amelio Terras, New York, USA Pop Surrealism, Aldrich Museum of Contemporary Art, Ridgefield, USA (catalogue) Word perfect, Gallery 400, University of Illinois at Chicago, Chicago, USA Bob and Wheel, dfn Gallery, New York, USA At the Threshold of the Visible: Minuscule and Small - Scale Art, 1964 - 1996, Johnson Museum of Art, Cornell University, Ithica NY; Meyerhof Galleries, Maryland Institute of Art, Baltimore, MD; Art Gallery of Ontario, Toronto, Ontario, Canada; Art Gallery of Windsor, Windsor, Ontario, Canada; Virginia Beach Centre for the Arts, Virginia Beach, VA; Santa Monica Museum of Modern Art, Santa Monica, CA; Edmonton Art Gallery, Edmonton, Alberta, Canada, (ICA travelling exhibition) 1997 A Lasting Legacy: Selections from the Lannan Foundation Gift, The Geffen Contemporary at MOCA, Los Angeles, USA New Work: Drawings Today, San Francisco Museum of Modern Art, San Francisco, USA (catalogue) Identity Crisis: Self - Portraiture at the End of the Century, Milwaukee Art Museum, Milwaukee, USA (catalogue) Inaugural installation of the new galleries of contemporary art, The Art Institute of Chicago, USA Dane County Collects, Madison Art Centre, Madison, USA (brochure) Frankensteinian, Caren Golden Fine Art, New York, USA Lovecraft, Centre for Contemporary Art, Glasgow; Cabinet Gallery, London, Engl
New York, USA Hindsight: Recent Work from the Permanent Collection, Whitney Museum of Contemporary Art,
New York, NY Young Americans Part II, Saatchi Gallery, London, England Poussière (Dust Memories), Fonds Regional d'art Contemporain de Burgogne, Dijon, France; Fonds Regional d'Art Contemporain Bretagne, Galerie du Trib, Rennes, France (catalogue) Blunt Object, The David and Alfred Smart Museum of Art, The University of Chicago, Chicago, Illinois, USA Drawing the Question, Dorsky Gallery, New York, USA (brochure) Dust Breeding, Fraenkel gallery, San Francisco, CA; Luhring Augustine Gallery, New York, USA (catalogue) Transience and Sentimentality: Boston and Beyond, The Instate of Contemporary Art, Boston, USA Humble County, D'Amelio Terras, New York, USA Pop Surrealism, Aldrich Museum of Contemporary Art, Ridgefield, USA (catalogue) Word perfect, Gallery 400, University of Illinois at Chicago, Chicago, USA Bob and Wheel, dfn Gallery, New York, USA At the Threshold of the Visible: Minuscule and Small - Scale Art, 1964 - 1996, Johnson Museum of Art, Cornell University, Ithica NY; Meyerhof Galleries, Maryland Institute of Art, Baltimore, MD; Art Gallery of Ontario, Toronto, Ontario, Canada; Art Gallery of Windsor, Windsor, Ontario, Canada; Virginia Beach Centre for the Arts, Virginia Beach, VA; Santa Monica Museum of Modern Art, Santa Monica, CA; Edmonton Art Gallery, Edmonton, Alberta, Canada, (ICA travelling exhibition) 1997 A Lasting Legacy: Selections from the Lannan Foundation Gift, The Geffen Contemporary at MOCA, Los Angeles, USA New Work: Drawings Today, San Francisco Museum of Modern Art, San Francisco, USA (catalogue) Identity Crisis: Self - Portraiture at the End of the Century, Milwaukee Art Museum, Milwaukee, USA (catalogue) Inaugural installation of the new galleries of contemporary art, The Art Institute of Chicago, USA Dane County Collects, Madison Art Centre, Madison, USA (brochure) Frankensteinian, Caren Golden Fine Art, New York, USA Lovecraft, Centre for Contemporary Art, Glasgow; Cabinet Gallery, London, Engl
New York, NY Young Americans Part II, Saatchi Gallery, London, England Poussière (Dust Memories), Fonds Regional d'art Contemporain de Burgogne, Dijon, France; Fonds Regional d'Art Contemporain Bretagne, Galerie du Trib, Rennes, France (catalogue) Blunt Object, The David and Alfred Smart Museum of Art, The University of Chicago, Chicago, Illinois, USA Drawing the Question, Dorsky Gallery,
New York, USA (brochure) Dust Breeding, Fraenkel gallery, San Francisco, CA; Luhring Augustine Gallery, New York, USA (catalogue) Transience and Sentimentality: Boston and Beyond, The Instate of Contemporary Art, Boston, USA Humble County, D'Amelio Terras, New York, USA Pop Surrealism, Aldrich Museum of Contemporary Art, Ridgefield, USA (catalogue) Word perfect, Gallery 400, University of Illinois at Chicago, Chicago, USA Bob and Wheel, dfn Gallery, New York, USA At the Threshold of the Visible: Minuscule and Small - Scale Art, 1964 - 1996, Johnson Museum of Art, Cornell University, Ithica NY; Meyerhof Galleries, Maryland Institute of Art, Baltimore, MD; Art Gallery of Ontario, Toronto, Ontario, Canada; Art Gallery of Windsor, Windsor, Ontario, Canada; Virginia Beach Centre for the Arts, Virginia Beach, VA; Santa Monica Museum of Modern Art, Santa Monica, CA; Edmonton Art Gallery, Edmonton, Alberta, Canada, (ICA travelling exhibition) 1997 A Lasting Legacy: Selections from the Lannan Foundation Gift, The Geffen Contemporary at MOCA, Los Angeles, USA New Work: Drawings Today, San Francisco Museum of Modern Art, San Francisco, USA (catalogue) Identity Crisis: Self - Portraiture at the End of the Century, Milwaukee Art Museum, Milwaukee, USA (catalogue) Inaugural installation of the new galleries of contemporary art, The Art Institute of Chicago, USA Dane County Collects, Madison Art Centre, Madison, USA (brochure) Frankensteinian, Caren Golden Fine Art, New York, USA Lovecraft, Centre for Contemporary Art, Glasgow; Cabinet Gallery, London, Engl
New York, USA (brochure) Dust Breeding, Fraenkel gallery, San Francisco, CA; Luhring Augustine Gallery,
New York, USA (catalogue) Transience and Sentimentality: Boston and Beyond, The Instate of Contemporary Art, Boston, USA Humble County, D'Amelio Terras, New York, USA Pop Surrealism, Aldrich Museum of Contemporary Art, Ridgefield, USA (catalogue) Word perfect, Gallery 400, University of Illinois at Chicago, Chicago, USA Bob and Wheel, dfn Gallery, New York, USA At the Threshold of the Visible: Minuscule and Small - Scale Art, 1964 - 1996, Johnson Museum of Art, Cornell University, Ithica NY; Meyerhof Galleries, Maryland Institute of Art, Baltimore, MD; Art Gallery of Ontario, Toronto, Ontario, Canada; Art Gallery of Windsor, Windsor, Ontario, Canada; Virginia Beach Centre for the Arts, Virginia Beach, VA; Santa Monica Museum of Modern Art, Santa Monica, CA; Edmonton Art Gallery, Edmonton, Alberta, Canada, (ICA travelling exhibition) 1997 A Lasting Legacy: Selections from the Lannan Foundation Gift, The Geffen Contemporary at MOCA, Los Angeles, USA New Work: Drawings Today, San Francisco Museum of Modern Art, San Francisco, USA (catalogue) Identity Crisis: Self - Portraiture at the End of the Century, Milwaukee Art Museum, Milwaukee, USA (catalogue) Inaugural installation of the new galleries of contemporary art, The Art Institute of Chicago, USA Dane County Collects, Madison Art Centre, Madison, USA (brochure) Frankensteinian, Caren Golden Fine Art, New York, USA Lovecraft, Centre for Contemporary Art, Glasgow; Cabinet Gallery, London, Engl
New York, USA (catalogue) Transience and Sentimentality: Boston and Beyond, The Instate of Contemporary Art, Boston, USA Humble County, D'Amelio Terras,
New York, USA Pop Surrealism, Aldrich Museum of Contemporary Art, Ridgefield, USA (catalogue) Word perfect, Gallery 400, University of Illinois at Chicago, Chicago, USA Bob and Wheel, dfn Gallery, New York, USA At the Threshold of the Visible: Minuscule and Small - Scale Art, 1964 - 1996, Johnson Museum of Art, Cornell University, Ithica NY; Meyerhof Galleries, Maryland Institute of Art, Baltimore, MD; Art Gallery of Ontario, Toronto, Ontario, Canada; Art Gallery of Windsor, Windsor, Ontario, Canada; Virginia Beach Centre for the Arts, Virginia Beach, VA; Santa Monica Museum of Modern Art, Santa Monica, CA; Edmonton Art Gallery, Edmonton, Alberta, Canada, (ICA travelling exhibition) 1997 A Lasting Legacy: Selections from the Lannan Foundation Gift, The Geffen Contemporary at MOCA, Los Angeles, USA New Work: Drawings Today, San Francisco Museum of Modern Art, San Francisco, USA (catalogue) Identity Crisis: Self - Portraiture at the End of the Century, Milwaukee Art Museum, Milwaukee, USA (catalogue) Inaugural installation of the new galleries of contemporary art, The Art Institute of Chicago, USA Dane County Collects, Madison Art Centre, Madison, USA (brochure) Frankensteinian, Caren Golden Fine Art, New York, USA Lovecraft, Centre for Contemporary Art, Glasgow; Cabinet Gallery, London, Engl
New York, USA Pop Surrealism, Aldrich Museum of Contemporary Art, Ridgefield, USA (catalogue) Word perfect, Gallery 400, University of Illinois at Chicago, Chicago, USA Bob and Wheel, dfn Gallery,
New York, USA At the Threshold of the Visible: Minuscule and Small - Scale Art, 1964 - 1996, Johnson Museum of Art, Cornell University, Ithica NY; Meyerhof Galleries, Maryland Institute of Art, Baltimore, MD; Art Gallery of Ontario, Toronto, Ontario, Canada; Art Gallery of Windsor, Windsor, Ontario, Canada; Virginia Beach Centre for the Arts, Virginia Beach, VA; Santa Monica Museum of Modern Art, Santa Monica, CA; Edmonton Art Gallery, Edmonton, Alberta, Canada, (ICA travelling exhibition) 1997 A Lasting Legacy: Selections from the Lannan Foundation Gift, The Geffen Contemporary at MOCA, Los Angeles, USA New Work: Drawings Today, San Francisco Museum of Modern Art, San Francisco, USA (catalogue) Identity Crisis: Self - Portraiture at the End of the Century, Milwaukee Art Museum, Milwaukee, USA (catalogue) Inaugural installation of the new galleries of contemporary art, The Art Institute of Chicago, USA Dane County Collects, Madison Art Centre, Madison, USA (brochure) Frankensteinian, Caren Golden Fine Art, New York, USA Lovecraft, Centre for Contemporary Art, Glasgow; Cabinet Gallery, London, Engl
New York, USA At the Threshold of the Visible: Minuscule and Small - Scale Art, 1964 - 1996, Johnson Museum of Art, Cornell University, Ithica NY; Meyerhof Galleries, Maryland Institute of Art, Baltimore, MD; Art Gallery of Ontario, Toronto, Ontario, Canada; Art Gallery of Windsor, Windsor, Ontario, Canada; Virginia Beach Centre for the Arts, Virginia Beach, VA; Santa Monica Museum of Modern Art, Santa Monica, CA; Edmonton Art Gallery, Edmonton, Alberta, Canada, (ICA travelling exhibition) 1997 A Lasting Legacy: Selections from the Lannan Foundation Gift, The Geffen Contemporary at MOCA, Los Angeles, USA
New Work: Drawings Today, San Francisco Museum of Modern Art, San Francisco, USA (catalogue) Identity Crisis: Self - Portraiture at the End of the Century, Milwaukee Art Museum, Milwaukee, USA (catalogue) Inaugural installation of the new galleries of contemporary art, The Art Institute of Chicago, USA Dane County Collects, Madison Art Centre, Madison, USA (brochure) Frankensteinian, Caren Golden Fine Art, New York, USA Lovecraft, Centre for Contemporary Art, Glasgow; Cabinet Gallery, London, Engl
New Work: Drawings Today, San Francisco Museum of Modern Art, San Francisco, USA (catalogue) Identity Crisis: Self - Portraiture at the End of the Century, Milwaukee Art Museum, Milwaukee, USA (catalogue) Inaugural
installation of the
new galleries of contemporary art, The Art Institute of Chicago, USA Dane County Collects, Madison Art Centre, Madison, USA (brochure) Frankensteinian, Caren Golden Fine Art, New York, USA Lovecraft, Centre for Contemporary Art, Glasgow; Cabinet Gallery, London, Engl
new galleries of contemporary art, The Art Institute of Chicago, USA Dane County Collects, Madison Art Centre, Madison, USA (brochure) Frankensteinian, Caren Golden Fine Art,
New York, USA Lovecraft, Centre for Contemporary Art, Glasgow; Cabinet Gallery, London, Engl
New York, USA Lovecraft, Centre for Contemporary Art, Glasgow; Cabinet Gallery, London, England
Other contents include an essay by Karl Ove Knausgaard (presented as a removable book); 100 frames from Lotte Reininger's 1926 animation The Adventures of Prince Achmed introduced by John Canemaker; two film treatments by screenwriter Hampton Fancher (Blade Runner), based on Esopus subscribers» submissions; anonymous photographs from the
collection of Peter Cohen; materials from MoMA's archives on events and
installations in the Museum's garden over the past 60 years; a piece on the creative process behind the survivalist game The Long Dark; a
new installment of a regular series, «Guarded Opinions,» for which guards from the Barnes Foundation discuss works they oversee; a comic book by George Cochrane; and a CD of
new music inspired by «close calls» experienced by 15 musicians, including Jo Lawry, YC the Cynic and Lemolo.
SJMA's permanent
collection of more than 2,000 20th - and 21st - century works of art includes paintings, sculpture,
installation,
new media, photography, drawings, prints, and artist books.
The
collection of works in this exhibition question this logic through a variety of media — from the vaguely violent forms of Noelle Allen's sculptural
installation, to the collaged camouflage in Jordan Martins» images,
new video work from Theodore Darst, and the swarm of drones in Nicholas Sagan's
installation.