Sentences with phrase «past in a contemporary way»

Not exact matches

But his answer diverges in two ways: (i) In speaking of «lateral tensions» as having some influence on what each natural moment passes on to later moments, Santayana is in conflict with Whitehead's view that in its process of becoming an actual occasion is causally quite detached from its contemporaries, and operates privately upon the past occasions which have entered into it in order to produce that over-all character which it will pass on to later occasionin two ways: (i) In speaking of «lateral tensions» as having some influence on what each natural moment passes on to later moments, Santayana is in conflict with Whitehead's view that in its process of becoming an actual occasion is causally quite detached from its contemporaries, and operates privately upon the past occasions which have entered into it in order to produce that over-all character which it will pass on to later occasionIn speaking of «lateral tensions» as having some influence on what each natural moment passes on to later moments, Santayana is in conflict with Whitehead's view that in its process of becoming an actual occasion is causally quite detached from its contemporaries, and operates privately upon the past occasions which have entered into it in order to produce that over-all character which it will pass on to later occasionin conflict with Whitehead's view that in its process of becoming an actual occasion is causally quite detached from its contemporaries, and operates privately upon the past occasions which have entered into it in order to produce that over-all character which it will pass on to later occasionin its process of becoming an actual occasion is causally quite detached from its contemporaries, and operates privately upon the past occasions which have entered into it in order to produce that over-all character which it will pass on to later occasionin order to produce that over-all character which it will pass on to later occasions.

Obviously the Jew did not think that in some outlandish way the past was actually re-played nor did he believe that what had happened in that past was, by its «being remembered», made in actual concrete fact a contemporary occurrence.

They are indispensable symbolic ways of making ourselves in some sense contemporary with the past events of salvation history.

To state it this way is to view context in terms of time: the influence of the past on the present and of contemporary society on our way of hearing and interpreting.

If he answers the contemporary questions in a way which does not do justice to the heritage of the past, his «new» theology may no longer qualify as Christian theology.

As Pope Benedict XVI has consistently reminded us, a renewal of priestly life and ministry is necessary in our own time if contemporary society is to be reclaimed for Christ: these great figures of the past can light us on our way today as well.

Generations from the past can often offer insights into our contemporary faith in ways we never would have thought about.

no one ordered the man to build a strike force around walcott and giroud or to put a quid on suarez «s asking price or to bring in nogo and park (or perez for that matter) or to sell gnabry and play iwobi regularly or to have ramsey playing in every position bar goalkeeper or to take 7 years to work out how to get the best from Ox or to believe merteshaker was alright for the epl when he was way past his international sell by date or to forego a world class DM for 5 years and then plonk down 30 odd mill on an average swiss international or try out a series of makeshift right backs and hope bellerin would maintain his earlier form and fitness... stan n`chips and co are certainly a shocking example of contemporary football ownership but on the pitch its all down to wenger and his delusions

One particular fascination of Fassbinder's was the way the ghosts of the past, specifically those of World War II, haunted contemporary German life — an interest that wedded him to many of the other artists of the New German Cinema movement, which began in the late 1960s.

Self - closing doors, the largest Starlight Headliner ever seen in a Rolls - Royce, the finest traditional and contemporary materials used in more bespoke and original ways and an interior that generally looks to the future rather than the past were all part of the brief for the new Phantom.

More fundamentally, a contemporary setting would not allow me to exercise my imagination in the same way as writing about the past.

Referencing past precedents of feminist art, installation, performance, and ideology, the artworks in the show present an expanded visual language that has resulted from a more inclusive art world, shaped in part by the social movements of the 1970's, thereby paying homage to a generation who has paved the way for contemporary female expression.

It helps explain why he still makes me uncomfortable, but now in a good way — and why his show is at once part of my distant past and very contemporary.

Contemporary artists like Pauline Boudry, Trajal Harrell, Sharon Hayes, Renate Lorenz, Allison Smith, and Wu Tsang engage expanded forms of re-enactment to destabilize the ways in which narratives of the past are narrowly constructed to privilege specific aspects of the present.

In the realm of contemporary painting, he is one to watch as his process evolves, paint interacts within the confines of surface - area and visual vulnerability and relevance of haunted moments are plucked from the past and transformed in a new and unrecognizable waIn the realm of contemporary painting, he is one to watch as his process evolves, paint interacts within the confines of surface - area and visual vulnerability and relevance of haunted moments are plucked from the past and transformed in a new and unrecognizable wain a new and unrecognizable way.

Visitors make their way past Robert Rauschenberg's «Ace,» from 1962, at the Museum of Contemporary Art in 2006.

She is also fascinated by history as well as the way in which events of the past continue to resonate today — as a result, many of her works draw on specific historical time periods to offer reinvented means of understanding our contemporary moment.

Curiously some of the commercial galleries that represent the apotheosis of the contemporary art industry and market, such as, here in NY, Gagosian and Zwirner, have been able to mount museum quality shows the past few years, including for example excellent Picasso and Frankenthaler exhibitions at Gagosian and the recent exhibition of Ad Reinhardt's work at Zwirner, in spaces that either are as beautiful as any museum or that are just functional in a good way, with few frills, just good walls and space.

Noah Becker's paintings in ways reference and are inspired by known past and contemporary works and add a perverse insight to the critique of the human condition portrayed in vastly vacuous and ominous landscapes.

«Ai's profoundly metaphorical body of work links contemporary Chinese culture with its past in ways that take on even deeper meaning in the setting of Israel, with its similarly ancient heritage.

Haunted: Contemporary Photography / Video / Performance examines the myriad ways by which photographic imagery is incorporated into recent art practices, and in the process underscores the unique power of reproductive media — while documenting a widespread contemporary obsession with accessing and retrieviContemporary Photography / Video / Performance examines the myriad ways by which photographic imagery is incorporated into recent art practices, and in the process underscores the unique power of reproductive media — while documenting a widespread contemporary obsession with accessing and retrievicontemporary obsession with accessing and retrieving the past.

«Maramotti was interested in contemporary art as an instrument to develop a vision of the future rather than a way of reflecting on the past,» she says.

Much of the past year has been spent planning for becoming a free - admission institution September 1, and «Delliquanti has been instrumental in planning the new branding, advertising, and information technology that will all accompany this major change in the way Atlanta Contemporary functions.»

Friday, December 6, 9 pm at the New World Center Farewell to the Past: Yinka Shonibare MBE Yinka Shonibare MBE - known for work exploring cultural identity, colonialism and post - colonialism within the contemporary context of globalization - uses music and dance to captivate and engage the viewer by mirroring our world in a regal, beautiful and unexpected way.

Select past exhibitions include Person of the Crowd: The Contemporary Art of Flânerie (2017), a city - wide exhibition featuring works by more than 50 artists in the Roberts Gallery, in street interventions throughout Philadelphia, and on the web; Nari Ward: Sun Splashed (2016), a mid-career survey of the artist's found - object assemblage art; Picasso: The Great War, Experimentation and Change (2016), which examined the artist's stylistic development during the First World War; and Mark Dion, Judy Pfaff, Fred Wilson: The Order of Things (2015), for which the Barnes commissioned three large - scale artist installations in response to the unconventional way Dr. Barnes displayed his collection.

Hoffmann is positioning himself to be a major player in this emerging field of the exhibition - as - exhibition - history: his most recent book Show Time: The 50 Most Influential Exhibitions of Contemporary Art, published by D.A.P., is a useful compendium of the most important museum exhibitions, biennials, and experimental exhibition projects from the late 1980s through today, offering a thorough look at art exhibitions from the past 30 years that have dramatically altered the way artists, curators, and art patrons experience the contemporaryContemporary Art, published by D.A.P., is a useful compendium of the most important museum exhibitions, biennials, and experimental exhibition projects from the late 1980s through today, offering a thorough look at art exhibitions from the past 30 years that have dramatically altered the way artists, curators, and art patrons experience the contemporarycontemporary exhibition.

According to Chalabi, the exhibition, titled «Archaic», will «explore the different ways in which Iraq's ancient past has affected its modern and contemporary visual languages -LSB-...].»

Commissioning this new work for The Hepworth Wakefield collection is the perfect way to help it grow meaningfully again and continue the city's progressive approach to collecting contemporary art, as it did in the past with Barbara Hepworth and Henry Moore.

David Walsh, Elizabeth Pearce, Jane Clark 2013 ISBN 9780980805888 Lindsay Seers, George Barber, Frieze, January 2013 One of Many, Adrian Dannatt, Artist Comes First, Jean - Marc Bustamante (ed), Toulouse International Art Festival (exhibition catalogue), June 2013 All the World's a Camera: Notes on non-human photography, Joanna Zylinska, Drone ISBN 978 -2-9808020-5-8 (pg 168 - 172) 2013 Lindsay Seers, Artangel at the Tin Tabernacle - Jo Applin, ArtForum, December 2012 Lindsay Seers, Martin Herbert, Art Monthly, October 2012 Exhibition, Ben Luke, Evening Standard, (pg 60 - 61) 20 September 2012 Lindsay Seers @ The Tin Tabernacle, Sophie Risner, Whitehot Magazine, September 2012 Artist Profile: Lindsay Seers, Beverly Knowles, this is tomorrow, 12 September 2012 Dream Voyage on a Ghost Ship, Richard Cork, Financial Times, (pg 15) 11 September 2012 Nowhere Less Now, Amy Dawson, Metro (pg 56) 7 September 2012 Voyage of Discovery, Helen Sumpter, Time Out, (pg 42) 6 - 12 September 2012 Nowhere Less Now, Rachel Cooke, The Observer, (pg 33) 2 September 2012 Divine Interventions, Georgia Dehn, Telegraph Magazine, 25 August 2012 Eine Buhne fur das Ich, Annette Hoffmann, Der Sonntag, 25 March 2012 Das Identitätsvakuum - Dietrich Roeschmann, Badische Zeitung, 27 March 2012 Ich ist ein anderer - Kunstverein Freiburg - Badische Zeitung, 21 March 2012 Action Painting - Jacob Lundström, FLM NR.16, March 2012 Dröm - fabriken - Peter Cornell, Kultur, 21 February 2012 Vita duken lockar Konstnärer - Fredrik Söderling, Dagens Nyheter (pg 4 - 5) 15 February 2012 Personligen Präglad - Clemens Poellinger, SvD söndag, (pg 4 - 5) 12 February 2012 Uppshippna hyllningar till - Helena Lindblad, Dagens Nyheter (pg 8 - 9) 9 February 2012 Bonniers Konsthall - Sara Schedin, Scan Magazine, (pg 48 - 9) Febuary 2012 Ausstellungen - Monopol, (pg 120) February 2012 Modeprovokatörer plockas up par museerna - Susanna Strömquist, Dagens Nyheter (pg 8 - 9) January 2012 Promosing in Kabelvåg - Seers» «Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011 Reconstructing the Past - Lindsay Seers» Photographic Narrative, Lee Halpin, Novel ², May / June 2011 Lindsay Seers, Oliver Basciano, Art Review, May 2011 Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011 Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011 The Projectionist, David Balzer, Eye Weekly, 6 April 2011 dis - covery, exhibition catalogue, 2011 Lindsay Seers: It has to be this way ², Paul Usherwood, Art Monthly, April 2011 Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011 It has to be this way ², 2011, novella published by Matt's Gallery, London Neo-Narration: stories of art, Mike Brennan, modernedition.com, 2010 Steps into the Arcane, ISBN 978 -3-869841-105-2, published 2010 It has to be this way1.5, novella 2010, published by Matt's Gallery, London Jarman Award, Laura McLean - Ferris, The Guardian, September 2009 Top Ten, ArtForum, Summer 2009 Reel to Real - On the material pleasure of film, Colin Perry, Art Monthly, July / August 2009 Remember Me, Tom Morton, Frieze, June / July / August 2009 It has to be this way, 2009, published by Matt's Gallery, London Lindsay Seers at Matt's Gallery, Gilda Williams, ArtForum, May 2009 Lindsay Seers: It has to be this way — Matt's Gallery, Chris Fite - Wassilak, Frieze, April 2009 Lindsay Seers: it has to be this way, Rebecca Geldard, Art Review, April 2009 Review of Altermodern - Tate Triennial 2009, Jorg Heiser, Frieze, April 2009 Tate Triennial: «Altermodern» — Tate Britain Feb 3 — April 26, 2009, Colin Perry, Art Monthly, March 2009 Lindsay Seers: It has to be this way (Matt's Gallery, London), Jennifer Thatcher, Art Monthly, March 2009 No sharks here, but plenty to bite on, Tom Lubbock, The Independent, 6 February 2009 Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009 «Altermodern» review: «The richest and most generous Tate Triennial yet», Adrian Searle, The Guardian, Feb 2009 Critics» Choice for exhibition at Matt's Gallery, Time Out London, January 29 — February 4 2009 In the studio, Time Out London, January 22 — 28 2009 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007 Human Camera, June 2007, Monograph book Published by Article Press Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006 Review of Wandering Rocks, Time Out London, February 1 — 8, 2006 Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS Artistic sleight of hand — «Eyes of Others» at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chris Townsenin Kabelvåg - Seers» «Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011 Reconstructing the Past - Lindsay Seers» Photographic Narrative, Lee Halpin, Novel ², May / June 2011 Lindsay Seers, Oliver Basciano, Art Review, May 2011 Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011 Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011 The Projectionist, David Balzer, Eye Weekly, 6 April 2011 dis - covery, exhibition catalogue, 2011 Lindsay Seers: It has to be this way ², Paul Usherwood, Art Monthly, April 2011 Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011 It has to be this way ², 2011, novella published by Matt's Gallery, London Neo-Narration: stories of art, Mike Brennan, modernedition.com, 2010 Steps into the Arcane, ISBN 978 -3-869841-105-2, published 2010 It has to be this way1.5, novella 2010, published by Matt's Gallery, London Jarman Award, Laura McLean - Ferris, The Guardian, September 2009 Top Ten, ArtForum, Summer 2009 Reel to Real - On the material pleasure of film, Colin Perry, Art Monthly, July / August 2009 Remember Me, Tom Morton, Frieze, June / July / August 2009 It has to be this way, 2009, published by Matt's Gallery, London Lindsay Seers at Matt's Gallery, Gilda Williams, ArtForum, May 2009 Lindsay Seers: It has to be this way — Matt's Gallery, Chris Fite - Wassilak, Frieze, April 2009 Lindsay Seers: it has to be this way, Rebecca Geldard, Art Review, April 2009 Review of Altermodern - Tate Triennial 2009, Jorg Heiser, Frieze, April 2009 Tate Triennial: «Altermodern» — Tate Britain Feb 3 — April 26, 2009, Colin Perry, Art Monthly, March 2009 Lindsay Seers: It has to be this way (Matt's Gallery, London), Jennifer Thatcher, Art Monthly, March 2009 No sharks here, but plenty to bite on, Tom Lubbock, The Independent, 6 February 2009 Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009 «Altermodern» review: «The richest and most generous Tate Triennial yet», Adrian Searle, The Guardian, Feb 2009 Critics» Choice for exhibition at Matt's Gallery, Time Out London, January 29 — February 4 2009 In the studio, Time Out London, January 22 — 28 2009 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007 Human Camera, June 2007, Monograph book Published by Article Press Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006 Review of Wandering Rocks, Time Out London, February 1 — 8, 2006 Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS Artistic sleight of hand — «Eyes of Others» at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chris TownsenIn the studio, Time Out London, January 22 — 28 2009 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007 Human Camera, June 2007, Monograph book Published by Article Press Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006 Review of Wandering Rocks, Time Out London, February 1 — 8, 2006 Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS Artistic sleight of hand — «Eyes of Others» at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chris Townsenin issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chris Townsend.

Many contemporary artists are getting to show great interests in the cinema historically or technically, and many works referring to the films in the past have been produced in order to express their ways of understanding about the work or a perspective about the world as a whole.

Through their juxtaposition with contemporary works of art, these commonplace pictures of the past move beyond their original purpose and intent to engage us in new ways.

Its highly ambitious first show was curated by Paul Schimmel and scholar Jenni Sorkin, and explores the way in which 34 female artists (such as Louise Nevelson, Louis Bourgeois, Lee Bontecou, Ruth Asawa, Lynda Benglis, Eva Hesse, Jessica Stockholder, Karla Black, and Liz Larner) over the past 70 years have radically shaped and changed the conversation around sculpture in modern and contemporary art.

This was an Abstract Expressionism that was being fed in a different way than we were asked to understand by most art historians and in which the artist was imagined as always outside of time in order to make the historical past uniquely contemporary in their own work.

Selected recent solo exhibitions include: Para / Fictions, Witte de With Center for Contemporary Art, Rotterdam NL (upcoming 2017); AND SHE WILL SAY: HI HER, AILLEURS, TO HIGHER GROUNDS..., Kunstmuseum Luzern CH; GDM - Grandad Visitor Center, Pirelli Hangar Bicocca, Milan IT; ALL BEHIND, WE»LL GO DEEPER, DEEP DOWN AND SHE WILL SAY:, MMK, Frankfurt DE; DROPPED HERE AND THEN, TO LIVE, LEAVE IT ALL BEHIND, FRAC / Consortium Dijon FR; Into all is here, Red Brick Art Museum, Beijing CN; C'est l'est not ouest, State of Concept, Athens GR; A Way To Leak, Lick, Leek, Fahrenheit, Los Angeles US (all 2016); We would be floating away from the dirty past, DER ÖFFENTLICHKEIT: Laure Prouvost, Haus Der Kunst, Munich DE; Dear dirty dark drink drift down deep droll (in der dole), carlier gebauer, Berlin DE; Laure Prouvost: It, Heat, Hit, e-flux, New York US; Burrow Me, Rupert, Vilnius LT (all 2015); Laure Prouvost, Neuer Berliner Kunstverein, Berlin DE; While You Weren't Looking, Laboratorio Arte Alameda, Mexico City, MX; The Meeting, MOT International, Brussels BE; Polpomotorino, Morra Greco Foundation, Naples IT; For Forgetting, New Museum, New York US (all 2014); Max Mara Art Prize for Women, Whitechapel Gallery, London UK and Reggio Emilia IT; Laure Prouvost / Adam Chodzko, Tate Britain, London UK; Display: Laure Prouvost, Contemporary Art Society, London UK (all 2013).

Organised in partnership with Afterall, this series of talks is inspired by the Exhibition Histories books, which focus on exhibitions of contemporary art from the past fifty years that have changed the way art is seen and made.

Taken from Raphael Rubinstein's book The Miraculous (Paper Monument, 2014), short stories — from one sentence to several paragraphs, recounting acts from the past fifty years of avant - garde and contemporary art — are documented at unexpected spots and in unexpected ways.

Featuring rare works by Pablo Picasso, Andy Warhol, and Roy Lichtenstein in addition to pieces by contemporaries Thalen & Thalen, Gino Miles, Chris Bracey and David Spiller, Silver, Gold, and Bold invites viewers to explore a history of modern art through the eyes of some of the generation's greatests — from decades past to present — all of whom re-contextualized their respective mediums in profoundly personal ways.

Then as our community moves progressively forward, we can all still be relieved to know that Miami is still on its way to transcending its past as just another dumbed down tourist destination — promoting that less thoughtful decaying visual aroma that we still get a whiff of now and then... that kind of old Miami putrid commercialized smell that turned so many despondent and sour and caused the international arts communities to view Miami's indifference to an international discourse as but a memory, constantly recuperating the South Florida pastiche... a past that if you need reminding of you need only take a trip to Key West to know what kind of image Miami is still fighting against — the land built on coral and swamp, but filled with cheap and shallow tawdriness, like acid in your contemporary, progressive face, eyes of mundane kitschy campiness saddening and maddening, dumbed down affection that solicits and sells itself to another kind of cultural neanderthal — the accidental drunken tourist who seeks passive mediocrity and the same in other kindred spirits -LSB-.]

Haunted: Contemporary Photography / Video / Performance, features over one hundred works by sixty different artists who examine myriad ways in which photographic imagery is incorporated into recent art, with the aim of underscoring the unique power of recording technologies and documenting a widespread contemporary obsession with accessing the past, both collective andContemporary Photography / Video / Performance, features over one hundred works by sixty different artists who examine myriad ways in which photographic imagery is incorporated into recent art, with the aim of underscoring the unique power of recording technologies and documenting a widespread contemporary obsession with accessing the past, both collective andcontemporary obsession with accessing the past, both collective and individual.

It is hard to say if Smart Tree is a relic from a distant past or an image of a near future; either way, as with all of Ward's sculptures, it captures what it means to live and grow roots in a contemporary metropolis.»

Although past history and experiences certainly can play a role in contemporary problems, treatment starts in an active and directive way to help relieve the symptoms or distress that motivates treatment in the first place.