Sentences with phrase «through free exhibitions»

Oklahoma Contemporary Arts Center, founded as City Arts Center in 1989 by Christian Keesee, is an Oklahoma City nonprofit committed to providing accessible, inclusive arts experiences through free exhibitions, events and performances and offering low - cost, high - quality arts classes and camps for youth and adults.

It's a not - for - profit experiment where contributing artists have joined forces to bring contemporary art to everyone through a free exhibition at the W3Gallery in Acton, West London.

Not exact matches

Would you rather spend your free time cantering through the countryside on your palomino, angling for plump catfish to fry up with butter, or checking out edgy new artists at local exhibitions?

They are free to choose whether to read wall text or take audio tours, free to follow a recommended trail through an exhibition or choose their own path.

Visitors to The Education Show will also have access to a range of free CPD (continuing professional development) and training, through a programme of seminars and workshops running in theatres alongside the exhibition.

Exhibition dates: September 10 through December 18, 2016 Location: Fort Winfield Scott and the Presidio, in San Francisco's Golden Gate National Recreation Area Hours: Wednesday through Sunday, 10 a.m. to 6 p.m. Admission: free Information: for - site.

In San Francisco, this free exhibition (through April 17) will be right here in the Presidio, along Crissy Field.

With your TICKET THROUGH TIME, you can explore the rich collections, contemporary exhibitions and displays at our museums, stroll through glorious gardens, enjoy stunning views and join a free guided tour and discover why our museums and their past occupants are such an important part of Australia's hTHROUGH TIME, you can explore the rich collections, contemporary exhibitions and displays at our museums, stroll through glorious gardens, enjoy stunning views and join a free guided tour and discover why our museums and their past occupants are such an important part of Australia's hthrough glorious gardens, enjoy stunning views and join a free guided tour and discover why our museums and their past occupants are such an important part of Australia's history.

Other classic or career - defining works from the past 50 years punctuate the exhibition, from Rodney Graham's breakout, time - bending cinematic short, Vexation Island (1997), to a trio of Marina Abramović films — Freeing the Mind, Freeing the Body, Freeing the Voice (1975)-- in which the expectation of a human's potential is also tested, albeit in stark physical and mental terms, rather than through Graham's comic flourish.

Saturday, June 6 2015 from 5:00 pm to 8:00 pm Kavi Gupta Gallery 219 North Elizabeth St Chicago IL 60607 Free Admission (On Exhibit through August 1 2015) Kavi Gupta is proud to announce a solo exhibition...

Bumbershoot Music Festival Opening: Free to the public in conjunction with Mayor's Arts Awards on Thursday (8/31), 5 - 8 pm Exhibition: Bumbershoot pass holders only from Friday (9/1) through Sunday (9/3), 2 - 9 pm International Fountain Pavilion Seattle, WA

San Francisco, Calif., February 14, 2017 — On view at CCA Wattis Institute for Contemporary Arts from March 16 through May 14, 2017, the exhibition Black Light converts the gallery space into a forum for conversation with a series of free public events that address the relationship between cultural institutions and black artists.

«Through free general admission, we are thrilled to welcome audiences to experience this landmark exhibition and our new permanent home.»

The event, to which admission is free, is part of the HB Public calendar of special events that Pirelli HangarBicocca organizes around each exhibition with the aim of promoting contemporary culture through all disciplines.

For one Saturday only, the curator invites the public to bring artworks to the exhibition for free photo documentation of any artwork that can fit through the door.

The Addison Gallery, located in a stand - alone building on the campus of Phillips Academy, a residential school of grades nine through 12 in Andover, Massachusetts, offers a continually rotating series of exhibitions and programs, all of which are free and open to the public.

This exhibition is included with general admission (free for DAM members) and is on view through April 17.

Exhibitions are held there seasonally, from May through November, and are open to the public by appointment, free - of - charge.

Opening Reception Friday, 19 July 2013 from 6 — 8 pm Exhibition walk - through with Alix Pearlstein Saturday, 20 July 2013 at 10 am Ballroom Marfa FREE

Art in General gives selected artists the opportunity to create and present new work by providing them with a high level of organizational and conceptual support including artist fees, production fees, exhibition space, a solo exhibition, promotion, and opportunities to engage with audiences through free online and public programs.

Ongoing Special Exhibitions Unreal: Conceptual Photographs from the 1970s and 80s Through December 29, 2013 Free admission

The exhibition is free and open to the public and will run from November 30, 2012 through January 19, 2013.

• Sunday, June 10, from 1 - 3 pm, there will be an opening event for the exhibition; • Sunday, June 17, at 2 pm, Butler Director Dr. Louis Zona will present a free art talk, «Joan Mitchell in Historical Context,» in the museum's Beecher Center auditorium; • Groups may call to schedule a tour by Butler docent volunteers who will guide visitors through the Joan Mitchell exhibits (330.743.1107, ext. 115);

Ongoing Special Exhibitions Van Gogh, Manet, and Matisse: The Art of the Flower Through June 21, 2015 Altria Group and NewMarket Galleries Ticketed, VMFA members free Accompanying catalogue

in Art News, vol.81, no. 1, January 1982 (review of John Moores Liverpool Exhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts&raquExhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts&raquexhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts&raquExhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» Expert.

The Paris art museum's first solo architecture exhibition, dubbed Freeing Architecture, is on view through June 18, 2018.

The CCS Galleries and Hessel Museum of Art at Bard College are open Wednesdays through Sundays from 1:00 to 5:00 p.m.. All CCS Bard exhibitions and public programs are free and open to the public.

The CCS Bard Galleries and Hessel Museum of Art at Bard College are open Wednesday through Sunday from 1:00 to 5:00 p.m.. All CCS Bard exhibitions and public programs are free and open to the public.

Free tours of this exhibition take place Thursday through Sunday at 3 p.m. and begin at the exhibition entrance on the second floor.

We invite you to enjoy free admission to Trevor Paglen: The Other Night Sky from August 6 through the closing of the exhibition on September 14.

In partnership with the Village of Riverside, RAC is pleased to highlight exceptional work by local artists through these 2 - 3 month long exhibitions, which are located on the first floor lobby and are always free and open to the public during regular Town Hall business hours.

The exhibitions they organize are open to the public free of charge, and their programs are promoted through specific cultural communication.

The Warehouse Gallery opens its first exhibition of contemporary international art with Faux Naturel, on view 9 November 2006 through 27 January 2007, free to the public.

The exhibition, which is free and open to the public, will be on view in the second floor gallery through April 27, 2013.

Admission is free, and the exhibition is open Wednesday through Sunday, noon to 5 p.m.

The exhibition will be free and open to the public from December 1, 2017 through February 11, 2018 and accompanied by parallel public talks with the artist, and educational programming at UC Berkeley, SFAI, Mills College, and UC Santa Cruz.

The earliest works in the exhibition from the 1960s by the visionary designer Buckminster Fuller, and the Japanese collective, The PLAY provide a further through - line from the»60s countercultural sentiment that artists, designers, and free thinkers could redirect us toward a more sustainable future.

The opening reception will be Saturday, September 12th, from 7 - 11 pm, the exhibition is free and open to the public for viewing through October 3rd, 2015.

The 29 artists in this exhibition create work that portrays seemingly free - form or random daubs and spots through methodical and controlled processes.

On September 30, it re-opened with a dazzling new exhibition of the works of Barbara Kruger, which is open to the public (and free) through January 22.

Free to view in the Dupree Gallery through July 1 Grant Wood and the American Heartland... Exhibition of prints & Works on Paper.

Pick up free Activity Trail by artist Laura X Carle guiding younger visitors through the exhibition Mary Heilmann: Looking at Pictures.

Lauren Cornell will give an overview of her work with Rhizome and the New Museum, focusing specifically on her most recent exhibition Free, which explored how the internet has re-defined our notion of public space and transformed our landscape of information through the work of twenty - three emerging artists.

The exhibition runs from September 10 through October 9 in Room 311 of the Juliana Curran Terian Design Center on the Brooklyn Campus and is free and open to the public.

15 % Discount on Workshops and Free Lectures Free 4x5 Tintype Studio Portrait Session (Only for Volunteers) 10 % Discount on Film Processing at LTI 10 % Discount on Facility Rental Members Exhibition at Soho Photo Gallery Private Studio Visit at one of NYC's most esteemed Artist Studios (Date and Artist to be Announced) Private Walk Through with Artist at one of NYC's Top Photo Galleries (Date and Galley to be Announced)

20 % Discount on Workshops 20 % Discount on Film Processing at LTI 15 % Discount on Facility Rental Members Exhibition at Soho Photo Gallery Private Studio Visit at one of the most important NYC Artist Studio's (Date and Artist to be Announced) Private Walk Through with artist at one of NYC Top Photo Galleries (Date and Galley to be Announced) Free Lectures (One year cycle.

After the inaugural exhibitions — some of which run through the fall, others into 2017 — curators will be free to integrate Fisher Collection works with pieces from the permanent collection in a range of exhibitions, and Campaign for Art donations — some of which are gifts, others pledges or bequests — will be part of the permanent collection depending on arrangements made with their benefactors.

The opening reception will be Thursday, May 14th, from 6 — 10 pm, the exhibition is free and open to the public for viewing through June 27th.

The opening reception will be Saturday, March 14th, from 7 - 11 pm, the exhibition is free and open to the public for viewing through April 4th, 2015.

Free with paid Museum admission Join Assistant Curator Natalie Bell for a walk - through of «Andra Ursuţa: Alps,» the first New York museum exhibition of the artist's work.