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Events in Art and Archaeology

Kwame Brathwaite: Untitled (Ali at his camp)1974, printed 2016Selenium tone silver gelatin print, matted and framedEd. of 1012 x 18 in., 30.48 x 45.72 cm (image)15.5 x 21.5 in., 39.37 x 54.61 cm framed
Kwame Brathwaite: Untitled (Ali at his camp)
1974, printed 2016
Selenium tone silver gelatin print, matted and framed
Ed. of 10
12 x 18 in., 30.48 x 45.72 cm (image)
15.5 x 21.5 in., 39.37 x 54.61 cm framed
2732: Black is Beautiful: Empowerment Through the Lens of Kwame Brathwaite, 1962 - 1975
LOS ANGELES  •  Cherry and Martin  •  21 May - 30 July 2016
 

Inspired in part by the writings of Marcus Garvey, Kwame Brathwaite, his older brother, Elombe Brath, and the African Jazz Arts Society and Studios (AJASS) popularized the phrase “Black is Beautiful” in the late 50's and early 60’s. “Black is Beautiful” is one of the most important political and cultural ideas of the twentieth century. Brathwaite and Brath did their part to spread this idea through Brathwaite’s writings and photographs and the activities of the two organizations they helped co-found: AJASS and the Grandassa Models.

Kwame Brathwaite’s photographs were specifically intended to shape the course of American visual discourse. His photographs foreground how artistic and political vision can affect change in popular culture and how popular culture can affect change on culture at large. The subjects of Brathwaite’s carefully crafted photographs invoke the power of a range of objects, such as books, musical instruments and artworks. The dress and hairstyles of his subjects point to their sense of themselves, while the environs of his subjects direct the viewer to a community of artist activists—writers, painters, playwrights, fashion designers and musicians. Brathwaite’s work demonstrates the power of photography as an essential cultural tool in the dissemination of new political ideas, its power to stage visual rhetoric and its ability make language visible.

Kwame Brathwaite was born in Brooklyn in 1938. His parents were born in Barbados. Brathwaite and his older brother, Elombe Brath, now deceased, and his younger brother John, were raised in a politically-conscious and artistic household. By the late 1950's, shortly after graduating from high school, Brathwaite and Brath became active in the African Nationalist Pioneer Movement (ANPM) led by Carlos Cooks. They were also involved in the early struggle in Southern Africa, forming in 1961 their Bronx-based South-West Africa Relief Committee to support Sam Nujoma’s South-West Africa People’s Organization (SWAPO) and later, the People’s Liberation Army of Namibia (PLAN). Parallel to these political activities the two brothers were regularly producing concerts—a who’s-who of top Jazz figures of the time –at such venues as Club 845 in the Bronx and Small’s Paradise in Harlem.

Brathwaite’s regular reporting and pictorials for leading black publications such as The Amsterdam News, City Sun and The Daily Challenge beginning in the early 60's helped set the stage for the Black Arts Movement and the Black Power movement. By the 1970's, Brathwaite was one of the top concert photographers, shaping the images of such public figures as Stevie Wonder, Bob Marley, James Brown and Muhammad Ali. Brathwaite wrote about and photographed such landmark events as the “The Motown Revue” at the Apollo (1963); “WattStax ’72” (1972); The Jackson 5’s first trip to Africa (1974); and the “Festival in Zaire” (1974, which accompanied the famous Foreman-Ali fight, “The Rumble in the Jungle”).



Cherry and Martin Website


Contact: Cherry and Martin
2712 S. La Cienega Boulevard
Los Angeles, California 90034
Tel: (1) 310 559 0100

<P>Kehinde Wiley: <EM>Sleep</EM>, 2008Oil on Canvas</P> • <P>&nbsp;</P>

Kehinde Wiley: Sleep, 2008
Oil on Canvas

 

30 Americans
CINCINNATI, OHIO  •  Cincinnati Art Museum  •  19 March - 28 August 2016
 

30 Americans showcases art by many of the most important African-American artists of the last three decades. This provocative exhibition focuses on issues of racial, gender, and historical identity in contemporary culture while exploring the powerful influence of artistic legacy and community across generations. The works are drawn primarily from the Rubell Family Collection.

Artists in Exhibition:

Nina Chanel Abney
John Bankston
Jean-Michel Basquiat
Mark Bradford
Iona Rozeal Brown
Nick Cave
Robert Colescott
Noah Davis
Leonardo Drew
Renée Green
David Hammons
Barkley L. Hendricks
Rashid Johnson
Glenn Ligon
Kalup Linzy
Kerry James Marshall
Rodney McMillian
Wangechi Mutu
William Pope.L
Gary Simmons
Xaviera Simmons
Lorna Simpson
Shinique Smith
Jeff Sonhouse
Henry Taylor
Hank Willis Thomas
Mickalene Thomas
Kara Walker
Carrie Mae Weems
Kehinde Wiley
Purvis Young



Cincinnati Art Museum Website


Contact:
Cincinnati Art Museum
953 Eden Park Drive
Cincinnati, OH 45202

Tel: (1) 513 721-ARTS (2787)

Osias Beert (Antwerp 1580 – 1624): <EM>Still Life of Flowers in a Stone Vase in a Niche</EM>Oil on panel, cradledOn loan from the Grasset Collection
Osias Beert (Antwerp 1580 – 1624): Still Life of Flowers in a Stone Vase in a Niche
Oil on panel, cradled
On loan from the Grasset Collection
Brueghel to Canaletto: European Masterpieces from the Grasset Collection
SAN DIEGO, CALIFORNIA  •  The San Diego Museum of Art  •  2 April - 2 August 2016
 

This exhibition features fine still life and landscape paintings from leading Dutch, Flemish, Italian, Spanish and German artists of the 17th & 18th centuries. Made possible by a loan from a European family, of French origin with close connection to Spain, the exhibition features 40 works never before displayed publicly including landscapes ranging from masters like Jan Brueghel the Elder and Barent Avercamp to the greatest of all Venetian view-painters, Canaletto. The collection is on view at the San Diego Museum, the sole venue for the exhibition.

Spanning the years 1600 to 1750, the featured works represent a turning point in history when artwork began to be collected by those other than nobility–and the art market emerged.



The San Diego Museum of Art Website


Contact:

The San Diego Museum of Art
1450 El Prado
Balboa Park
San Diego, CA


Tel: (1) 619 232 79 31

Court and Cosmos: The Great Age of the Seljuqs
NEW YORK  •  Metropolitan Museum of Art  •  27 April - 24 July 2016
 

One of the most productive periods in the history of the region from Iran to Anatolia corresponds to the rule of the Seljuqs and their immediate successors, from 1038 to 1307. The Seljuqs were a Turkic dynasty of Central Asian nomadic origin that in short time conquered a vast territory in West Asia stretching from present-day Turkmenistan, Iran, Iraq, Syria, and Turkey. The lands controlled by the Seljuqs were not a unified empire, but controlled by various branches of the Seljuqs and their successor dynasties (Rum Seljuqs, Artuqids, Zangids, and others). Under Seljuq rule, the exchange and synthesis of diverse traditions—including Turkmen, Perso-Arabo-Islamic, Byzantine, Armenian, Crusader, and other Christian cultures—accompanied economic prosperity, advances in science and technology, and a great flowering of culture within the realm.

This international loan exhibition features works of art created in the 11th through 13th century from Turkmenistan to the Mediterranean. Approximately 270 objects—including ceramics, glass, stucco, works on paper, woodwork, textiles, and metalwork—from American, European, and Middle Eastern public and private collections are on view.

Under the Great Seljuqs of Iran, the middle class prospered, spurring arts patronage, technological advancements, and a market for luxury goods. In contrast, in Anatolia and the Jazira (northwestern Iraq, northeastern Syria, and southeastern Turkey)—which were controlled by the Seljuq successor dynasties—art was produced under royal patronage, and Islamic iconography was introduced to a predominantly Christian area.

Furthermore, a number of artists had immigrated to the region from Iran in response to the Mongol conquest in 1220. Because patrons, consumers, and artists came from diverse cultural, religious, and artistic backgrounds, distinctive arts were produced and flourished in the western parts of the Seljuq realm.



Metropolitan Museum of Art Website


Contact: Metropolitan Museum of Art
1000 5th Avenue
New York, NY 10028
Tel: (1) 212 535 77 10

Danny Lyon, Tesca, Cartagena, Colombia, 1966Cibachrome, printed 2008. Image 25.7 × 25.7 cm (10 1/8 × 10 1/8 in.)Collection of the artist© Danny Lyon, courtesy Edwynn Houk Gallery, New York
Danny Lyon, Tesca, Cartagena, Colombia, 1966
Cibachrome, printed 2008. Image 25.7 × 25.7 cm (10 1/8 × 10 1/8 in.)
Collection of the artist
© Danny Lyon, courtesy Edwynn Houk Gallery, New York
Danny Lyon: Message to the Future
NEW YORK  •  Whitney Museum of American Art  •  17 June - 25 September 2016
 

Danny Lyon: Message to the Future is the first comprehensive retrospective of the career of Danny Lyon (b. 1942) to be presented in twenty-five years. The exhibition is organized by the Fine Arts Museums of San Francisco and premieres at the Whitney before traveling to San Francisco.

The exhibition assembles approximately 175 photographs and related films and ephemera to highlight Lyon’s concern with social and political issues and the welfare of individuals considered by many to be on the margins of society. The presentation includes many objects that have seldom or never been exhibited before and offers a rare look at works from Lyon’s archives alongside important loans from major public and private collections in the United States.



Whitney Museum of American Art Website


Contact: Whitney Museum of American Art
99 Gansevoort Street
New York, NY 10014
Tel: (1) 212 570 36 00

Glenn Ligon: What We Said The Last Time
NEW YORK  •  Luhring Augustine  •  27 February - 2 April 2016
 

Luhring Augustine presents What We Said The Last Time, an exhibition of new work by Glenn Ligon, and Entanglements, a curatorial project by the artist. A companion exhibition entitled We Need To Wake Up Cause That’s What Time It Is opened at Luhring Augustine Bushwick on January 16th and remains on view through 17 April 2016. 

What We Said The Last Time features a suite of seventeen inkjet prints that document the paint-spattered pages of the artist’s well-worn copy of James Baldwin’s seminal 1953 essay “Stranger in the Village.” Written during a stay in a remote Swiss mountain hamlet, Baldwin’s text examines complex and urgent questions around blackness, culture, and history. Since 1996, Ligon has used the essay as the basis of his “Stranger” series, including prints, drawings, and dense paintings made with oil stick and often coal dust that oscillate between legibility and obscurity. While creating these canvases, Ligon kept pages of Baldwin’s essay on his studio table for reference, and over the years they became covered with random smudges of black paint, oil stains, and fingerprints. Intrigued by this accumulation of marks, Ligon transformed the book pages into a suite of large-scale prints, using the full text of the essay for the first time in his career. The resulting work is a palimpsest of accumulated personal histories that suggests Ligon’s long engagement with Baldwin’s essay, as well as a new strategy in his ongoing exploration of the interplay between language and abstraction.

Also on view is Entanglements, a curatorial project by Ligon that examines how artists use the studio as a base from which to engage momentous cultural shifts and political events in both direct and oblique ways.  Key to the exhibition is Bruce Nauman’s Violin Tuned D.E.A.D. (1968), a video that presents the artist repetitively playing a single note on a violin with his back to the camera. While discussions of Nauman’s video works from this period have focused on issues of performativity, endurance, and the body, Ligon was interested in how Nauman’s discordant note can be heard as a soundtrack to the war in Vietnam or the brutal violence faced by civil rights workers. While not directly commenting on these issues, the ominous soundscape of Violin Tuned D.E.A.D. nevertheless suggests Nauman’s engagement with that turbulent moment in American history and served as a point of departure for Ligon to consider other works in which the artist’s studio has acted as a conduit for contemporary events. Ligon’s selections posit new identities, conversations or modes of sociability as a response to pressing social and political issues.  Entanglements features artworks and ephemera by Felix Gonzalez-Torres, David Hammons, On Kawara, Glenn Ligon, Bruce Nauman, Adrian Piper, Bob Thompson, Lynette Yiadom-Boakye, and Andy Warhol. 

Glenn Ligon lives and works in New York.



Luhring Augustine Website


Contact: Luhring Augustine
531 West 24th Street
New York, NY 10011
Tel: (1) 212 206 91 00

Copyright © Gordon Parks Foundation
Copyright © Gordon Parks Foundation
Invisible Man: Gordon Parks and Ralph Ellison In Harlem
CHICAGO  •  Art Institute of Chicago  •  21 May - 28 August 2016
 

The exhibition provides an in-depth look at two understudied collaborations, executed in 1948 and 1952, that aimed to bring to national consciousness the black experience in postwar America, with Harlem as its nerve center. Gordon Parks (1912-2006), a renowned photographer and filmmaker best known for his photo-essays for Life magazine, and Ralph Ellison (1913-1994), author of one of the most acclaimed novels of the 20th century, Invisible Man (1952), are both major figures in American Art and literature. The two friends, united by a shared vision of racial injustices and a belief in the communicative power of photography, sought to counter stereotypical representations of African American life that filled mainstream publications in their day.

Parks and Ellison first joined forces on the 1948 illustrated essay "Harlem Is Nowhere" for '48: The Magazine of the Year, which focused on Harlem's Lafargue Mental Hygiene Clinic as a means of highlighting the social and economic effects of racism and segregation. In 1952, shortly after the publication of Ellison's Invisible Man, they worked on a story for Life, "A Man Becomes Invisible," to introduce Ellison's novel. Through these projects, Parks and Ellison offered an alternative, meaningful representation of African American life in the hopes of reshaping attitudes about the root causes of racial inequality.

Invisible Man: Gordon Parks and Ralph Ellison In Harlem
features over 50 never-before-seen objects, including photographs, contact sheets, and manuscripts.



Art Institute of Chicago Website


Contact: Art Institute of Chicago
111 South Michigan Avenue
Chicago, Illinois 60603-6404
Tel: (1) 312 443 36 00

Jason Moran: <EM>STAGED: Savoy Ballroom 1</EM>, 2015Mixed media, sound120 x 216 x 120 inches (304.8 x 548.6 x 304.8 cm)
Jason Moran: STAGED: Savoy Ballroom 1, 2015
Mixed media, sound
120 x 216 x 120 inches (304.8 x 548.6 x 304.8 cm)
Jason Moran: STAGED
NEW YORK  •  Luhring Augustine Bushwick  •  29 April - 30 July 2016
 

STAGED is the first solo exhibition by the musician/composer/artist Jason Moran(born Houston, 1975). His work in both music and visual art mines entanglements in American cultural production.  Moran is deeply invested in complicating the relationship between music and language, exploring ideas of intelligibility and communication. In his gallery exhibition, the 2010 MacArthur Fellow continues to investigate the overlaps and intersections of jazz, art, and social history, provoking the viewer to reconsider notions of value, authenticity, and time. 

STAGED includes a range of objects and works on paper, including two large-scale sculptures featuring audio from Moran’s STAGED series that were recently exhibited in the 56th Biennale di Venezia. Based on two historic New York City jazz venues that no longer exist (the Savoy Ballroom and the Three Deuces), the sculptures are hybrids of reconstructions and imaginings. Works on paper and smaller objects will be in dialogue with the stage sculptures on many levels: citing performance and process, employing sound, and exploiting the visual history of jazz in America.



Luhring Augustine Website


Contact: Luhring Augustine
25 Knickerbocker Avenue 
Brooklyn, New York
Tel: (1) 212 570 36 00

<DIV class=attachment_image_caption><SPAN class="attachment_image full_caption"><SPAN class=title>Kerry James Marshall: <EM>Untitled (Painter)</EM>, 2009Acrylic on PVC; 44 5/8 x 43 1/8 x 3 7/8 in. (113.4 x 109.5 x 9.8 cm).Collection Museum of Contemporary Art Chicago, gift of Katherine S. Schamberg by exchange, 2009.15© 2009 Kerry James Marshall</SPAN> <SPAN class=photo_credit>Photo: Nathan Keay, © MCA Chicago</SPAN></SPAN></DIV>
Kerry James Marshall: Untitled (Painter), 2009
Acrylic on PVC; 44 5/8 x 43 1/8 x 3 7/8 in. (113.4 x 109.5 x 9.8 cm).
Collection Museum of Contemporary Art Chicago, gift of Katherine S. Schamberg by exchange, 2009.15
© 2009 Kerry James Marshall

Photo: Nathan Keay, © MCA Chicago
Kerry James Marshall: Mastry
CHICAGO  •  Museum of Contemporary Art, Chicago  •  23 April - 25 September 2016
 

The MCA is honored to present a major museum survey of Kerry James Marshall (b. 1955), one of America’s greatest living artists. The exhibition focuses primarily on Marshall’s paintings made over the last 35 years, from his seminal inaugural statement Portrait of the Artist as a Shadow of His Former Self (1980) to his most recent explorations of African American history.

Born before the passage of the Civil Rights Act, in Birmingham, Alabama, and witness to the Watts riots in 1965, Marshall has long been an inspired and imaginative chronicler of the African American experience. Best known for his large-scale paintings featuring black figures, defiant assertions of blackness in a medium in which African Americans have long been “invisible men,” Marshall’s interrogation of art history covers a broad temporal swath stretching from the Renaissance to 20th-century American abstraction. He critically examines the Western canon through its most canonical forms: the historical tableau, landscape, and portraiture. His work also touches upon vernacular forms such as the muralist tradition and the comic book, as seen in his comics-inspired Rythm Mastr drawings (2000–present), in order to address and correct the “vacuum in the image bank”—in other words, to make the invisible visible.

Marshall studied in Los Angeles with acclaimed social realist painter Charles White and participated in the residency program at the Studio Museum in Harlem. He has received solo exhibitions throughout Europe and North America and his work has been included in such prestigious international exhibitions as the 1997 Whitney Biennial, the 2003 Venice Biennial, the 2009 Gwangju Biennial, two Documentas (1997 and 2007), and the 1999 Carnegie International. His paintings are in private collections and foundations as well as major public collections including the MCA’s.



Museum of Contemporary Art, Chicago Website


Contact:
Museum of Contemporary Art, Chicago
220 E Chicago Avenue
Chicago, IL 60611

Tel: (1) 312 280 26 60

Robert Mapplethorpe: <EM>Self-portrait</EM>, 1980Printed 2008PhotographsGelatin silver printImage: 13 3/4 × 13 3/4 in. (34.93 × 34.93 cm) Primary support: 19 7/8 × 15 7/8 in. (50.48 × 40.32 cm) Frame: 25 1/4 × 24 1/4 in. (64.14 × 61.6 cm)Promised Gift of The Robert Mapplethorpe Foundation to The J. Paul Getty Trust and the Los Angeles County Museum of Art
Robert Mapplethorpe: Self-portrait, 1980
Printed 2008
Photographs
Gelatin silver print
Image: 13 3/4 × 13 3/4 in. (34.93 × 34.93 cm) Primary support: 19 7/8 × 15 7/8 in. (50.48 × 40.32 cm) Frame: 25 1/4 × 24 1/4 in. (64.14 × 61.6 cm)
Promised Gift of The Robert Mapplethorpe Foundation to The J. Paul Getty Trust and the Los Angeles County Museum of Art
Robert Mapplethorpe: The Perfect Medium
LOS ANGELES  •  Los Angeles County Museum of Art  •  20 March - 31 July 2016
 
The Perfect Medium explores Robert Mapplethorpe's (United States, 1946-1989) body of work through early drawings, collages, sculptures, and Polaroid photography; materials from his archive; portraits, still lifes, and figure studies; rare color photographs; and two seldom-seen moving image works. The exhibition also highlights the artist’s relationship to New York's sexual and artistic undergrounds, as well as his experimentation with a variety of media.

Los Angeles County Museum of Art Website


Contact: LACMA
5905 Wilshire Blvd.
Los Angeles CA 9003
Tel: (1) 323 857 60 00

Peter Paul Rubens: <EM>Fortuna</EM>, 1636–38Oil on canvas71 3/4 x 39 5/8 in. (182.3 x 100.5 cm)Museo Nacional del Prado, Madrid
Peter Paul Rubens: Fortuna, 1636–38
Oil on canvas
71 3/4 x 39 5/8 in. (182.3 x 100.5 cm)
Museo Nacional del Prado, Madrid
Unveiling the Nude: The Story of Splendor, Myth, and Vision: Nudes from the Prado
WILLIAMSTOWN, MASSACHUSETTS  •  The Clark Art Institute  •  11 June - 10 October 2016
 

Splendor, Myth, and Vision, exclusively at the Clark, features twenty-eight Old Master paintings of the nude, twenty-four of which have never been on view in the United States. The exhibition examines the collecting of sixteenth- and seventeenth-century paintings of the nude at the Spanish court, explores the histories of these works and their display in the Spanish Royal Collections, and reconsiders the significant role of the nude in European art.

Housed today in the Museo Nacional del Prado, Madrid, these collections reflect the cultural sensibilities and sophisticated artistic tastes of the rulers who assembled them—principally Philip II (reigned 1556–98) and his grandson Philip IV (reigned 1621–65). In early modern Europe, the depiction of the nude in secular and sacred paintings appealed to collectors’ taste for the sensual, but such images could also carry didactic messages.

At the time the Spanish kings were collecting, however, the depiction of the nude and its display were considered sinful and contrary to the religious and moral values promoted by the Catholic Church and the Spanish Inquisition. In response, paintings of the nude were often displayed beyond the reach of the public in salas reservadas—private or reserved spaces within the palaces of royal and elite collectors, which were open only for a select audience. These spaces enabled royal collectors to indulge in an enthusiastic taste for paintings of the nude while publicly fulfilling their roles as upholders of a strict moral code and fervent defenders of the Catholic faith. The tension that arose between these opposing values demonstrates the ambiguity inherent in the collecting and display of the nude in early modern Spain. These tensions continued to exist into the early nineteenth century and culminated in the Prado’s own sala reservada (1827–38).

Included in this sensuous exhibition are major paintings by Titian, Peter Paul Rubens, Jacopo Tintoretto, Diego Velázquez, Jan Brueghel the Elder, Guercino, Nicolas Poussin, Luca Giordano, Guido Reni, Jusepe de Ribera, and others.



The Clark Art Institute Website


Contact: The Clark Art Institute
225 South Street
Williamstown, MA 01267
Tel: (1) 413 458 23 03

Vik Muniz: <EM>Medusa Marinara,</EM> from the After Warhol series, 1997Dye destruction printCourtesy of the artistArt © Vik Muniz/Licensed by VAGA, New York, NY
Vik Muniz: Medusa Marinara, from the After Warhol series, 1997
Dye destruction print
Courtesy of the artist
Art © Vik Muniz/Licensed by VAGA, New York, NY
Vik Muniz
ATLANTA, GEORGIA  •  The High Museum of Art  •  28 February - 21 August 2016
 

Co-organized by the High and the Foundation for the Exhibition of Photography, Vik Muniz examines the artist’s career and features more than 120 photographs, including many of Muniz’s most recent works. The exhibition will travel internationally following its presentation at the High.

Muniz (born 1961, São Paulo, Brazil) is renowned for creating what he calls “photographic delusions,” Muniz works with a dizzying array of unconventional materials—including sugar, tomato sauce, diamonds, magazine clippings, chocolate syrup, dust and junk—to painstakingly design narrative subjects before recording them with his camera. His resulting photographs often quote iconic images from popular culture and the history of art while defying easy classification and playfully engaging a viewer’s process of perception. His more recent work utilizes electron microscopes and manipulates microorganisms to unveil both the familiar and the strange in spaces that are typically inaccessible to the human eye.

Other featured recent work includes prints from Muniz’s “Colonies” series, for which the artist collaborated with MIT scientists to employ microorganisms, including bacteria and even cancer cells, to multiply in choreographed designs. In these photographs, Muniz morphs the frightening into the beautiful, producing striking, intricate patterns from materials with largely negative connotations. The “Colonies” photographs also follow Muniz’s affinity for bringing attention to social issues though his work—in this case, the importance of medical research and vaccination.



High Museum of Art Website


Contact:

High Museum of Art
1280 Peachtree St NE
Atlanta, GA 30309


Tel: (1) 404 733 51 21

Jean-Antoine Watteau (1684–1721), <EM>The Portal of Valenciennes (La Porte de Valenciennes), </EM>ca. 1710–11Oil on canvas, 12 3/4 x 16 in. The Frick Collection.Purchased with funds from the bequest of Arthemise Redpath, 1991 (91.1.173)Photo&nbsp;Michael Bodycomb
Jean-Antoine Watteau (1684–1721), The Portal of Valenciennes (La Porte de Valenciennes), ca. 1710–11
Oil on canvas, 12 3/4 x 16 in. The Frick Collection.
Purchased with funds from the bequest of Arthemise Redpath, 1991 (91.1.173)
Photo Michael Bodycomb
Watteau’s Soldiers: Scenes of Military Life in Eighteenth-Century France
NEW YORK  •  Frick Collection  •  12 July - 2 October 2016
 

Most know Jean-Antoine Watteau as a painter of amorous aristocrats and melancholy actors, a dreamer of exquisite parklands and impossibly refined fêtes. Few artists would seem further removed from the misery of war. And yet, early in his short career, Watteau created a number of military scenes—about a dozen paintings  and some thirty drawings. For the most part, they were executed during the War of the Spanish Succession (1701–14), which saw Louis XIV battle almost the whole of Europe in a bid to place his grandson, Philip, Duke of Anjou, on the Spanish throne. However, neither the turmoil of battle nor the suffering that ensued seems to have held much interest for Watteau. Instead, he focused on the prosaic aspects of military life—marches, halts, and encampments. The resulting works show quiet moments between the fighting, outside the regimented discipline of drills and battle, when soldiers could rest and daydream, smoke pipes and play cards. Although these themes are indebted to seventeenth -century Dutch and Flemish genre scenes, Watteau’s drawings and paintings are set apart by their focus on the common soldier. More than his predecessors, Watteau offers an intimate vision of war, one in which the human element comes to the fore. His soldiers are endowed with an inner life, with subjectivity.

On display are four of Watteau’s seven surviving military paintings and twelve red chalk studies, several of which are directly related to the paintings on view. Also included are works by Watteau’s predecessors and followers. Together, they shed light on Watteau’s unusual working method, affording the
 opportunity to probe what made his vision so distinctive.

Published by The Frick Collection in association with D Giles Ltd., the book accompanying the exhibition features an essay by the curator, Aaron Wile,and a complete catalogue of all known Watteau works related to military subjects, as well as a bibliography and an index.



Frick Collection Website


Contact:

Frick Collection
1 East 70th Street
New York, NY 1002

 


Tel: (1) 212 288 0700

Alma Thomas: <EM>Apollo 12 "Splash Down"</EM>, 1970Acrylic and graphite on canvas50 1/4 × 50 1/4 in.Courtesy Michael Rosenfeld Gallery LLC, New York, NY
Alma Thomas: Apollo 12 "Splash Down", 1970
Acrylic and graphite on canvas
50 1/4 × 50 1/4 in.
Courtesy Michael Rosenfeld Gallery LLC, New York, NY
Alma Thomas
NEW YORK  •  The Studio Museum of Harlem  •  14 July - 30 October 2016
 

Alma Thomas examines the evolution of an artist who created a highly personal style that expanded upon traditional Abstract Expressionist and Washington Color School practices through experimentations with abstraction, color, line and pattern. Thomas, who focused on her artistic career after retiring as a school teacher at the age of 69, chartered her own course as an African-American woman within Washington D.C.’s largely white and male mid-20th century artistic community. She often cited natural elements as inspiration, and her signature style reflects the influences of Henri Matisse, Josef Albers, and Wassily Kandinsky—featuring loosely painted yet meticulously constructed canvases, filled with lattice works of bright color creating patterns from negative space.

The exhibition features works from every period in her career, including rarely exhibited watercolors and early abstractions, as well as her signature canvases drawn from a variety of private and public collections.



The Studio Museum of Harlem Website


Contact: The Studio Museum of Harlem
144 West 125th Street
New York, New York
Tel: (1) 212 864 45 00

BRUCE CONNER: IT’S ALL TRUE
NEW YORK  •  The Museum of Modern Art  •  3 July - 2 October 2016
 
BRUCE CONNER: IT’S ALL TRUE is the first monographic museum exhibition in New York of the artist Bruce Conner, the first large survey of his work in 16 years, and the first comprehensive retrospective. The exhibition brings together over 250 objects in mediums including film and video, painting, assemblage, drawing, prints, photography, photograms, and performance.

An early practitioner of found-object assemblage and a pioneer of found-footage film, Conner was a singular member of both the underground film community and the flourishing San Francisco art world, achieving international standing early in his career. His work across a broad range of mediums touches pointedly on various themes of postwar American society, from the excesses of a burgeoning consumer culture to the dread of nuclear apocalypse.

The Museum of Modern Art Website


Contact: The Museum of Modern Art
11 West 53 Street,
between Fifth and Sixth avenues
New York, NY 10019-549
Tel: (1) 212 708 94 00

Juan Muñoz: <EM>Thirteen Laughing at Each Other</EM>, 2001 Courtesy of Juan Muñoz Estate and Marian Goodman Gallery Photo by Cathy Carver.
Juan Muñoz: Thirteen Laughing at Each Other, 2001
Courtesy of Juan Muñoz Estate and Marian Goodman Gallery Photo by Cathy Carver.
Juan Muñoz: Thirteen Laughing at Each Other
CHICAGO  •  Art Institute of Chicago  •  1 April - 6 October 2016
 
A theatrical installation by Spanish sculptor Juan Muñoz (1953–2001) flips the experience of viewer and viewed. Many of Muñoz’s works unfold like stories in which the spectator is written into the drama. In the case of Thirteen Laughing at Each Other (2001), the viewer is thrust right into the center of the scene. By entering the installation space, one is surrounded by laughing figures seated on bleacher-like structures. From this vantage point, it quickly becomes clear that Muñoz is not merely granting the viewer unusual access to the artwork but also shifting the role of the observer to that of an unwitting subject, and potentially even an object of ridicule as the sculptural figures laugh hysterically—some toppling from their seats—at the spectacle in their midst. The work creates a tension and psychological depth that is at once unsettling and captivating. “I try to make the work engaging for the spectator,” said Muñoz. “And then unconsciously, but more interestingly, I try to make you aware that something is really wrong.”

Art Institute of Chicago Website


Contact: Art Institute of Chicago
111 South Michigan Avenue
Chicago, Illinois 60603-6404
Tel: (1) 312 443 36 00

<P>Papo Colo: <EM>Superman 51</EM> (1977)Documentation of performanceCourtesy the artist</P>

Papo Colo: Superman 51 (1977)
Documentation of performance
Courtesy the artist

Papo Colo
LONG ISLAND CITY  •  MoMA PS1  •  22 May - 28 August 2016
 
MoMA PS1 revisits the seminal performance work of Puerto Rican artist Papo Colo, a pioneering figure in New York’s art scene since the 1970s.

The presentation at MoMA PS1 will coincide with The Cleaner, a new work the artist is performing in New York’s Chelsea neighborhood, and will culminate in a festival in Puerto Rico in January, 2017, with the aim of drawing attention to the island’s present economic crisis.

The MoMA PS1 presentation centers around Colo’s Superman 51 (1977), in which he drags a collection of fifty-one white pieces of wood behind him, tethered to his body with ropes, as he runs shirtless down an empty stretch of Manhattan’s West Side Highway until collapsing from exhaustion. Completed the year after the United States bi-centennial in 1976—also the year of MoMA PS1’s founding—it marks a historical juncture which saw the failure of Puerto Rico’s bid for statehood in the United States congress. Evoking the Greek myth of Sisyphus, the work conveys an explicitly political content: the fifty-one pieces of wood refer to the number of states in the existing American union plus Puerto Rico, which would have become the fifty-first. For Colo, the number fifty one also represents the decision-making power of a simple majority under democratic political systems.

Seven years later, Papo Colo performed Against the Current (1983) as part of the exhibition Inside Out, which saw the artist paddle a canoe upstream amidst the trash and debris of New York’s Bronx River, a small body of water that bisects the borough. An endurance-based performance, the work sought to highlight the river’s contamination by industrial pollutants. For Colo, the effort to fight against the natural movement of the water also functioned as a metaphor for the struggle of Puerto Ricans attempting to assert an economic and social identity in the context of Reagan-era politics. Documentary footage of this work and Superman 51 are included in Colo’s autobiographical film retrospective La Diferencia (1986), which is included in the show.

Papo Colo (b. 1946, Puerta de Tierra, Puerto Rico) is a performance artist, painter, writer, and curator who lives and works in New York City and the El Yunque rainforest in Puerto Rico. In 1982 he co-founded Exit Art with Jeanette Ingberman, which became one of New York’s most important alternate art spaces. Colo’s work has been exhibited at numerous venues, most recently as part of the exhibition Radical Presence, organized at the Contemporary Art Museum, Houston, and which traveled to the Walker Art Center, the Yerba Buena Center for the Arts in San Francisco, and the Studio Museum in Harlem (2013-2015).



MoMA PS1 Website


Contact: MoMA PS1
22-25 Jackson Avenue
Long Island City, NY
Tel: (1) 718 784 20 84

Alexis Smith: <EM>Snapshot,</EM> 1982Magazine page, wood frame, miniature camera, and glass21 3/4 x 19 3/4 in. (55.24 x 50.16 cm)Lender: Los Angeles County Museum of ArtApproved - LACMA obj
Alexis Smith: Snapshot, 1982
Magazine page, wood frame, miniature camera, and glass
21 3/4 x 19 3/4 in. (55.24 x 50.16 cm)
Lender: Los Angeles County Museum of Art
Approved - LACMA obj
Physical: Sex and the Body in the 1980s
LOS ANGELES  •  Los Angeles County Museum of Art  •  20 March - 31 July 2016
 
Organized as a companion to the exhibition Robert Mapplethorpe: The Perfect Medium, this installation places Mapplethorpe’s art in dialogue with a selection of work by other artists made during his decade of greatest productivity. Many of the featured artists were friends or acquaintances of Mapplethorpe, and like him, they placed issues of the body and sexuality at the center of their practice. Included are works by seminal figures of the period, including Nan Goldin, Sherrie Levine, Sarah Charlesworth, Marina Abramović, Tina Barney, Andres Serrano, Peter Hujar, and Kiki Smith.

Los Angeles County Museum of Art Website


Contact: LACMA
5905 Wilshire Blvd.
Los Angeles CA 9003
Tel: (1) 323 857 60 00

Vito Acconci: Where We Are Now (Who Are We Anyway?), 1976
LONG ISLAND CITY  •  MoMA PS1  •  19 June - 18 September 2016
 

The exhibition presents Acconci as he developed his radical and subversive explorations of the human condition, sexuality, voyeurism, identity and physicality up to the moment that MoMA PS1 was founded.

Drawing on documentary materials, photographs, and film and video footage, Vito Acconci: Where We Are Now (Who Are We Anyway?), 1976 traces Acconci’s early actions and performances, including Following Piece (1969), in which he followed passers-by on the street until they entered private spaces—Shadow-Play (1970), in which he shadowboxed with a bright light shining behind him while moving in front of a wall—Openings (1970), during which a camera focuses on Acconci’s stomach as he pulls out his body hair, the film ends when Acconci is hairless—Seedbed (1972), during which he audibly masturbated for eight hours a day under a temporary floor at the Sonnabend Gallery in New York while visitors walked overhead—The Red Tapes (1976), a three-part epic that merges video space with filmic space, evolving into complex amalgam of narrative strategies, photographic images, music and spoken language. The exhibition concludes with the reinstallation of Acconci’s Where We Are Now (Who Are we Anyway?). Acconci’s work is made up of a wooden plank surrounded by stools. The plank continues through an open window and becomes a diving board suspended over the traffic below. 



MoMA PS1 Website


Contact: MoMA PS1
22-25 Jackson Ave
Long Island City, NY 11101

Tel: (1) 718 784 20 84

Antonio Adriano Puleo: Massimo Minimalismo
LOS ANGELES  •  LAXART  •  14 July - 20 August 2016
 
 

Los Angeles-based artist Antonio Adriano Puleo's new body of sculpture, painting, and installation investigates what the artist calls "the space in and in-between" artworks; taking cues from the specificity of LAXART's galleries, Puleo responds to physical space through a careful choreography of color and pattern, at times making structural alterations to the space’s architecture. Puleo's formally pared down canvases and objects are activated within this space through thoughtful arrangements and juxtapositions. Often hanging his paintings in equidistant grids or playing with the display furniture of his sculptures (the plinths and pedestals), the artist achieves immersive and "maximal" installations of otherwise minimal objects.

Antonio Adriano Puleo received his M.F.A. from U.C.L.A. in 2003. Puleo recently exhibited at The Luckman Gallery, Cal State LA, and The East Gallery at Claremont Graduate University, and his forthcoming shows include an exhibition at Chapman University. His work has been featured in many publications including Artforum, The New Yorker, The Los Angeles Times, and Flash Art.

The artist will release his first monograph, published by LAXART on the occasion.



LAXART Website


Contact:

LAXART
7000 Santa Monica Blvd
Hollywood, CA 90038


Tel: (1) 323 871 4140

Still from <EM>Un Ballo in Maschera</EM>, Yinka Shonibare MBE, 2004, High definition digital videoCourtesy of James Cohan Gallery.
Still from Un Ballo in Maschera, Yinka Shonibare MBE, 2004, High definition digital video
Courtesy of James Cohan Gallery.
Senses of Time: Video and Film-Based Works of Africa
LOS ANGELES  •  Los Angeles County Museum  •  20 December 2015 - 2 January 2017
 
 

Our hearts beat to the rhythms of biological time and continents drift in geological time, while we set our watches to the precision of Naval time. Time may be easy to measure, but it is challenging to understand. Five leading contemporary artists of Africa explore temporal strategies to convey how time is experienced—and produced—by the body. Bodies climb, dance, and dissolve in six works of video and film, or “time-based” art. Characters and the actions they depict repeat, resist, and reverse any expectation that time must move relentlessly forward.

Senses of Time invites viewers to consider tensions between personal and political time, ritual and technological time, bodily and mechanical time. Through pacing, sequencing, looping, layering, and mirroring, diverse perceptions of time are both embodied and expressed.



Los Angeles County Museum of Art Website


Contact: Los Angeles County Museum
5905 Wilshire Boulevard
Los Angeles, CA 90036
Tel: (1) 323 857 60 10

<P>Alice Neel: <EM>James Hunter Black Draftee</EM>, 1965.Oil on canvasCOMMA Foundation, Belgium© The Estate of Alice Neel</P>

Alice Neel: James Hunter Black Draftee, 1965.
Oil on canvas
COMMA Foundation, Belgium
© The Estate of Alice Neel

Unfinished: Thoughts Left Visible
NEW YORK  •  The Met Breuer  •  18 March - 4 September 2016
 
 
The exhibition examines the term “unfinished” across the visual arts in the broadest possible way; it includes works left incomplete by their makers, a result that often provides insight into the artists’ creative process, as well as works that engage a non finito—intentionally unfinished—aesthetic that embraces the unresolved and open-ended. Featured artists who explored such an aesthetic include some of history’s greatest practitioners, among them Titian, Rembrandt, Turner, and Cézanne, as well as modern and contemporary artists, including Janine Antoni, Lygia Clark, Jackson Pollock, and Robert Rauschenberg, who have taken the unfinished in entirely new directions, alternately blurring the distinction between making and un-making, extending the boundaries of art into both space and time, and recruiting viewers to complete the objects they had begun.

Metropolitan Museum of Art Website


Contact:

The Met Breuer
Madison Avenue and 75th Street
New York, NY 

 

 


Tel: (1) 212 535 77 10

Events in Classical Music

<P>Danish String Quartet</P>

Danish String Quartet

Danish String Quartet
LENOX, MASSACHUSETTS  •  Seiji Ozawa Hall  •  28 July 2016
 

Norgard, Mendelssohn, Beethoven

Danish String Quartet



Tanglewood Music Festival



Detailed schedule information:
8:00 pm

Contact: Tanglewood
297 West Street
Lenox, MA 01240
Tel: (1) 617 266 12 00

Events in Dance

<P>L.A. Dance Project<SPAN class=photo_credit>Photo: Rose Eichenbaum</SPAN></P> • <P>&nbsp;</P>

L.A. Dance Project
Photo: Rose Eichenbaum

 

L.A. Dance Project
NEW YORK  •  The Joyce Theater  •  26 - 30 July 2016
 
Benjamin Millepied, former principal dancer with New York City Ballet, founded L.A. Dance Project in 2012, aiming to encourage new collaborative work by emerging and established artists, while revisiting significant multidisciplinary dance collaborations from the past. For its Joyce debut, the company performs the U.S. premiere of Millepied’s Final Part of the Trilogy; Justin Peck’s Helix, a turbulent piece for six dancers set to music by Esa-Pekka Salonen; and three classic duets by Martha Graham.

The Joyce Theater Website



Detailed schedule information:
Tuesday 7:30pm
Wednesday 7:30pm
Thursday 8pm
Friday 8pm
Saturday 2pm & 8pm

Contact: The Joyce Theater
175 Eighth Avenue (at the corner of 19th Street)
New York
Tel: (1) 212 242 08 00

Twyla Tharp Dance <SPAN class=photo_credit>Photo: Bill King</SPAN>
Twyla Tharp Dance
Photo: Bill King
Twyla Tharp Dance
NEW YORK  •  Joyce Theater  •  11 - 23 July 2016
 

Twyla Tharp Dance

Programme:

Country Dances  (1976)
Choreography: Twyla Tharp
Music: American Folk
Costumes: Santo Loquasto
Lighting: Jennifer Tipton

Brahms Paganini (1980)
Choreography: Twyla Tharp
Music: Johannes Brahms
Costumes: Ralph Lauren
Lighting: Jennifer Tipton

Beethoven Opus 130 – Anteprima
Choreography: Twyla Tharp
Music: Ludwig van Beethoven
Costumes: Norma Kamali
Lighting: Stephen Terry



The Joyce Theater Website


Contact: The Joyce Theater
175 Eighth Avenue (at the corner of 19th Street)
New York
Tel: (1) 212 242 08 00

<SPAN class=photo_credit>Provincial Dances TheatrePhoto: Elena Rezvova </SPAN>
Provincial Dances Theatre
Photo: Elena Rezvova
Provincial Dances Theatre
NEW YORK  •  Joyce Theater  •  1 - 3 August 2016
 
 
Provincial Dances Theatre from Yekaterinburg, Russia makes its New York debut with a program featuring Baganova’s Sepia, a work capturing the atmosphere of Kobo Abe’s book, Woman in the Dunes; and the compelling and mysterious Maple Garden that is part fairy tale, part grim dream.

The Joyce Theater Website



Detailed schedule information:
7:30 pm

Contact: The Joyce Theater
175 Eighth Avenue (at the corner of 19th Street)
New York
Tel: (1) 212 242 08 00

Events in Jazz

Chick Corea Trio featuring Christian McBride and Brian Blade
LENOX, MASSACHUSETTS  •  Seiji Ozawa Hal  •  31 July 2016
 
Chick Corea Trio featuring Christian McBride and Brian Blade

75th Birthday Celebration

Tanglewood Music Festival



Detailed schedule information:
8:00 pm

Contact: Tanglewood
297 West Street
Lenox, MA 01240
Tel: (1) 617 266 12 00

<SPAN class=irc_su dir=ltr style="TEXT-ALIGN: left">Billie HolidayLibrary of Congress</SPAN>
Billie Holiday
Library of Congress
Jazz Singers
WASHINGTON, DC  •  Library of Congress  •  11 February - 23 July 2016
 
What is a jazz singer? The answer can be as varied as the practitioners of the art form. This exhibit offers perspectives on the art of vocal jazz from the 1920s to the present. Drawn largely from the Library of Congress Music Division’s collections, including the photographs of William P. Gottlieb and the papers of Max Roach, Chet Baker, and Shirley Horn, among others, it features singers and song stylists from both on-stage and off. Rare video clips, photographic portraits, candid snapshots, musical scores, personal notes, correspondence, drawings, and watercolors reveal the sometimes exuberant, sometimes painful, but always vibrant art and life of jazz singers.

Library of Congress Website


Contact: Library of Congress
101 Independence Ave SE
Washington, DC 20540
Tel: (1) 202 707 50 00

Alexis Parsons Trio
NEW YORK  •  Jazz At Kitano  •  4 August 2016
 
 
Alexis Parsons, vocals
Frank Kimbrough, piano
Jay Anderson, bass

Jazz At Kitano Website



Detailed schedule information:
Two Sets: 8:00pm and 10:00pm

Contact: Jazz At Kitano
66 Park Avenue (East 38th Street)
New York, NY
Tel: (1) 212 885 71 19

Events in Pop Culture and Cinema

Lin-Manuel Miranda in <EM>Hamilton</EM>
Lin-Manuel Miranda in Hamilton
Hamilton: By Lin-Manuel Miranda
NEW YORK  •  Richard Rodgers Theatre  •  6 August 2015 - 31 December 2016
 

Hamilton is a hip hop musical with music, lyrics, and book by Lin-Manuel Miranda. The show was inspired by the 2004 biography Alexander Hamilton by historian Ron Chernow.

Directed by Thomas Kail

The cast features Lin-Manuel Miranda (Alexnder Hamilton), Leslie Odom Jr. (Aaron Burr), Drama Desk Award winner Renée Elise Goldsberry (Angelica Schuyler), Phillipa Soo (Eliza Hamilton), Jonathan Groff (King George), Daveed Diggs (Marquis De Lafayette, Thomas Jefferson), Christopher Jackson (George Washington), Anthony Ramos (John Laurens, Phillip Hamilton), Okieriete Onaodowan (Hercules Mulligan, James Madison), and Jasmine Cephas Jones (Peggy Shuyler, Maria Reynolds).



Hamilton on Broadway Website


Contact: Richard Rodgers Theatre
226 W 46th St
New York, NY 10036
Tel: (1) 212 247 78 00

Emily Mast: <EM>The Cage is a Stage</EM>Photo by Betsy Lin Seder
Emily Mast: The Cage is a Stage
Photo by Betsy Lin Seder
New Original Works Festival
LOS ANGELES  •  Walt Disney Concert Hall comple  •  21 July - 6 August 2016
 

This year's three-week festival launches nine new original works by Los Angeles dance, theater, music and multimedia performing artists.

PROGRAM 1  July 21, 22 & 23

JEEPNEYS, WHITE BOY SCREAM & MIKO REVEREZA: BODY SHIP
REBECCA BRUNO & MAK KERN: FOREST
EMILY MAST: THE CAGE IS A STAGE

PROGRAM 2  July 28, 29 & 30

LAUREL JENKINS & CHEY CHANKETHYA: SOMA PATH
REBECCA PAPPAS: PLASTIC FLOW
NOODLERICE STUDIO (YAO ZHANG & LIANG GUO): UNTITLED

PROGRAM 3  August 4, 5 & 6

I AM A BOYS CHOIR: DEMONSTRATING THE IMAGINARY BODY OR HOW I BECAME AN ICE PRINCESS
DANIEL CORRAL: COMMA
WILFRIED SOULY: ON BECOMING



REDCAT Website


Contact:

REDCAT
631 West 2nd Street
Los Angeles, CA 90012


Tel: (1) 213 237 28 00

The TitanosaurAmerican Museum of Natural History
The Titanosaur
American Museum of Natural History
The Titanosaur
NEW YORK  •  American Museum of Natural History  •  15 January 2016 - 1 January 2017
 

The Titanosaur

In January 2016, the Museum added another must-see exhibit to its world-famous fossil halls: a cast of a 122-foot-long dinosaur. This species is so new that it has not yet been formally named by the paleontologists who discovered it.

Paleontologists suggest this dinosaur, a giant herbivore that belongs to a group known as titanosaurs, weighed in at around 70 tons. The species lived in the forests of today’s Patagonia about 100 to 95 million years ago, during the Late Cretaceous period, and is one of the largest dinosaurs ever discovered. 

The remains were excavated in the Patagonian desert region of Argentina by a team from the Museo Paleontologico Egidio Feruglio led by José Luis Carballido and Diego Pol, who received his Ph.D. degree in a joint program between Columbia University and the American Museum of Natural History. One of the 8-foot femurs, or thigh bones, found at the site is among five original fossils on temporary view with The Titanosaur.



American Museum of Natural History Website


Contact: American Museum of Natural History
Central Park West at 79th Street
New York, NY 10024-5192
Tel: (1) 212 769 51 00

<EM>I Approve This Message: Decoding Political Ads</EM>Toledo Museum of Art
I Approve This Message: Decoding Political Ads
Toledo Museum of Art
I Approve This Message: Decoding Political Ads
TOLEDO, OHIO  •  Toledo Museum of Art  •  14 July - 8 November 2016
 
Using video, graphics and multimedia, this nonpartisan interactive exhibition examines how emotional triggers in political ads impact rational thinking and sway votes. Divided into theaters, the displays of advertising focus on emotions such as fear, anger, pride and hope, as well as how appeals different constituencies have changed over time.

Approximately 75 ads dating from 1952, when the first national presidential TV commercial was broadcast, through 2012 are decoded. They include such classics as the Lyndon B. Johnson 1964 “Daisy Girl” TV spot which begins gently with a little girl pulling petals from a flower and ends with nuclear annihilation, and the 1984 Ronald Reagan commercial many call “It’s Morning in America.”

A Mood Room offers visitors an immersive multisensory experience designed to demonstrate how images and sounds stir emotion. Another section contains the Change Theater and an interactive zone of hands-on opportunities.

I Approve This Message: Decoding Political Ads Website


Contact: Toledo Museum of Art
2445 Monroe Street
Toledo, Ohio
Tel: (1) 419 255 80 00

International Spy MuseumWashington, D.C.
International Spy Museum
Washington, D.C.
International Spy Museum
WASHINGTON, D.C.  •  Ongoing
 
 
The International Spy Museum is the first public museum in the United States solely dedicated to espionage. It features the largest collection of international espionage artifacts ever placed on public display. Many of these objects seen for the first time outside of the intelligence community illustrate the work of famous spies and pivotal espionage actions as well as help bring to life the strategies and techniques of the men and women behind some of the most secretive espionage missions in world history.

International Spy Museum Web Site


Click here for a special news feature with photos of the Spy Museum

Contact: International Spy Museum
800 F St NW
Washington, DC 20004

Tel: (1) 202 393 77 98

Microbome exhibitAmerican Museum of Natural History
Microbome exhibit
American Museum of Natural History
The Secret World Inside You
NEW YORK  •  American Museum of Natural History  •  7 November 2015 - 14 August 2016
 
 

Our bodies are home to approximately 100 trillion bacteria living inside us and on us—a vast community known as the microbiome.

The Secret World Inside You explores the rapidly evolving science that is revealing the complexities of the human microbiome and reshaping our ideas about human health, offering new perspectives on common health problems including allergies, asthma, and obesity. 



American Museum of Natural History Website


Contact: American Museum of Natural History
Central Park West at 79th Street
New York, NY 10024-5192
Tel: (1) 212 769 51 00



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