MPA: RED IN VIEW at The Whitney Museum Of American Art

Looking at Mars, this imagined space reflects most humans back to Earth.”

MPA

Since relocating to California’s Mojave desert in 2013, artist MPA (b. 1980; Redding, CA) has been immersed in a broad inquiry into the potential colonization of Mars, often known as the red planet. In this multi-part exhibition the artist looks at Mars as a place for settlement and a resource for our own planet, as well as a site of possible human origin. MPA’s research considers unconventional sources such as mythology, psychic accounts, and personal narratives, as credible authorities. By reflecting more generally on histories of colonization, RED IN VIEW raises questions of militarism and patriarchy, prompting us to examine our own, often subconscious, colonizing behaviors.

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MPA (b. 1980), Entrance, 2014–2016 (left). Pigmented inkjet print mounted on mat board and painted wood, 7 × 7 in. (17.8 × 17.8 cm). Courtesy of the artist and Higher Pictures. Surrender, 2014–2016 (right). Pigmented inkjet print mounted on mat board and painted wood, 7 × 7 in. (17.8 × 17.8 cm). Courtesy of the artist and Higher Pictures

This work was first presented as THE INTERVIEW: Red, Red Future (2016), organized by curator Dean Daderko, at the Contemporary Arts Museum Houston. RED IN VIEW, her exhibition at the Whitney Museum of American Art, presents the second episode in this ongoing project.

RED IN VIEW unfolds in four movements throughout the museum. The exhibition begins in the lobby gallery and extends to the theater in February for a culminating performance. Over the course of ten continuous days, MPA and artists Malin Arnell and Amapola Prada perform Orbit, living in the narrow space between the windowpanes of the theater. The space becomes a biosphere: an enclosed, self-sustaining habitat, modeled after an environment where the first settlers on Mars might reside. (Aspects of the exhibition will be on view through February 27, 2017 in the John R. Eckel, Jr. Foundation Gallery, on the Museum’s first floor, which is accessible to the public free-of-charge.)

MOVEMENTS

I. Prelude

December 9, and January 13, 7–9:30 pm, Lobby and Lobby Gallery: A periodic live appearance in the gallery by two Martian moons, Phobos and Deimos.

II. The Interview

November 11–February 27, Lobby Gallery: The interview is active. You are invited to pick up the phone.

III. Orbit

February 9–19, Floor Three, Hess Family Theater: A test. MPA, with artists Malin Arnell and Amapola Prada, inhabit the narrow space between the windowpanes of the theater, overlooking the Hudson River. For twenty-four hours a day over the course of ten days, the space becomes an artificial biosphere: an enclosed, self-sustaining habitat, modeled after an environment where the first settlers on Mars would likely reside. The participants’ conditions emulate those of astronauts orbiting the earth: sleeping in ninety-minute periods and receiving messages on a delay. Everything is recorded and live-edited for Orbit TV, the final document of the trial.

IV. Assembly

February 19, 8 pm, Floor Three, Hess Family Theater *Tickets required: MPA hosts a dramatic live finale of Orbit. This theatrical event orchestrates a culminating series of actions within a sound environment by M. Cay Castagnetto.

MPA (b. 1980) has explored a range of meditative, durational, theatrical, and actionist modes of performance to engage “the energetic” as a potential material in live work. Enriched with ritual, her performances and installations critically examine behaviors of power in personal and social spaces. In previous works, she has proposed questions on the global arms race, patriarchy as governance, and the dysfunctional union of art and capitalist commodity. MPA’s work has been exhibited at the Swiss Institute, New York; Los Angeles Contemporary Exhibitions (LACE); the Stedelijk Museum Amsterdam, Netherlands; and Museo de Arte Contemporáneo de Oaxaca, Mexico. Her dynamic body of work Directing Light onto Fist of Father (2011) at Leo Koenig Projekte in New York, combined a looping 16 mm film and a plaster cast of MPA’s father’s fist in an installation that incited three durational performances. In Trilogy (o) (2012), presented at Human Resources in Los Angeles, NASA sound recordings of dying stars accompanied thirty-one photographs of Nike war missiles arranged as a moon calendar. Continue reading

.ART, The First Internet Domain Dedicated To The Arts And Culture Is Launched

RESPONSIBLY ADVANCING THE ART WORLD THROUGH TECHNOLOGY AND CREATIVITY.

More Than 60 World-Famous Museums, International Art Galleries And Renowned Art Organizations Will Be The First To Launch Websites Using .ART

.ART, the first domain created exclusively for the global art community, is pleased to announce that more than 60 museums and world – renowned arts organizations launched websites dedicated to the new domain first class, including The Art Institute of Chicago , Centre Pompidou, Fondation Beyeler, Fondation Cartier, Guggenheim Museum, Hauser & Wirth, ICA Miami, LACMA, MAXXI, Tate and Walker Art Center, and more. These first. .ART users have entertained plans to activate their new domains, some of which include full migration or consolidation of their existing web sites .ART, while others are launching new websites dedicated to exhibit unique content of its artists and/or collections.DotArt-Logo-Black-RGB Logo

The rights holder in charge of operating and selling the .ART domain is UK Creative Ideas Ltd. (UKCI), an international team based in London. In spring 2016 UKCI signed an agreement with ICANN, the Internet Corporation for Assigned Names and Numbers, to be the exclusive operator of the top-level domain.

Our mission is to preserve the cultural heritage of the world of global art. We are honored that so many respected institutions around the world share our vision and conviction that .ART transform the relationship of the arts community with Internet and help protect your online brand heritage , “said Ulvi Kasimov , founder of .ART.

John Matson , CEO of .ART added: “.ART Provides a new way for the art world online identified The domain is short, simple, easy to remember and have immediate association with the arts for our first users, .ART domain is a natural expression of your brand.

The first users will first receive access to domain names. .ART; therefore, they have the opportunity to launch content on their respective web sites before the domains are available for purchase by the general public in the summer of 2017. The first .ART users have shared their enthusiasm:

The digital director of the Tate, Ros Lawler, said the museum “is delighted to participate in the launch of this new domain, which will help promote some of the art collections, galleries and museums the world ‘s largest.”

Benoît Parayre, Director of Communications and Partnerships in the Centre Pompidou, said: “A domain name for the art world took enough to appear, but now allow many leaders of the cultural industry, museums, art centers, galleries, collectors, etc., have more relevant domain names to promote their collections and programming. “

The Fondation Cartier pour l’art contemporain is very excited to be part of the new digital neighborhood .ART and evolve further their programs, ” said his digital manager, David Desrimais.

Anton Vidokle, artist and founder ofe-flux, added: “The Internet carries a profound educational potential, and a reliable and informative domain dedicated to art will provide an invaluable source of knowledge The domain….. .art will become an effective platform to dignify. the excellent work of arts organizations and artists from all over the world for all those who love and care about the arts.

Dominique Chevalier, president of the Syndicat National des Antiquaires Antiquaires (SNA), which organizes the Biennale des Antiquaires at the Grand Palais in Paris, said: “For us, and for our galleries, ‘.com’ is too commercial and ‘.fr’ too . generic the problem with most domain names that say nothing about the activity that one performs, ‘.ART’ solves that.

Lelia Pissarro, co-owner of the Stern Pissarro Gallery and great – granddaughter of the artist Camille Pissarro, said:.. “The Internet has the greatest impact on the market of global art has taken the art to every corner of the world the way forward in terms of domain names is clearly categorizing industries. We have the impression that they represent the names Pissarro, combined with ‘.com’ detracted elegance. Now to be able to use ‘pissarro.art’ simply is the perfect solution. it comes to cover an old gap in our marketing strategy and how we project.

The first users have comprehensive plans for their respective sites:

Tate, LACMA, Multimedia Art Museum and the Solomon R. Guggenheim Museum will create websites that highlight the various aspects of their collections, while the Fondation Cartier will use the domain to make its collection available to the public for the first time in its history. Meanwhile, the Centre Pompidou will launch a dedicated website with useful information in English and other languages for their foreign visits.

Hauser & Wirth celebrate the 25th anniversary of the gallery by launching an interactive website that displays a visual chronology detailing the nearly three decades of history gallery. In addition, Canesso Gallery, Galerie Meyer Oceanic & Eskimo Art, Galerie Perrin, Tomasso Brothers Fine Art , Stern Pissarro Gallery and Venus migrated completely its current websites to their new .ART domains.

TIMELINE

  • December 2016 – February 2017: ICANN (TMCH)-registered trademarks will be able to register their .ART domains in this phase, also called Sunrise.
  • February – May 2017: The registration process will be open to members of the art world only.
  • May 2017 onwards: Anyone with an interest in the arts can register .ART domains.

To see the complete list of the first users of .ART, visit http://www.art.art.

 

Celebrate Culture and the Arts During Seattle’s Third Annual Seattle Museum Month

Downtown Seattle Hotel Guests Receive Half-Price Entry to Region’s Museums and Cultural Institutions in February 2017

February Is The Best Time To Save On Admission To More Than 40 Participating Museums Throughout Seattle And The Surrounding Region.

Visit Seattle‘s third annual Seattle Museum Month – returning February 1-28, 2017 – offers hotel guests half-price admission at more than 40 participating museums throughout Seattle and the region.

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Chihuly Garden and Glass. (Photo Credit: Terry Rishel)

Seattle Museum Month , a program created to encourage travelers to visit Seattle in February and celebrate the incredible arts and culture scene present in the region, is produced by Visit Seattle and funded by the Seattle Tourism Improvement Area (STIA), a dedicated marketing fund assessed from guests at the 61 downtown Seattle hotels.

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Seattle Art Museum’s Olympic Sculpture Park. (Photo Credit: Benjamin Benschneider)

For visitors and locals alike, Seattle Museum Month offers an immersive way of experiencing Seattle’s art, history, music, design and culture. Since its inaugural year in 2015, Museum Month has been an exciting cultural complement to Seattle during a mid-winter vacation.

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Seattle Art Museum. (Photo Credit: Benjamin Benschneider)

Seattle’s major museums have returned for this year’s offer – including Seattle Art Museum, Museum of History & Industry, Museum of Flight, Museum of Pop Culture (MoPOP), Seattle Aquarium, Woodland Park Zoo, Wing Luke Museum of the Asian Pacific American Experience and the Burke Museum of Natural History and Culture. Two internationally renowned glass art museums are included – Chihuly Garden and Glass in Seattle and the Museum of Glass in Tacoma. The Flying Heritage Collection and the Suquamish Museum are new participants this year.

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Museum of Pop Culture (MoPop) (Photo Credit : Brady Harvey)

Furthermore, many exhibitions of note are timed during the month-long promotion. Epicureans can indulge themselves at Edible City: A Delicious Journey at Museum of History & Industry (MOHAI), a new exhibit highlighting Seattle’s natural resources, cuisine, famous chefs and its role in the culinary industry.

Also on display in February is part three of the Day in the Life of Bruce Lee: Do You Know Bruce? exhibit at the Wing Luke Museum of the Pacific Asian Experience – the only museum outside Hong Kong to present an exhibition about Bruce Lee. Additionally, Star Trek: Exploring New Worlds at MoPOP commemorates the 50th anniversary of the famous science fiction series and is offered to Museum Month pass holders at a discount.

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Seattle Asian Art Museum. (Photo Credit: Benjamin Benschneider)

Visitors can enjoy natural scenery while indoors at Seeing Nature: Landscape Photography from the Paul G. Allen Family Collection, opening February 16 at the Seattle Art Museum (SAM), or familiarize themselves with Puget Sound sea life during Octopus Week Feb. 18-26 at the Seattle Aquarium. Dance Theatre of Harlem: 40 Years of Firsts will be on display through Black History Month at the Northwest African American Museum. Continue reading

2017 Whitney Biennial, The First To Take Place In The Museum’s Downtown Building, To Open March 17

The formation of self and the individual’s place in a turbulent society are among the key themes reflected in the work of the artists selected for the 2017 Whitney Biennial, opening at the Whitney Museum of American Art on March 17, 2016 and running through June 11, 2017. Curated by the Whitney’s Nancy and Fred Poses Associate Curator Christopher Y. Lew and independent curator Mia Locks, this will be the first Biennial held in the Whitney’s (still new) home in the Meatpacking District. The country’s preeminent survey of the current state of American art, this is the seventy-eighth in the Museum’s ongoing series of Annuals and Biennials, initiated by Gertrude Vanderbilt Whitney in 1932.unnamed-1

Lew and Locks named the sixty-three participants (see complete list below), whose works will fill two of the four main gallery floors of the Whitney (including the 18,000-square-foot Neil Bluhm Family Galleries on the fifth floor) and numerous other spaces throughout the Museum. The participants range from emerging to well-established individuals and collectives working in painting, sculpture, drawing, installation, film and video, photography, activism, performance, music, and video game design.

Scott Rothkopf, the Whitney’s Nancy and Steve Crown Family Chief Curator and Deputy Director for Programs, said, “Since we opened our new building, we’ve reignited our emerging artist program with venturesome solo premieres and ‘snapshot’ shows of new tendencies. This Biennial, the largest ever in terms of gallery space, marks the capstone of these efforts. Chris and Mia have done an amazing job scouring the country to discover new talents, while creating lively connections to senior figures and our roiling social landscape.”

Lew commented that, “Throughout our research and travel we’ve been moved by the impassioned discussions we had about recent tumult in society, politics, and the economic system. It’s been unavoidable as we met with artists, fellow curators, writers, and other cultural producers across the United States and beyond.” Locks noted: “Against this backdrop, many of the participating artists are asking probing questions about the self and the social, and where these intersect. How do we think and live through these lenses? How and where do they fall short?

Rothkopf is leading a team of advisors who are working closely with Lew and Locks to help shape the exhibition. They include: Negar Azimi, writer and senior editor at Bidoun, an award-winning publishing, curatorial, and educational initiative with a focus on the Middle East and its diasporas; Gean Moreno, curator of programs at the Institute of Contemporary Art Miami and founder of [NAME] Publications; Aily Nash, co-curator of Projections, the New York Film Festival’s artists’s film and video section, and Film and Media Curator at Basilica Hudson; and Wendy Yao, a publisher and founder of both the exhibition space 356 South Mission Road and Ooga Booga, a shop with two Los Angeles locations that specializes in independent books, music, art, and clothing. Nash, together with the curators, is co-organizing the Biennial film program, which will screen in the Whitney’s third-floor Susan and John Hess Family Theater.

The 2017 Biennial will be accompanied by an exhibition catalogue, designed by Olga Casellas Badillo of San Juan-based Tiguere Corp., which includes essays by the curators as well as Biennial advisors Negar Azimi and Gean Moreno, a conversation between the curators and Scott Rothkopf, and a roundtable with filmmakers moderated by Aily Nash. The book will also feature individual entries on each of the sixty-three participants in the exhibition along with reproductions of their work. It will be published by the Whitney Museum of American Art and distributed by Yale University Press.

The full list of artists are as follows: Continue reading

“Isamu Noguchi, Archaic/Modern” at the Smithsonian American Art Museum Presents a Fresh Perspective on the Innovative Vision of This Modern Master

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Isamu Noguchi, 1968. Russell Lynes, photographer. Russell Lynes papers, 1935-1986. Archives of American Art, Smithsonian Institution

Isamu Noguchi (1904-1988) was among the most innovative American sculptors of the 20th century. His design for “Sculpture to Be Seen from Mars” (1947) anticipates the space age by several decades. Even as he created works that were far ahead of his time, Noguchi frequently found inspiration in ancient art and architecture-from Egyptian pyramids and Buddhist temples to Zen gardens and American Indian burial mounds. “Isamu Noguchi, Archaic/Modern” explores how the ancient world shaped this artist’s vision for the future. The Smithsonian American Art Museum is the sole venue for this exhibition, which is expanded from an earlier installation at The Isamu Noguchi Foundation and Garden Museum, New York.

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Isamu Noguchi, Age, 1981, basalt. The Isamu Noguchi Foundation and Garden Museum, New York. Photo by Kevin Noble. © The Isamu Noguchi Foundation and Garden Museum, New York.

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Isamu Noguchi, Atomic Haystack, 1982-83, hot-dipped galvanized steel. The Isamu Noguchi Foundation and Garden Museum, New York. Photo by Kevin Noble. © The Isamu Noguchi Foundation and Garden Museum, New York.

Isamu Noguchi, Archaic/Modern” is on view in the Smithsonian American Art Museum‘s main building from November 11, 2016 through March 19, 2017. Dakin Hart, senior curator at The Isamu Noguchi Foundation and Garden Museum, New York, and Karen Lemmey, curator of sculpture at the Smithsonian American Art Museum, organized the exhibition.

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Isamu Noguchi, Lunar Table, 1961-65, granite. The Isamu Noguchi Foundation and Garden Museum, New York. Photo by Kevin Noble. © The Isamu Noguchi Foundation and Garden Museum, New York.

Magic Mountain, 1984

Isamu Noguchi, Magic Mountain, 1984, Mikage granite and wood. The Isamu Noguchi Foundation and Garden Museum, New York. Photo by Kevin Noble. © The Isamu Noguchi Foundation and Garden Museum, New York.

Isamu Noguchi-born in Los Angeles, raised and educated in Japan, Indiana, New York and Paris-was among the first American artists to think like a citizen of the world,” said Betsy Broun, The Margaret and Terry Stent Director of the Smithsonian American Art Museum. “The exhibition is the latest in a series of major shows to examine the contributions of such international artists as Nam June Paik, Christo, Yasuo Kuniyoshi and Tamayo, and their broad perspectives.”

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Isamu Noguchi, Pregnant Bird, 1958, Greek marble. The Isamu Noguchi Foundation and Garden Museum, New York. Photo by Kevin Noble. © The Isamu Noguchi Foundation and Garden Museum, New York.

Continue reading

Solomon R. Guggenheim Museum Presents New Art from Greater China That Explores the Concept of Place through Storytelling

Second Exhibition of The Robert H. N. Ho Family Foundation Chinese Art Initiative Features Works Commissioned for Guggenheim Collection

Exhibition: Tales of Our Time

Venue: Solomon R. Guggenheim Museum, 1071 Fifth Avenue, New York

Location: Tower Levels 4 and 5

Dates: Now through March 10, 2017

The Solomon R. Guggenheim Museum presents Tales of Our Time, an exhibition featuring nine newly commissioned works by artists born in mainland China, Hong Kong, or Taiwan. This is the second exhibition of The Robert H. N. Ho Family Foundation Chinese Art Initiative, a long-term research, curatorial, and collections-building program at the Guggenheim Museum.

The exhibition’s title refers to the 1936 book Gushi xin bian (Old Tales Retold) by the influential Chinese modernist, social activist, and literary giant Lu Xun. In the book, Lu reinvents Chinese legends, as he considers these tales to be not only a literary genre, but also a strategy for critiquing social conditions and reconstructing history through storytelling.guggenheim-museum-logo

Though diverse in subjects and strategies, the works are united by the artists’ use of storytelling to propose alternative ways of looking at place. Working in drawing, animation, video, photography, sculpture, installation, and participatory intervention, the artists in the exhibition address the concept of geography and territory in ways as specific as where they are based or as big as China itself, which they see as a concept constantly being questioned and reinvented. These artists freely cross divides to examine the tensions between past and present, myth and fact, reality and dreams, rationality and absurdity, and individuality and collectivity.

The artists represented in Tales of Our Time are Chia-En Jao, Kan Xuan, Sun Xun, Sun Yuan & Peng Yu, Tsang Kin-Wah, Yangjiang Group, and Zhou Tao.

Tales of Our Time is organized by Xiaoyu Weng, The Robert H. N. Ho Family Foundation Associate Curator of Chinese Art, and Hou Hanru, Consulting Curator, The Robert H. N. Ho Family Foundation Chinese Art Initiative. Kyung An, Assistant Curator, Asian Art, provides curatorial support. The Robert H. N. Ho Family Foundation Chinese Art Initiative is part of the Guggenheim’s Asian Art Initiative, directed by Alexandra Munroe, Samsung Senior Curator, Asian Art and Senior Advisor, Global Arts. All commissioned works will enter the Guggenheim’s collection.

Curators Xiaoyu Weng and Hou Hanru have taken a dynamic and collaborative approach, as they worked closely with the commissioned artists to explore the questions and insights that drive these art practices. We hope that these works will inform new understanding of global contemporary art through the lens of Chinese culture today,” stated Richard Armstrong, Director of the Solomon R. Guggenheim Museum and Foundation. “The Guggenheim is grateful to The Robert H. N. Ho Family Foundation for its sustained commitment to this effort.”

Ted Lipman, CEO of The Robert H. N. Ho Family Foundation, congratulated the commissioned artists and noted, “Contemporary Chinese art, along with the dialogue around it, is a dynamic and increasingly important force shaping the global cultural landscape. The Chinese Art Initiative at the Guggenheim is designed to offer a fresh perspective on Chinese culture and its relationship with contemporary society. The Foundation hopes the impact of this initiative will be a lasting one.”

Tales of Our Time

Chia-En Jao (b. 1976, Taichung, Taiwan). Arms no. 31, 2016. Cast aluminum, textile patchwork, display case with fabric swatches, and paper handout with text. Solomon R. Guggenheim Museum, New York, The Robert H. N. Ho Family Foundation Collection. © Chia-En Jao. Installation View: Tales of Our Time. Photo: David Heald

The artists represented in Tales of Our Time vary greatly in their practices and viewpoints,” says Xiaoyu Weng. “But they share a broad perspective, one that places China’s culture, history, and social reality in the context of the wider world. And like so many artists today, they register acute discomfort with the tension between the personal experiences of regular people and the dominant narratives and conventions of power.

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Sun Xun (b. 1980, Fuxin, Liaoning Province), Mythological Time, 2016 (details). Two-channel color HD animated video, with sound, and ink, graphite and acrylic on mulberry bark paper. Solomon R. Guggenheim Museum, New York, The Robert H. N. Ho Family Foundation Collection. © Sun Xun

Tales of Our Time is installed on two Tower Levels of the museum. Visitors may enter Tower Level 4 through a passageway lined with fantastic visions inspired by the natural world, drawn in the classical Chinese style on traditional bark paper by Sun Xun (b. 1980). Sun’s installation Mythological Time (2016) centers on his hometown of Fuxin in northeastern China, a coal-mining town that was once the pride of modern-era Chinese industrialization, but which the artist portrays as merely a fleeting scene over many millennia. A second monumental wall-size painting by Sun Xun depicting a surreal prehistoric landscape is also on view. Two video streams are projected onto its surface, sending animated creatures cavorting next to those drawn on paper with ink and acrylics.

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Chia-En Jao (b. 1976, Taichung, Taiwan), Taxi, 2016, Color UHD video, with sound. Solomon R. Guggenheim Museum, New York, The Robert H. N. Ho Family Foundation Collection. © Chia-En Jao

Taxi (2016), a video installation, presents conversations conducted by the artist Chia-En Jao (b. 1976) with taxi drivers in Taipei. The artist asked drivers to take him to historically contested destinations in the city, such as a branch of Chang Hwa Bank where a mass protest was suppressed by Chiang Kai-shek’s military regime in 1947, the Presidential Office Building, the Grand Hotel, or the National Taiwan Museum. Recorded documentary style, the conversations meander through difficult memories of the Japanese occupation and martial law to present-day concerns. The artist has also created a flag for the installation, a traditional coat of arms representing many aspects of Taiwanese society, including its aboriginal communities. Through this investigation into the powerful connection between history and storytelling, Jao creates a mental map of Taipei that honors individual memory and experience.

Zhou Tao

Zhou Tao (b. 1976, Changsha, Hunan Province), Land of the Throat, 2016 Installation with two-channel color HD video, with sound. Solomon R. Guggenheim Museum, New York, The Robert H. N. Ho Family Foundation Collection. © Zhou Tao

Nearby Taxi on Tower Level 4 is a futuristic, pod-like video installation by Zhou Tao (b. 1976). Land of the Throat (2016) evokes a phenomenon characteristic of China’s urbanization today: the construction of the new and the consequential transformation of the land. Two synchronized videos composed of footage recorded in Guangdong, China and Arizona are projected onto opposite sides of an enclosed structure in the gallery space. A cow chained to an abandoned industrial washing machine moos in an otherwise silent, desolate landscape; workers pour out of construction sites; children play aimlessly; dogs and rats roam near fishing holes; and rescue workers in Shenzhen care for survivors injured in the city’s 2015 landslide. Continue reading

Denver Arts Week Celebrates 10th Anniversary

For 10 straight years, the eight-day citywide festival has celebrated Denver’s creative community with hundreds of events bringing thousands of people each year

Denver Arts Week, an annual celebration of The Mile High City‘s vibrant arts scene, will mark its 10th anniversary this year from November 4-12. Presented by VISIT DENVER, The Convention & Visitors Bureau, the event will feature annual favorites like Know Your Arts First Friday and FREE Night at the Museums, as well as new experiences throughout the more than 300 events at galleries, museums and arts districts throughout the city.denver-arts-week

Denver is home to a phenomenal year-round arts scene – with world-renowned museums, cutting edge street art, exceptional performing arts and more,” says Richard Scharf, president and CEO of VISIT DENVER, The Convention & Visitors Bureau. “For 10 years, Denver Arts Week has encouraged people to celebrate the city’s cultural scene, and we are thrilled that the event has continued to evolve and grow as much as the arts scene has. The tenth anniversary is the perfect opportunity to attend some classic events or experience new ones and really immerse yourself in the city’s creative community.visitdenver_vertlow

With more than 300 cultural events – some of which are free or heavily discounted – throughout the city over nine days, there are plenty of reasons to make a night – or a few nights – of it; and there are plenty of great hotel deals to facilitate a stay in Denver. For a complete calendar and a full listing of all the deals and discounts on art, experiences and hotels, visit the Denver Arts Week website.

10 Ways to Make the Most of Denver Arts Week

It can be difficult to choose from the myriad of events taking place around town; here’s how to get the most out of Denver Arts Week 2016:

1. Explore vibrant art districts and diverse neighborhoods on First Friday Art Walks, Nov. 4

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Art District on Santa Fe

The annual event kicks off with citywide First Friday Art Walks in Denver’s art districts, where more than 100 galleries and display spaces stay open late and feature art shows, demonstrations and more. Go on a VIP Art Tour in the River North Art District (RiNo), take advantage of Tennyson Street Cultural District‘s $52.80 art sale, submit your own art in the Art District on Santa Fe‘s “To Denver With Love” art contest, and venture to the Golden Triangle neighborhood to see some of the city’s finest galleries.

2. Experience FREE Night at the Museums on Nov. 5

Venues around town are open late, from 5 to 10 p.m., during FREE Night at the Museums. The museums offer special programming, family-friendly activities and live entertainment, and there are complimentary shuttles to make “museum hopping” easy and convenient. The Denver Museum of Nature & Science, Denver Art Museum, History Colorado Center, The Counterterrorism Education Learning Lab (CELL), Forney Museum of Transportation and Denver Firefighters Museum are just some of this year’s many not-to-miss participants.

3. Check out blockbuster exhibitions, from mummies to Japanese fashion

This fall, several of Denver’s major museums are hosting international traveling exhibitions and original curations. See Washed Ashore, Art to Save the Sea at Denver Zoo; Shock Wave: Japanese Fashion Design, 1980s-90s at the Denver Art Museum; and Extreme Mammals and Mummies: New Secrets from the Tombs, both of which are at the Denver Museum of Nature & Science.

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Washed Ashore, Art to Save the Sea, features 15 giant sculptures depicting sea life, made almost entirely of debris collected from beaches.

This unusual traveling exhibit, Washed Ashore, Art to Save the Sea, features 15 giant sculptures depicting sea life, made almost entirely of debris collected from beaches. Hosted by Denver Zoo, it’s the first time the exhibit has appeared at an inland, noncoastal location. The exhibit will be open from Sept. 24, 2016, to Jan. 16, 2017. The Washed Ashore Project aims to educate the public and raise awareness about pollution through the arts. As a community-based organization, lead artist Angela Haseltine Pozzi draws on people of all ages to help her remove thousands of pounds of debris from beaches then turn it into large works of art.

The organization says 90 percent of the debris they collect come from petroleum-based products such as plastics, nylon ropes and fishing nets. Almost all of the trash then gets turned into sculptures such as a walk-through replica of ocean currents and a coral reef made of Styrofoam. Continue reading