Einstein’s Wife by David C. Cassidy
Wednesday, May 29th 7:30PM
Playroom Theater, 151 West 46th Street, 8th Floor
Mileva Marić confronts the challenges of disability and discrimination, love and fate, and her marriage to Albert Einstein. Based on actual events.
Time: Fall 1893.
Place: Zagreb, Croatia, Austro-Hungarian Empire
26th-27th SEPTEMBER 2019, KING’S COLLEGE LONDON
PROPOSALS DUE 1 JULY 2019
Submit abstracts via Google Forms
This two-day interdisciplinary conference will be an important step toward building an international research network that focuses on the ways that race and biomedicine are mobilized beyond the lab in the 21st century. We seek to foreground how non-scientists are at the forefront of novel, plural, generative deployments of biomedical ideas of race that either entrench or resist historical ideas about race and its relation to biology across domains of environments, markets, and human rights.
Biomedical ideas of race have conventionally operated in two oppositional ways: notions of race as genetic or biological truth; and, conversely, accounts of health and health disparities as products of racism rather than caused by race itself. Debates about these opposing logics have never been completely cordoned off into domains of biomedical experts, but they are increasingly moving beyond the lab, and being deployed in diverse ways. Nonscientists are at the forefront of a range of deployments. On the one hand, biomedical ideas of race are being used by broader stakeholders to maintain historically entrenched ideas about race (e.g. pathologization of racialized groups to justify political repression and social service marginalization). On the other hand, biomedical ideas of race are also strategically mobilized in alternative directions, to stake claims and resist race-based injustice (e.g. identifying bodies in mass graves as racially indigenous in order to ground genocide claims in international courts).
Apr. 26–Jun. 7, 2019
Have you ever glimpsed a movement out of the corner of your eye and turned to find nothing there? Have you ever bolted up the basement steps convinced that something was down there with you? Seeing Shadows attempts to visualize these sensations as photographic objects. Derived from Brandreth’s love for horror and the macabre, and from the histories of photography and film, these unique handmade works are at once seductive and utterly uncanny.
Watercolor Rediscovered: Whistler in the Nineteenth Century
Exhibition: May 18, 2019–October 6, 2019
Freer Gallery of Art, galleries 10 and 11
James McNeill Whistler reinvented himself as an artist in the 1880s and painted his way into posterity with the help of watercolor. Beginning in 1881, he created a profusion of small, marketable works over the next fifteen years. “I have done delightful things,” he confided, “and have a wonderful game to play.” For Whistler, the word “game” referred to the watercolors themselves and to his plans for selling them.
Museum founder Charles Lang Freer amassed the world’s largest collection of Whistler’s watercolors, with more than fifty seascapes, nocturnes, interior views, and street scenes. His vast collection also included prints, drawings, pastels, and oil paintings by the artist. Due to Freer’s will, these works have never left the museum, and the fragile watercolors have rarely been displayed. Recent research conducted by museum curators, scientists, and conservators now shines new light on Whistler’s materials, techniques, and artistic genius, as seen in this first major exhibition of his watercolors at the Freer Gallery since the 1930s.
In conjunction with the opening of Whistler in Watercolor, explore the development of watercolor in the Victorian era and James McNeill Whistler’s contributions to the genre at an event on Sunday, May 19, 2019, 2pm.
Continue reading “PANEL AND EXHIBITION: Watercolor Rediscovered: Whistler in the Nineteenth Century”
Presented by the Center for the History of Collecting, Frick Art Reference Library, The Frick Collection, NY
Thursday, May 23, 2019, 2 – 7 p.m.
This half-day symposium focuses on collecting site-specific, large-scale, and light-based works by artists including, among others, Walter de Maria, Nancy Holt, Robert Smithson, Michelle Stuart, and James Turrell. A panel of scholars, curators, collectors, an artist, and a conservator explores related challenges of installation, maintenance, preservation, and ultimate stewardship. Virginia Dwan, Suzaan Boettger, Jarl Mohn, Jessica Morgan, Leonard Riggio, and Michelle Stuart are among the participants. Sponsorship from the Robert H. Smith Family Foundation and Northern Trust has made this event possible.
A group exhibition by SciArt Center at the New York Hall of Science
September 10th, 2019 – January 10th, 2020
Deadline to submit: June 3rd, 11:59pm EST
The weather is ever-present, often dramatic, and always uncontrollable. SciArt welcomes submissions surrounding the topics of studying, understanding, and experiencing the weather.
April 25 – August 11, 2019
DePaul Art Museum
New Age, New Age: Strategies for Survival is an exhibition of work from the last fifteen years by contemporary artists who appropriate, critique, or embrace “New Age” aesthetics and concerns from a 21st century perspective. Emerging in the 1960s and 1970s against a backdrop of war, social strife and a crisis of modernity, the multifaceted New Age “movement” was characterized by alternative approaches to traditional Western culture, with an interest in spirituality, mysticism, holism, and environmentalism. It embodied a complicated conflation of politics, religion, science, social communities, art, music, and self-realization. Often dismissed for its association with drugged out hippies or flower-power children, how can New Age philosophies and practices be reconsidered today as relevant movement for social change and wellness?
Maikoiyo Alley-Barnes, Lise Haller Baggesen, Alun Be, Elijah Burgher, D. Denenge Duyst-Akpem, Whit Forrester, Desirée Holman, Cathy Hsiao, Michiko Itatani, Rashid Johnson, Marva Lee Pitchford-Jolly, Jenny Kendler, Liz Magic Laser, Matt Morris, Shana Moulton, Heidi Norton, Tony Oursler, Mai-Thu Perret, Robert Pruitt, Bob Ross, Luis A. Sahagun, Mindy Rose Schwartz, Suzanne Treister, Rhonda Wheatley, Megan Whitmarsh and Jade Gordon, Saya Woolfalk
Quentin Fiore, the graphic designer whose work helped magnify and popularize Marshall McLuhan’s maxim that “the medium is the message,” died on April 13 at a care facility in North Canaan, Conn. He was 99.
While he was best known for his book collaborations in the 1960s with McLuhan, the communications theorist, he also did notable work with the antiwar activist Jerry Rubin and the inventor and visionary Buckminster Fuller.
His obituary is available here
Article on Fiore and McLuhan collaboration is here
Bard Graduate Center, February 23 – July 8, 2018
The transition from roll to codex as the standard format for the book is one of the most culturally significant innovations of late antiquity, the period between the third and eighth centuries AD.
This exhibition offers a concise history of the first steps of the codex book format from a technical and technological point of view. Specifically it focuses on the different techniques used to turn leaves of papyrus or parchment into a functional book that could be safely used and preserved.