Popular Events in January, 2024(April Updated)

Artificial lights have become such a common nighttime fixture that we take them for granted. But what do brighter nights mean for people and wildlife? The effects of light pollution extend beyond our reduced view of the stars, but solutions can have an immediate impact. Through more than 100 photographs, nearly 250 objects, interactive experiences, tactile models, and a theater program, discover why the dark night matters, rekindle your connection to the night sky, and consider how much light at night is enough—for whom, for what purpose, and who gets to decide?

explores the rise of Futurism in contemporary Indigenous art as a means of enduring colonial trauma, creating alternative futures, and advocating for Indigenous technologies in a more inclusive present and sustainable future. Over fifty artworks are on display, some interspersed throughout the museum, creating unexpected encounters and dialogues between contemporary Indigenous creations and historic Autry works. Artists such as Andy Everson, Ryan Singer, and Neil Ambrose Smith wittily upend pop-culture icons by Indigenizing sci-fi characters and storylines; Wendy Red Star places Indigenous people in surreal spacescapes wearing fantastical regalia; Virgil Ortiz brings his own space odyssey, to life in a new, site-specific installation. By intermingling science fiction, self-determination, and Indigenous technologies across a diverse array of Native cultures, envisions sovereign futures while countering historical myths and the ongoing impact of colonization, including environmental degradation and toxic stereotypes.

How do elephants “hear” with their feet? Use the 40,000 muscles in their trunks? Or reshape the forests and savannas they live in, creating an environment upon which many other species rely? The Secret World of Elephants reveals new science about both ancient and modern elephants, including elephants’ extraordinary minds and senses, why they’re essential to the health of their ecosystems, and inspiring efforts to overcome threats to their survival.

How do elephants “hear” with their feet? Use the 40,000 muscles in their trunks? Or reshape the forests and savannas they live in, creating an environment upon which many other species rely? The Secret World of Elephants reveals new science about both ancient and modern elephants, including elephants’ extraordinary minds and senses, why they’re essential to the health of their ecosystems, and inspiring efforts to overcome threats to their survival.

This May, Vivacity will be proudly re-siting Antony Gormley’s first sculpture commission, Places to Be, 30 years after the piece was first installed at Monkstone House, Peterborough. Due to vandalism at their second location, Peterborough Boat Lake, the figures were removed and held in storage- until now. The piece has been carefully restored by the Artist and Vivacity, and is now ready to be re-shared with the public. Placed on the rooftops of Queensgate Shopping Centre, Leeds Building Society, and Norwich & Peterborough Building Society, the lead, life-sized figures of Antony Gormley’s Places to Be, will find their home within the Peterborough City Centre skyline for public view on the 25th May 2018.

New from the Art Dealer's Room and Columnist series of Contemporary Art & Mix media design featured catalogue Secondary Art Market listings works & Galleries Artworks currently showing online catalogue www.Verisart.com/Andrepace

A Virtual Reality Art Exhibition that you can view in any location and on any device. Please see the above picture instructions for how you can view it on a tablet/mobile. You can view the exhibition with or without a virtual reality headset. Copy this link to view the Virtual Reality Art Exhibition on a computer/laptop: https://edu.cospaces.io/PMB-KAV The Virtual Private View of the Exhibition was held on Thursday 14th of May 2020 at 8:15pm on Zoom (Virtual drinks provided.)

The Mandala Lab, located on the Museum’s remodeled third floor, invites curiosity about our emotions. Consider how complex feelings show up in your everyday life and imagine how you might have the power to transform them. Inspired by powerful Buddhist principles, the Mandala Lab features five thought-provoking, playful experiences—including videos, scents, sculpture, and curated percussion instruments—that guide you along an inner journey focused on self-awareness and awareness of others. See, smell, touch, and breathe your way through the space, designed to inspire connection, empathy, and learning. The Mandala Lab includes artist contributions from:

DIMENSIONS OF SOUND - MUSICAL JOURNEY THROUGH SPACE AND TIME “The ear lies nearest to the human soul.” (Johann Gottfried Herder, „Kritische Wälder”, 1769 ) The House of Music, Hungary is a tree of life in the heart of Városliget, with a trunk, and a crown of golden leaves on slender branches. We are standing here by its roots, which provide the institution with its spiritual sustenance. The roots are entwined, like a labyrinth, and we walk among them. Our journey begins far back in time and space, back at the birth of music itself where we can grasp the roots of Hungarian folk music and European music. Progressing through the centuries, we will follow the development of music, discovering what a series of organised tones has meant to mankind, with the emphasis on Hungarians in the light—or sometimes the shadow—of Europe. Through the language of music, the exhibition speaks for itself: Everywhere we go, we hear music playing; the subject of the exhibition is music itself. Quoting Shakespeare, we might say, “Mark the music!” Mark not only the music coming from the headphones, but also the music around and within you. When you reach the end of the path, the modern day, many sounds will have been etched into your heart and mind: music to take home with you, the music of ancient times.

"Chen Fushan Studio" uses Chen Fushan's home studio as a reference, and selects his personal belongings from his former residence in Wan Chai, including various household furnishings, hand-painted paintings and collections of books for display, in order to reproduce Chen's living environment and the layout when he was painting. Visitors can take a look at the original appearance of his former creative space outside the glass room, explore Chen's creative world with another visual experience, and gain a deeper understanding of the multiple aspects of this local artist. "Chen Fushan Studio" also leads the audience to review Chen's artistic journey and style development by displaying historical photos and text records about Chen's life, and wander in the story that created the legendary life of the "Watercolor King". Based on the contemporary era, it traces the trajectory of Hong Kong art history from the side.

A smaller exhibition in the showcases located in the Eastern hall of the Historical Building presents the expeditions of the National Museum, which are primarily united by a desire for knowledge that overcomes borders. It presents a selection of the most important historical expeditions which demonstrate the institution's long research tradition, up to contemporary expeditions. One of the oldest research trips is reminiscent of A. Frič's expeditions to Banat (1853) and Dalmatia (1856) accompanied by acquired zoological specimens. The challenging nature of the expeditions is exemplified by the entomological expedition to Iran by Praga V3S museum vehicle in the 1970s or, at the time, the pioneering expeditions to the Mapuche area in South America. Current expeditions of the National Museum will take you to diverse corners of the world on almost all continents and unearth the latest scientific and archaeological discoveries made by the researchers. They will explain the importance of cooperation between scientific and museum departments and multidisciplinary approach, which lead to the joint results of the work of a team of experts that examine the topic from different points of view.

Ragnar Kjartansson’s beloved video installation The Visitors (2012) is back at SFMOMA. In this mesmerizing hour-long work projected across nine screens, viewers are transported once again to the serene setting of Rokeby in upstate New York as the Icelandic artist and his musician friends perform together in various rooms of this historic mansion.

Ragnar Kjartansson’s beloved video installation The Visitors (2012) is back at SFMOMA. In this mesmerizing hour-long work projected across nine screens, viewers are transported once again to the serene setting of Rokeby in upstate New York as the Icelandic artist and his musician friends perform together in various rooms of this historic mansion.

Ragnar Kjartansson’s beloved video installation The Visitors (2012) is back at SFMOMA. In this mesmerizing hour-long work projected across nine screens, viewers are transported once again to the serene setting of Rokeby in upstate New York as the Icelandic artist and his musician friends perform together in various rooms of this historic mansion.

LOGOS _____ ἐν ἀρχῇ ἦν ὁ ΛΟΓΟΣ (en arxh ein o LOGOS) Κατὰ Ιωάννην 1.1 What once stood for the reason, the initial cause, is now comically reduced to corporate trademarks - shiny brand names of vulgar affordable or fetishized banality.In a futile effort to subvert, reroute and reinstitute LOGOS to his former essence, we install images of beauty, poetry and personal value in the rural wilderness, where the corporeal pillars of goddess Hestia still stand unnoticed and only the lost now wander. _____ 7 artworks installed in various exterior locations in and around the city of Preveza, Greece. Marking the winter solstice. Set to remain on display for an unspecified period of time, exposed to the (un)favorable touch of natural and human intervention. Produced & curated by Θ Η Ε Λ Α

The Berlinische Galerie has devoted over 1000 square metres to presenting its collection. Waiting to be discovered among the roughly 250 works on show are paintings, prints, photographs, architecture and archive materials rarely or never displayed before. Walking around this exhibition is like time travel and takes visitors through Berlin in 17 chapters: the Kaiser’s era, the Weimar Republic, the Nazi dictatorship, the new beginnings after 1945, Cold War in the divided city, and the counter-cultures and unconventional lifestyles that evolved in East and West under the shadow of the Wall. In East Berlin, an alternative art community developed from the late 1970s. In West Berlin from the late 1970s, aggressive art by the “Neue Wilden” placed the divided city back in the international limelight.

The Berlinische Galerie has devoted over 1000 square metres to presenting its collection. Waiting to be discovered among the roughly 250 works on show are paintings, prints, photographs, architecture and archive materials rarely or never displayed before.Walking around this exhibition is like time travel and takes visitors through Berlin in 17 chapters: the Kaiser’s era, the Weimar Republic, the Nazi dictatorship, the new beginnings after 1945, Cold War in the divided city, and the counter-cultures and unconventional lifestyles that evolved in East and West under the shadow of the Wall. In East Berlin, an alternative art community developed from the late 1970s. In West Berlin from the late 1970s, aggressive art by the “Neue Wilden” placed the divided city back in the international limelight.

Newark, NJ – March 9, 2023 — Mayor Ras J. Baraka was joined by First Lady Tammy Murphy, State Senate Majority Leader M. Teresa Ruiz, and numerous other dignitaries today to unveil a new monument honoring Harriet Tubman and pay homage to the city’s role in the Underground Railroad along with the Black liberation movement’s rich history in the area. The ceremony also observed Harriet Tubman Day, which is tomorrow. The monument stands in Harriet Tubman Square, at the intersection of Washington and Broad Streets, in downtown Newark.

This exhibition offers a new, revealing look at the world-class Portland Collection of art. The museum will be filled to the brim with fascinating art and objects, a giant cabinet of curiosities. There will be silver and tapestry, paintings and jewels; art that has come home after a long loan to a prestigious national gallery, and stunning star items that visitors know and love – such as Michelangelo’s ‘Madonna of Silence’ or the pearl earring worn by Charles I at his execution. A highlight of the display is a Picture Gallery, stacked with Tudor and Jacobean portraits – many of which have never been seen publicly before.

Embark on a Jawsome Adventure with Live Sharks, Ancient Behemoths, and Fascinating Shark Facts We’re gonna need a bigger exhibit hall. Debuting on a floor all to itself is Sharks! The Meg, The Monsters & The Myths. We’re making your dreams come true and bringing you up close and personal with live sharks for a hands-on experience that will be – dare we say – jawsome. You’ll get a chance to touch a shark and discover what makes these creatures unique – from bait balls to bioluminescence. Further immerse yourself in the world of sharks as every order of shark known to mankind is represented within the exhibition, including a life-size model of the ancient behemoth, the Megalodon. And don’t forget to pick up a few Megalodon teeth of your own in the island shop. Don’t miss out on the frenzy and purchase your tickets today!

LAS Art Foundation is pleased to present Pollinator Pathmaker, a living artwork and participatory project conceived by artist Alexandra Daisy Ginsberg. This impactful initiative in interspecies art uses algorithmic technology to generate planting schemes for gardens, computed to support the greatest diversity of pollinating insects possible. It signals a shift toward the post-anthropocentric thinking necessary to face the current climate and biodiversity crises, and toward the non-human aesthetics and experimental formats that pave the way. Ambitious and future-minded, it is exemplary of how art can act as a driver for change, and offer new perspectives on our shared planet. Growing in the forecourt of the Museum für Naturkunde Berlin, the LAS- commissioned garden will be the first edition outside of the UK. LAS has committed to amplifying Pollinator Pathmaker’s impact by undertaking an extensive public campaign, which calls upon local communities, hobby gardeners and activists to get involved in pollinator protection by planting their own version of the artwork – what the artist refers to as DIY Editions – via Ginsberg’s free online tool: www.pollinator.art. Responding to the alarming decline in pollinator populations in recent decades, Ginsberg has worked with horticulturalists, pollinator experts and an AI scientist to devise an algorithmic tool that designs bespoke gardens for pollinating insects. Supported by the Museum für Naturkunde Berlin, the LAS Edition will be customised for Continental Europe, and will feature more than 7,000 plants of 80 different varieties, planted over a 722-square-metre plot.

New York is one of the most filmed cities on earth. Generations of moviegoers have seen New York depicted and distorted, celebrated and denigrated, idealized and mocked, built up and demolished over and over again on the big screen. Over the past 100 years, legions of filmmakers have drawn attention to New Yorkers’ joys and struggles, shaping our ideas of what the city is—or could become. You Are Here draws on this rich archive of movies set in New York, combining thousands of cinematic moments across 16 screens. Sources include Hollywood blockbusters, independent films, documentaries, and experimental works. By juxtaposing these multiple visions, the dazzling montages of You Are Here make connections and contrasts that allow movies to comment on each other across time and space. Together, they shed new light on the varied New Yorks of our collective imagination. Sometimes New York stars in these movies; sometimes, a studio set or even another city stands in. In the introductory room, Scenes from the City explores the city as a film set, showing how movies have been captured on location throughout the five boroughs. From there, we invite you to enter the immersive central space, where you can explore a narrative tapestry woven from hundreds of films—one impressionistic storyline that strives to represent the multifaceted realities of our countless New York stories.

What new stories can familiar works of art tell? This exhibition showcases longstanding favorites from The New York Historical's permanent collection alongside recent Museum acquisitions and selected loans. Pointed juxtapositions raise questions, create unexpected resonances, and shift established meanings.Martin Wong’s Canal Street (1992) and Oscar yi Hou’s Far Eastsiders, aka: Cowgirl Mama A.B & Son Wukong (2021) establish a longstanding lineage for queer Asian diasporic artists in New York City. And the juxtaposition of Thomas Cole’s five-painting series The Course of Empire (ca. 1834–1836) with Contact 2,021 (2021) by contemporary Shinnecock artist Courtney M. Leonard exposes the racial and gender politics of the Hudson River School landscape tradition. The groupings aim to center long-marginalized experiences and prompt a rethinking of both American art and the way museums tell history. Curated by Wendy Nālani E. Ikemoto, senior curator of American art.

What new stories can familiar works of art tell? This exhibition showcases longstanding favorites from The New York Historical's permanent collection alongside recent Museum acquisitions and selected loans. Pointed juxtapositions raise questions, create unexpected resonances, and shift established meanings.Martin Wong’s Canal Street (1992) and Oscar yi Hou’s Far Eastsiders, aka: Cowgirl Mama A.B & Son Wukong (2021) establish a longstanding lineage for queer Asian diasporic artists in New York City. And the juxtaposition of Thomas Cole’s five-painting series The Course of Empire (ca. 1834–1836) with Contact 2,021 (2021) by contemporary Shinnecock artist Courtney M. Leonard exposes the racial and gender politics of the Hudson River School landscape tradition. The groupings aim to center long-marginalized experiences and prompt a rethinking of both American art and the way museums tell history. Curated by Wendy Nālani E. Ikemoto, senior curator of American art.

A Traveler’s Guide to Mettlach: Villeroy and Boch showcases everyday life in the 1800s Mettlach, Germany. Scenes of everyday life in Mettlach have been documented and celebrated by Villeroy and Boch, a ceramic production company founded in 1836 when Jean François Boch and Nicolas Villeroy merged their ceramic businesses into what is now known as Villeroy and Boch. The workers of the Mettlach factory came from diverse backgrounds, including art studios, archives, and museums. The varied backgrounds of the factory workers contributed to the artistic achievements of the Villeroy and Boch company. The Mettlach collection reflects German cultural experiences, societal interpretations, and mythology. This exhibition shows scenes of love and relationships as well as larger themes of fantasy, offering an all-encompassing snapshot of the myriad facets of human life within Mettlach. A Traveler’s Guide to Mettlach, on view in the Robert and Colette Wilson Gallery through June 2025, presents concepts of life, laughter, relationships, and the day-to-day existence of the German people.

A Traveler’s Guide to Mettlach: Villeroy and Boch showcases everyday life in the 1800s Mettlach, Germany. Scenes of everyday life in Mettlach have been documented and celebrated by Villeroy and Boch, a ceramic production company founded in 1836 when Jean François Boch and Nicolas Villeroy merged their ceramic businesses into what is now known as Villeroy and Boch. The workers of the Mettlach factory came from diverse backgrounds, including art studios, archives, and museums. The varied backgrounds of the factory workers contributed to the artistic achievements of the Villeroy and Boch company. The Mettlach collection reflects German cultural experiences, societal interpretations, and mythology. This exhibition shows scenes of love and relationships as well as larger themes of fantasy, offering an all-encompassing snapshot of the myriad facets of human life within Mettlach. A Traveler’s Guide to Mettlach, on view in the Robert and Colette Wilson Gallery through June 2025, presents concepts of life, laughter, relationships, and the day-to-day existence of the German people.

The artwork is displayed on powder-coated steel gates, designed by Whittle and made at Glasgow Sculpture Studios. It was unveiled on 5 October 2023 at the Queen’s House in Greenwich. Feeling Blue has been developed in response to RMG’s large and varied collections, as well as the history and cultural significance of Greenwich. The 160 x 155 cm tapestry is filled with richly evocative textures, symbolic shapes, and tropical colours. It was woven by hand over a period of six months by Naomi Robertson and Elaine Wilson at Dovecot Studios. They used a variety of techniques, yarns, and over 150 colour mixes to add variety and depth to the surface of the tapestry. Dominating the tapestry is the phrase ‘feeling blue’ which stands out from a background of blues and greens, the combination of different shades resembling water in motion. Blue is immediately associated with oceans and seas but there are also more emotive connotations which Whittle chose to explore. The colour blue, and in particular the term ‘feeling blue’, is used to describe sadness or depression. While the exact origin of the term is uncertain it has been suggested that it comes from the tradition of ships flying blue flags and officers bearing a painted blue band when a captain or officer died. For others, blue symbolises tranquillity. In the Queen’s House the colour blue is used throughout for decoration, notably the balustrade of the Tulip Stairs. Drawing on her research of the British naval uniform, Whittle also reflects on the legacies of British colonialism. From the mid-eighteenth-century, the Royal Navy introduced a uniform for officers made from a deep blue fabric. The colour was achieved using a dye from the indigo plant that was native to India. Until the end of the eighteenth century the indigo plant was grown, harvested and processed by enslaved people on North American plantations. Indentured labourers in India and modern-day Bangladesh also produced indigo for the East India Company. Today, Navy blue endures as a colour of authority from police to military officers, though the history of the colour and connection to colonialism is little known. Whittle continues her exploration of maritime worlds by the inclusion of coloured ropes – reminiscent of those used on ships. For Whittle, rope is a symbol of both hope and oppression. Ropes are associated with bondage, imprisonment and even execution but are equally symbolic of lifelines for people in distress. Whittle’s ongoing engagement with the climate crisis is found in the decorative coral that frames the tapestry. The delicate pastel pinks and vibrant yellows evoke the beauty of tropical oceans and are a reminder of the importance of reefs. Decorative cultured freshwater pearl beads have also been stitched onto the tapestry. As well as representing an oceanic realm, Whittle connects Feeling Blue with two sixteenth-century paintings the Armada Portrait and Sir Francis Drake which will be displayed alongside the tapestry. In both portraits, pearls are used as a symbol of wealth, some of which was derived from colonial trade and exploitation. The tapestry is hung on a set of blue ‘gates’, which are an important component of Whittle’s work. Whittle sees the ‘gates’ as reminiscent of fencing, suggesting containment and control. Placed within the gallery space the gates no longer act as a barrier. Instead, Whittle uses the gates to expand rather than restrict as visitors are free to walk around them and view the tapestry from both sides. The decorative fretwork on the panels evokes the architecture of the Queen’s House, in particular the Tulip Stairs. Alberta Whittle, said: “The commission has been a wonderful opportunity to think deeply about maritime histories and consider the powers in place that decide how these histories are portrayed. This new tapestry is a chance to explore these ideas of power alongside the rhythms of the ocean and its vulnerability under climate colonialism. The commission has also provided me with the opportunity to continue to work with Naomi Robertson and Elaine Wilson at Dovecot Studios and the rest of the fantastic weaving team.” Celia Joicey, Director of Dovecot Studios, said: "This commission represents the contemporary significance of tapestry as a collective medium. Started in the midst of the 2021 lockdown, it is testimony to a group of people responding creatively and collaboratively to the Museum collections. Feeling Blue embodies the passion, focus and skill of Dovecot’s weavers, Alberta Whittle’s endlessly interesting ideas and the care and enterprise of the commissioning team." Katherine Gazzard, Curator of Art, Royal Museums Greenwich, said: “At Royal Museums Greenwich, we are committed to working with contemporary artists whose practice engages with our historic sites and collections, as well as with the present challenges facing our communities and our planet. The opportunity to commission a contemporary tapestry from Alberta Whittle and Dovecot Studios spoke powerfully to this ethos. The finished tapestry will go on public display in the Queen’s House, our flagship art gallery. When the Queen’s House was built in the early 17th century, it was at the cutting edge of art and design. Commissions like Feeling Blue help us to honour that legacy, ensuring that, four centuries after the building’s completion, the Queen’s House continues to showcase artistic innovations and new perspectives.” ---------------------------------------------------------------------------------------------- Feeling Blue Alberta Whittle Tapestry by Dovecot Studios 2023, cotton, linen, synthetic yarn, cultured freshwater pearl beads Tapestry woven for Dovecot by Naomi Robertson, Master Weaver, and Elaine Wilson Displayed on powder coated steel gates made by Glasgow Sculpture Studios Purchased with assistance from the Contemporary Art Society

Egypt’s 26th Dynasty (664–526 BCE) was a period of revival and renewal. It marks the last great phase of native pharaonic rule in ancient Egypt and is notable for its exceptional artworks, particularly stone sculpture. The achievements of Egyptian artists of this period are vividly expressed in the sculpted portraits of officials associated with the court and priesthood, which were created to be displayed in tombs and temples. The works in this exhibition are on special loan from the British Museum, London.

Created by artist and sculptor Carole Vincent the artwork features a large sundial design and fountain. The artwork was commissioned by Plymouth City Council as part of the pedestrianisation of the City Centre in 1987. The work was officially launched on 22 July 1988 by Queen Elizabeth II and commemorates the ‘Armada 400’ celebrations in the city. (Image courtesy of Plymouth Herald image archive) Cast in concrete with Terrazzo and stainless steel, the sundial also features 12 plinths around the outside. Information panels on top of the stone plinths offer in detail ways to ‘read’ the sundial in a range of different languages. The information plinths were made a particular feature of in 2010 when they were covered with decorative textiles as part of ‘Mrs Smith’s hit on Plymouth sundial’ – a secret commission by Plymouth College of Art. Guerrilla textiles installed overnight to the surprise of the public! The sundial is set to G.M.T which differs in the summer (B.S.T) by one hour in advance. The sun is also due south in Plymouth 17 minutes later than it is at Greenwich; therefore at some points of the year the dial runs 1 hour 17 minutes behind G.M.T. About the Artist Carole Vincent (1939-2019) was an artist working in concrete. She lived and worked in Boscastle, Cornwall. Painter as well as sculptor, she explored the use of natural colour and texture in concrete for sculpture. Her work with pigments achieved remarkable success, opening new doors to architects, engineers and planners. Her passion was to work on commissions for specific environments, ranging from public spaces to individual buildings and gardens.