Ethan Lasser, head of the Division of European and American Art and the Theodore E. Stebbins Jr. Curator of American Art, will give today’s gallery talk. The talk is part of a series about American art, which is intended for beginners, enthusiasts, and people who just like looking at art.
이 갤러리 토크는 루소 큐레토리얼 펠로우 (Rousseau Curatorial Fellow)인 제시 박 (Jessie Park)이 진행하며 한국어로 제공 됩니다. 참가비는 무료로, 박물관 입장료에 포함되어 있습니다. 총 15명까지 참여할수 있으며 티켓이 필요합니다. 티켓은 갤러리 토크 시작 10분 전부터 매표소에서 받으실 수 있습니다. 모이는 장소는 박물관 내의 콜더우드 코드야드(Calderwood Courtyard)에 위치한 디지털 화면 앞 입니다 (미술관 샵과 매표소 사이). 미술관 관계자가 갤러리 토크 티켓을 회수할 것입니다. 갤러리 토크는 현재 전시된 작품을 큐레이터, 보존원, 펠로우 및 기타 미술관 관계자가 다양한 관점으로 소개합니다. (토크 내용 및 형식의 예: 전시를 통해 전달하고자 하는 핵심 포인트, 작품 보존 처리, 특정 작품 집중적 관찰, 미술관 내 작품들 간의 연관성)
By turns political documentary, archival history, and lyrical exploration of the relationship between past and present, Filipa César’s 2017 film Spell Reel presents a trove of footage taken during Guinea-Bissau’s war of independence from Portugal (1963–74) in West Africa. Following the screening, director Filipa César will discuss the film with Kate Rennebohm, a Ph.D. candidate in film and visual studies at Harvard University.
Ralph Lemon, is choreographer, writer, visual artist and curator, and the Artistic Director of Cross Performance, a company dedicated to the creation of cross-cultural and cross-disciplinary performance and presentation. For his public artist talk, Ralph Lemon will discuss meditations on the body, race, art making, and the Civil Rights Movement, instigated by his engagement with Bruce Nauman's iconic work Wall/Floor Positions (1968).
This documentary film about the habesha (Eritrean/Ethiopian community) of Milan, Italy, engages in historical disruption of the relationship between colonialism and diaspora. Interweaving testimonies of first- and second-generation habesha immigrants in Milan, archival research, photography, and music, the film brings to light Italian postcolonial heritage and its effects on present-day place of Italians of color, immigrants, and refugees.
Cultural production in postwar Germany was shaped by variety of oppositions: memories of the war’s horrors competed with fragile optimism for the future; renewed artistic freedoms came up against material scarcity and widespread destruction; and a growing appetite for experimentation and invention met with a lingering Nazi-inflected suspicion of anything too modern.
Artist Pedro Reyes and editor José Luis Falconi discuss Ad Usum / To Be Used, a survey of Reyes’s projects. The publication is a collection of images, interviews, and critical essays intended as an apparatus for multiplying the possibilities when art becomes a resource for the common good.