Date: Monday, Aug. 19, 2019 – Friday, Oct. 4, 2019
Location: Hopkins Hall Gallery | 128 N. Oval Mall Columbus OH 43210
Time: Mon-Fri: 11 a.m.-5 p.m.
Host: Hopkins Hall Gallery and the Museum of Biological Diversity
https://artsandsciences.osu.edu/news-events/events/museum-biological-diversity-transitory-states?utm_source=College+of+Arts+and+Sciences&utm_campaign=355ff750bd-EMAIL_CAMPAIGN_2019_04_05_05_38_COPY_01&utm_medium=email&utm_term=0_112a361dc0-355ff750bd-323341869
“The first Whitney Annual in 1932 was transgressive. The museum was a one-year-old fledgling, set in a rowhouse on West Eighth Street. Its founder, Gertrude Vanderbilt Whitney, was a collector and heiress, but also a serious sculptor. Invited artists chose what work they showed.
In 1973, the exhibition became a Biennial, and its history is the history of American modern and contemporary art. Or, at least one version of that history: one centered in New York City, one heavily white and male. That is no longer the case. This year, a majority of the show’s artists are women, and they are racially and ethnically diverse. New York, however, remains home to nearly half of them.
Until 1975, the exhibition catalogs listed the addresses of the artists who were included each year. Mapping these locations tells a story of influence and power — but also one of friendships and creative communities, of housing prices and economic change, of landscape and light. Here are some of its facets.”
CALL FOR SUBMISSIONS
Assemblage
An exhibition of work by alumni, faculty, and students
Department of Arts Administration, Education and Policy at Ohio State
Tuesday, October 1 to Saturday, November 9, 2019
City Center Gallery at the OSU Urban Arts Space
50 West Town Street, Suite 130, Columbus, OH, 43215
Assemblage has two distinct definitions: the first refers to three-dimensional works of art comprised of natural, found, and ready-made objects that are permanently attached to a foundation. The second is a theoretical understanding of the ways in which we as knowers, creators, and producers become entangled and are continually rearranged—or assembled— in relationship to one another.
Assemblage serves as a metaphor for the myriad forms of creative work that emerge from members of our transdisciplinary academic department. The arts serve as the foundation of our work, the underpinnings on which we build creative lives as artists, educators, makers, scholars, and cultural workers. Our collective work in those realms overlaps, propels, and evokes continual movement for our colleagues, our students, and our world. The works of visual art in this exhibition are reflections of the rich trajectories of the students, alumni, and faculty of AAEP @ OSU.
This exhibition is curated by Dana Carlisle Kletchka, assistant professor of art museum education in AAEP, and presented by the talented staff of the Urban Arts Space, a gallery and reciprocal learning space for students, faculty, and staff of The Ohio State University as well as the Columbus, OH community.
Terms and Conditions
Information and Eligibility
Open to all current faculty, adjunct faculty, instructors, undergraduate and graduate students, and alumni of the Department of Arts Administration, Education and Policy (or their previous iterations) at the Ohio State University.
Entry Deadline
Send up to three color jpgs of each submission to kletckha.1@osu.edu by August 1, 2019 @ midnight. You are welcome to submit up to three work of art. Artists are responsible for shipping or delivering works of art to UAS.
Dates of Exhibition
Tuesday, October 1 to Saturday, November 9, 2019
“And as museums open up for participation around collections, documentation, program activities and exhibitions, a key ingredient is trust. With trust contribution, collaboration and co-creation is possible. If museums are perceived as safe spaces for contribution and collaboration, if the audience trusts the museum, it is possible to achieve real social impact in society.”
https://medium.com/@kajsahartig/museums-as-safe-spaces-or-comfort-zones-some-thoughts-37aaaad0b535
August 30, 2018 at 3:58 PM
https://www.washingtonpost.com/amphtml/entertainment/museums/this-new-museum-doesnt-want-instagram-or-crowds-does-that-make-it-elitist/2018/08/30/eaf0028a-aa2b-11e8-8a0c-70b618c98d3c_story.html
That Lady Thing, an installation in San Francisco, gives issues of sexism an unlikely coat of color in a lighthearted way of communicating a serious message.
A portion of That Lady Thing’s $28.45 entry fee will donate funds to the National Women’s Law Center and other women’s organizations. Photograph: Nicole Henderson/The Lady Thing.
In a former foundry in eastern Paris, art – including colourful works by Klimt – gets a huge canvas in a multi-sensory experience from museum foundation Culturespaces
https://www.theguardian.com/travel/2018/jul/26/atelier-des-lumiere-paris-digital-art-museum-klimt?CMP=share_btn_tw
“In a little over 4 years we have gathered just over a quarter of a million photos shared by our visitors.
263,693 photos as of January 25th, 2018 to be exact.
That is a lot user generated content (UGC) but is any of it meaningful? Can we use this as a data source to inform decision making? Are selfies really the scourge of the museum world like they are made out to be or are more people taking (collecting) photos of artifacts? Is there a benefit to encouraging visitors to share their photos? Do we need to incorporate digital engagement experiences into our exhibitions, or can we be more reactive? Below I’ll dig into these ideas and attempt to extract some meaningful information from this UGC collection.”
https://www.publishersweekly.com/978-0-500-23970-4
Reilly (Women Artists) delivers a fiery rebuke of the exclusionary art world and charges museums and galleries to be more intentional about amplifying the voices of women, people of color, and LGBTQ people.
“After settling with the Department of Justice over illicit artifacts, the man behind the Museum of the Bible hopes for redemption.”
https://news.artnet.com/exhibitions/museum-of-the-bible-review-1151951