Hirshhorn Announces List of Exciting Exhibition-related Programs Coming up this Spring
Short film with Tim Gunn and Jem Cohen on Anne Truitt. Anne Truitt. Anne Truitt Hirshhorn Museum, New York Museums, Female Artist, Meet The Artist,. Visit. (The National Gallery of Art and the Hirshhorn Museum have works by LeWitt . but they did not meet until Aaron's family moved into her apartment house Gallery of Art and other works to the Hirshhorn and the Indianapolis. Meet The Artist - Alyson Shotz. MI, The Indianapolis Museum of Art, Indianapolis, IN; The Phillips Collection, Washington, D.C.; Espace Louis Vuitton, Tokyo.
Hirshhorn Announces List of Exciting Exhibition-related Programs Coming up this Spring The Hirshhorn Museum has a long list of exciting exhibition-related programs coming up this spring.
Gersht will lead an informal discussion of his photographic series and film work in the museum's Lerner Room.
This program is free and presented in conjunction with the Embassy of Israel. Meet the Artist is made possible through the generosity of the Steven and Heather Mnuchin Foundation. Donald Kuspit on The Phallic Woman: Conflict and Fragmentation in Louise Bourgeois' Conception of the Female Body Donald Kuspit, professor of art history and philosophy at the State University of New York at Stony Brook and contributing editor at "Artforum," discusses the tensions between the phallic and the womanly in Bourgeois' work and interprets the artist's understanding of the nature of the female body and the character of female selfhood.
This program is free.
Meet the Artist
Sunday, March 8; 11 a. The Spider, the Mistress and the Tangerine Shot over a period of 15 years by Marion Cajori and Amei Wallach, this recently released documentary records Bourgeois ruminating on the deep emotional and psychological roots of her work, along with footage of her home, studio and works. James Turrell SinceJames Turrell has been working with light and space on an enormous scale, turning the ,year-old dormant volcano near Flagstaff, Ariz.
Roden Crater is a kind of celestial observatory with spaces that engage the viewer with the light of the sun, moon and stars. Richard Andrews, president of the Skystone Foundation, which administers the crater project, joins Turrell for a discussion of the artist's career, particularly the development of the massive undertaking that is Roden Crater.
This program is free and made possible by the Friends of Jim and Barbara Demetrion Endowment Fund, established in to celebrate Jim Demetrion's seventeen-year tenure as the Hirshhorn's second director. Thursday, March 19; 5: Garden Cycles Bike Tour: The cyclers introduce this documentary of their adventure.
The screening is at Dumbarton Oaks, 32nd Street N. Thursday, March 26; 8 p. Friday, March 27; 8 p. Inside the galleries, join Hirshhorn curators for late-night tours of "Louise Bourgeois" and "Strange Bodies.
Thursday, April 16; 7 p.
Collaborations in Conserving Time-Based Art: a Conversation and a Colloquium | Art21 Magazine
Valerie Fletcher on Louise Bourgeois: I really like the fact this colloquium has a wide variety of presenters that represent the many stakeholders that are involved with conservation and representation of time-based art. That demands skills that are different from those required to restore a Rembrandt spectacularly.
As far as this approach to conservation goes, as you say, the underlying idea is well understood by conservators of contemporary art. And at the same time, we have to consider that the artist is part of the solution.
Are there specific artworks at the Hirshhorn that you were thinking about when this colloquium was being formed or that led to creation of the theme? It can mean allowing a work to die a natural death. In the process, I also hope we will critique the assumptions that underlie conservation of time-based works, both the assumptions of traditional conservation, as well as the ones that have built up over the past ten years about the specific needs of time-based art.
The conservation of contemporary art is a hot topic in the conservation field. Can you talk about what makes this colloquium different than others?
And is it the wheel we want? Clearly, there is now a loose set of assumptions about caring for this kind of art, assumptions being put into practice to one degree or another in museums worldwide. Those are complex and involved issues that you raise.
With this in mind, what outcomes do you hope to have from the symposium?