An open dialogue with the curator and artists to discuss what we learned as a community from this show and what comes next.
Join us in celebration of the spring reopening of Owning Earth, an outdoor sculptural exhibition at Unison Arts. Come meet the artists, experience the artworks, and get your copy of the exhibition catalog, which we will be launching at the event. Light refreshments provided.
An Owning Earth performance event lead by artists Michael Asbill and Derek Stroup of Owning Earth, is a session of deep listening and sensing at Unison Arts as night gives way to day.
A roundtable discussion featuring Adiene Jenik, Li Sumpter, and Tal Beery exploring recent works that address grief, grievance, and healing during global pandemic and social upheaval.
Traditional expressions of grief and loss have been severely restricted during covid. Our panel of speakers will discuss how different faiths are facing these challenges and are adapting their traditions in these troubled times.
Join us virtually at JMM as we officially open our latest project, in the absence of a proper mourning. This installation asks us to confront numerous difficult questions related to our connections to one another and transforms the Jewish Museum of Maryland’s public-facing facade into a site for collective mourning and communal care.
A virtual summit engaging with emerging responses to the climate crisis in higher education—with particular attention to the roles higher education institutions can play in building alliances with social movements, community organizations, artists, intellectuals, and informal educational structures.
A free outdoor public performance by Jean-Marc Superville Sovak preparing the ground for his work in Owning Earth, an outdoor exhibition opening at Unison Arts in Spring 2021. he artist encourages individuals to participate in this performance by bringing objects they own—personal or public symbols of White Supremacy—to include in the burial.
An online discussion with artist and educator Jean-Marc Superville Sovak about his “a-Historical Landscapes” series.
Join us for an online interview featuring artist Eliza Evans in conversation with Tal Beery of Arts and Ecology. This discussion will focus on Evans' latest project, All the Way to Hell, an activist art project for disrupting fossil fuel development on private land in the US.
Our panel will feature artists Alex Young, Matthew Friday, Brooke Singer, Colin Lyons, and Robert C Beck. They will discuss the ways their proposals for Owning Earth explore the connections between art and science, and complicate popular solutions to existing environmental challenges. The panel will be facilitated by Tal Beery.
Our panel will feature artists Erin Antonak, Christy Gast, Emilie Houssart, and Sariah Park. They will discuss the ways their proposals for Owning Earth challenge existing paradigms and open new realms of possibility. The panel will be facilitated by Tal Beery.
A workshop to envision new ways of teaching and learning to confront environmental crisis. Workshop participants will work together to distill a set of educational principles from their own personal experiences and use them to develop plans for new programs on campus that can mobilize the student body. We will also explore the many roles artists can play in instigating profound learning experiences for a wide variety of audiences.
We will mine our personal experiences to co-generate a list of elements of impactful learning, review best practices in community-based education, and use the Eco Practicum curriculum building tool to begin designing action-oriented educational programs to address North Country food system challenges.
Currency: What do you value? is a group exhibition that asks questions about the relationship between art and money, exploring the flaws of our current economic reality. The featured artists expose the complex relationships between currency and how society values or doesn’t value art, work and time.
This lecture considers how art schools might adjust to accommodate those artists undertaking new instituent practices. It distills principles for the slow multidisciplinary pedagogy required for these practices to thrive in the academy by drawing on frameworks developed by Nomad9 MFA, Beespace, and School of Apocalypse.
Occupying the Museum begins with a 45 minute lecture to define and illustrate each of these tactics through the work of the Illuminator, Natural History Museum, Fossil Free Culture NL, Gulf Labor, Liberate Tate, MTL+, and Occupy Museums. We then divide into smaller groups to develop actions aimed at addressing a particular target, namely, the Van Gogh Museum.
A lecutre on two artist-run institutions he has co-founded to help address what we have become.
As social capital seems to rise for protest art in the Trump era, actual resources needed to do our work remain scarce while many channels of potential financial support are considered vulgar in relation to the purity of our practice. This is the razor thin line that activists walk within a hyper-market city and globe. So we ask, how do you make your decisions from both an ethical and practical standpoint in order to sustain? As our practices are more urgent and harder than ever, we propose this question as a pathway to deepen our analysis of the picture of power in which we are included.
Continuing the focus on economic realities from our Debtfair campaign — where artist’s works are presented alongside information about their debts, jobs, and daily financial struggles— we turn to the economic realities of arts activist groups and the issue of the institutional capture of our work along with strategies for long-term sustainability.
This project, first shown at the Whitney Museum’s Biennial 2017, is here reconceived by the artists of Occupy Museums to focus on the Puerto Rican debt crisis and the art-related debt of artists on the island. This project features works by artists Yasmin Hernández, Sofía Maldonado, Celestino Junior Ortiz, Norma Vila Rivero, Gamaliel Rodríguez, Adrian Viajero Román, Melquiades Rosario-Sastre, Nibia Pastrana Santiago, Jose Soto, and Gabriella Torres-Ferrer.
We will meet with two members of the curatorial team behind Works on Water, the new triennial exhibition and performance series of art on, in, or with the water. We will discuss the relationships between art and the future of our waterways, and learn about the flourishing water art movement.
The show puts to the test a deep exploration of value systems and an inversion of the art market pyramid.
The 2017 Whitney Biennial, the seventy-eighth installment of the longest-running survey of American art, arrives at a time rife with racial tensions, economic inequities, and polarizing politics. Throughout the exhibition, artists challenge us to consider how these realities affect our senses of self and community. The Biennial features sixty-three individuals and collectives whose work takes a wide variety of forms, from painting and installation to activism and video-game design.
The artists in Making Progress confront the complacency of hopelessness with keen observation of the facts and a need to create different, better futures — from small and actionable to fantastical and utopian. Exhibiting a wide range of approaches and responses, from a top-down re-envisioning of institutions to more personal reactions, the works in this exhibition go beyond institutional and cultural critique. Whether realistically possible, or wishful thinking, or escapist, they not only critique systems of power and control but also devise creative strategies for survival. Making Progress demonstrates a tempered optimism: that amidst the chaos and uncertainty of the moment, art can expand our perception of what is possible.
