Art show opening are not intimidating
ROLL CALL CMU 2017 Senior Art Exhibition Co-organized by CMU School of Art Reception: May 5, 6-8pm On view: May 6-20, 2017 View Miller Gallery exhibition page Final work by seniors graduating with degrees in Bachelor of Fine Arts, Bachelor of Computer Science & Arts, Bachelor of Humanities & Arts, and Bachelor of Science & Arts.
Artists: Elizabeth Agyemang, Isabella Antolic-Soban, Clare Burdeshaw, Bonnie (Yan) Chan, Clair Chin, John Choi, Rebecca Epstein, Madeline Finn, Ethan Gladding, Jarel Grant, Autumn Hill, Miranda Jacoby, Amanda Jolley, Maya Kaisth, Sandra Kang, Nat Kent, Janice Kim, Bronwyn Kuehler, Kira Melville, Rachel Moeller, Natalie Moss, Miles Peyton, Bridget Quirk, Anna Rosati, Gwen Sadler, Caroline Santilli, Kaitlin Schaer, Christine (Zhuoyang) Shen, Charlotte Stiles, Joni Sullivan, Lauren Valley, Gerald Warhaftig, Nicole Yoon, Chengcheng Zhao ABOUT THE EXHIBITION The Dilemma of the Now The great modernist thinker and architect Adolf Loos stated in his defining essay, Ornament and Crime, that “[t]he speed of cultural development is hampered by the stragglers.” In this pithy observation, Loos points to the truth that the future is made by those who live most in the present, and although we may imagine that we all share the same time period, we do not.
To open an art gallery, it will help to have a passion for art, as well as some business experience.
The first painting I saw upon entering “No Longer Art,” a curious and elegiac exhibition at the Arthur Ross Architecture Gallery at Columbia University through Dec. Given that I’d just returned from my grandfather’s memorial in California, it seemed fitting; one of the very few non-political arguments I'd had with my grandfather, whose aesthetics were wildly inconsistent, was about a cowboy-and-Indian painting.
In American English, they may be called "exhibit", "exposition" (the French word) or "show".
Sometimes the event is organized on a specific occasion, like a birthday, anniversary or commemoration.Instead, what is occurring is the now—art’s counterpoint to progress: a formlessness that has no polish, no promise, and no utopian ideals.The now is the real that exposes the artifice of the new by sharing conceptual conclusions in advance of any form or figure.This could not be more palpable than in art school, where propositions are perpetually arising and the future is in a continual cycle of germination and formation.However, this process no longer entails the creation of the new, because that idea’s very nature has been corrupted by capitalism’s desire to remake, remarket, and resell.