Events at the New Museum

The Headless Conference Friday, March 19, 2010 | 7:00 PM

NewMuseum.org — Wed, 24 Feb 2010 15:44:35 -0600

“I was still living in Gibraltar, working through my notice at Sovereign Trust, an offshore management company. [...] One of thousands of companies that Sovereign manages is called Headless. It was incorporated (i.e. registered) on the Bahamas through our Gibraltar office. Headless is a strange name, and it got me thinking. Then we got a call from Goldin and Senneby, two Swedish artists. They said they were looking into Headless Ltd. This definitely was strange. Companies like Headless are not really ‘open to investigation,’ so I didn't really understand Goldin and Senneby's angle here.”

—In Search of Story: A journal in eight parts by K.D.

Goldin+Senneby are Swedish artists. They are also characters in Looking for Headless, a novel they commissioned, a detective story involving a murder (by decapitation, of course) that has been published serially since 2007. In it, Goldin+Senneby appear as shadowy figures, remotely controlling the action as it unfolds in exotic locales like the Bahamas and Gibraltar—glamorous but bureaucratic hubs of the offshore finance industry.

“While they implicate art institutions in the narrative they enact, G+S are ultimately interested in how the virtual world of global finances performs a sleight of hand to fictionalize the boundaries between public and private interests, in order to make them disappear.”

—Gregory Burke, director of the Power Plant, Toronto

The lectures, documentaries, and didactic displays that have accompanied the presentation of Headless at art institutions share little of the heady cloak-and-dagger suspense found in the fictional texts that the project spawns. The Headless Conference is no exception to this rule. Co-organized by Rhizome and the Office for Parafictional Research, the event will take the form of an academic symposium on issues pertinent to the discourse surrounding Goldin+Senneby's work. Up for discussion are topics as diverse as the economic theories of George Bataille and the nature of virtual spaces built by offshore finance networks. Participants are to include Angus Cameron, lecturer in human geography at the University of Leicester and Goldin+Senneby's chosen emissary; Brian Droitcour, Rhizome staff writer; Keller Easterling, associate professor at the Yale School of Architecture; Ginny Kollak, director of the Office for Parafictional Research and second-year graduate student at the Center for Curatorial Studies, Bard College; and Allan Stoekl, professor of French at Penn State University.

Friday, March 19, 2010 | 7:00 PM

Danspace Project at New Museum presents A Conversation with Elaine Summers Saturday, March 20, 2010 | 3:00 PM

NewMuseum.org — Wed, 02 Dec 2009 11:18:59 -0600

The New Museum is pleased to continue our partnership with Danspace Project, which will present a conversation in two parts with Elaine Summers, her early collaborators, and a new generation of younger artists currently influenced by her pioneering work. Summers, whose work with Judson Dance Theater in the early 1960s influenced generations of performance, film, music, and dance artists, will reprise seminal works at Danspace Project (at St. Mark's Church) throughout March in conjunction with this event.

A Conversation, Part I: Elaine Summers and Pauline Oliveros. Moderated by Juliette Mapp.

The Conversation Continues, Part II: Elaine Summers joined by Paige Martin, Katy Pyle, Jen Rosenblit, Shelley Senter, and David Thomson.

Saturday, March 20, 2010 | 3:00 PM

A Proposition by Rodney McMillian: 13 unrelated ideas Friday, March 26, 2010 | 7:00 PM

NewMuseum.org — Thu, 19 Nov 2009 15:04:47 -0600

March 26 - 27: Rodney McMillian

13 unrelated ideas:
How does performance function in each of the vignettes presented (Bobby Womack, Jada Fire, Samuel R. Delaney, Nina Simone, Michael Jackson, Aliens, Funkadelic...)? How do we understand subjectivity or personae in terms of abstraction? How do we understand subjectivity from within the performances? Are these really the questions? Or is it about physicality, images, sound, historical perspectives and the insistence of a need to utter that's being presented or represented? Alternatives to other forms of political, cultural or domestic powers? A freedom? A possibility that film, photography, material, and performance are a form of time travel? A possibility, like in Samuel R. Delaney’s science fiction novel Dhalgren, whereby potential and repetition are actions?

Friday: 7PM lecture by Rodney McMillian
Saturday: 3PM Performance by Rodney McMillian, Tracie D. Morris, and Chicava HoneyChild

Propositions is a public forum that explores ideas in development. Inspired by the scientific method of hypothesis, research, and synthesis, each two-day seminar explores a topic of current investigation in an invited speaker’s own artistic or intellectual practice. Over the course of a seminar session, these developing ideas are presented to the public, responded to, “researched,” and discussed to propel the ideas forward in unique ways.

The structure of Propositions is as follows:
 Friday, 7:00 PM – Initial proposition and lecture
 Saturday, 12:00 PM – Guest speaker responds, followed by a lunch break
 Saturday, 3:00 PM – Discussion

One Friday evening per month, an invited artist or cultural thinker will present on an idea in process—the hypothesis—as the seminar topic. This initial presentation introduces the seminar leader’s current thinking on a concept or idea as well as unresolved questions that remain. The next day, starting at noon, an “expert” lecture, screening, performance, or activity presents new perspectives or specific knowledge, followed by a lunch break. In an afternoon discussion, hypothesis, research, and public dialogue converge in an informal working session in the fifth-floor Museum as Hub space at the New Museum.

Propositions is part of the Museum as Hub initiative, a laboratory for art and ideas realized through a partnership of five international arts organizations that includes Insa Art Space, Seoul; the Museo Tamayo Arte Contemporáneo, Mexico City; the Townhouse Gallery of Contemporary Art, Cairo; and the Van Abbemuseum, Eindhoven. The initiative seeks to support art activities and experimentation; explore artistic, curatorial, and institutional practice; and serve as an important resource for the public to learn about contemporary art from around the world.

Rodney McMillian's practice embraces a wide range of media to investigate social history and culture. He uses conceptual art strategies and applies them to painting to explore its relationship to language and content and its role as an artwork. His installations often incorporate various media, including video, assemblage, sculpture, and painting. In more recent video performances he reveals his intense interest in history and how past events relate to the contemporary political situation. McMillian's work has been exhibited at the 2008 Whitney Biennial, the UCLA Hammer Museum and the Museum of Contemporary Art in Los Angeles, the Studio Museum in Harlem, the Herning Art Museum in Copenhagen, and The Royal Academy in London.

Friday, March 26, 2010 | 7:00 PM

A Proposition by Rodney McMillian: 13 unrelated ideas: Performance by Rodney McMillian, Tracie D. Morris, and Chicava HoneyChild Saturday, March 27, 2010 | 12:00 PM

NewMuseum.org — Thu, 19 Nov 2009 15:05:53 -0600

March 26 - 27: Rodney McMillian

13 unrelated ideas:
Rodney McMillian’s proposition 13 unrelated ideas asks several questions about the nature of performance and includes an original performance in collaboration with Tracie D. Morris and Chicava HoneyChild. How does performance function in each of the vignettes presented (Bobby Womack, Jada Fire, Samuel R. Delaney, Nina Simone, Michael Jackson, Aliens, Funkadelic...)? How do we understand subjectivity or personae in terms of abstraction? How do we understand subjectivity from within the performances? Are these really the questions? Or is it about physicality, images, sound, historical perspectives and the insistence of a need to utter that's being presented or represented? Alternatives to other forms of political, cultural or domestic powers? A freedom? A possibility that film, photography, material, and performance are a form of time travel? A possibility, like in Samuel R. Delaney’s science fiction novel Dhalgren, whereby potential and repetition are actions?

Friday: 7 p.m. lecture by Rodney McMillian
Saturday: 12 p.m. Performance by Rodney McMillian, Tracie D. Morris, and Chicava HoneyChild

The structure of Propositions is as follows:
Friday, 7 p.m. – Initial proposition and lecture
Saturday, 12 p.m. – Guest speaker responds, followed by a lunch break
Saturday, 3 p.m. – Discussion

Rodney McMillian's practice embraces a wide range of media to investigate social history and culture. He uses Conceptual art strategies and applies them to painting to explore its relationship to language and content and its role as an artwork. His installations often incorporate various mediums, including video, assemblage, sculpture, and painting. In more recent video performances he reveals his intense interest in history and how past events relate to the contemporary political situation. McMillian's work has been exhibited at the 2008 Whitney Biennial, the UCLA Hammer Museum and the Museum of Contemporary Art in Los Angeles, the Studio Museum in Harlem, the Herning Art Museum in Copenhagen, and The Royal Academy in London.

Tracie D. Morris is an interdisciplinary poet and scholar who has worked extensively as a sound artist, writer, bandleader, and multimedia performer. Her installations have been presented at the Whitney Biennial, Ronald Feldman Gallery, and the Jamaica Center for Arts and Learning. She holds an MFA in poetry from Hunter College and a PhD in Performance Studies from New York University. Morris is an Associate Professor of Humanities and Media Studies at Pratt Institute. She is completing two books: an academic work Who Do with Words on the work of philosopher J.L. Austin and a poetry collection, Rhyme Scheme as well as an untitled CD with music.

Chicava HoneyChild is pursuing an MFA in interdisciplinary art at Goddard College. She is an actor and creative producer of Brown Girls Burlesque. Their next show, Culture Classics, is a United Nations of Burlesque that deals with stereotypes and the sacred - celebration and struggle, using fishnets to net together a world of women's stories. Please visit browngirlsburlesque.com for details.

Saturday, March 27, 2010 | 12:00 PM

Skin Fruit: Selections from the Dakis Joannou Collection
Curated by Jeff Koons
Why Trash It? Saturday, April 3, 2010 | 10:00 AM – 12:00 PM

NewMuseum.org — Thu, 28 Jan 2010 14:21:31 -0600

Join us for the third of four family programs dedicated to the exhibition “Skin Fruit: Selections from the Dakis Joannou Collection" curated by Jeff Koons. This exhibition presents a selection of works one of the very finest collections of contemporary art in the world, curated by artist Jeff Koons, who brings a fresh perspective to the Joannou Collection and to the works on view. Explore the work of artist John Bock, Mark Bradford, and Elliott Hundley and learn how they have repurposed waste materials. Using their work for inspiration, create a work of art using discarded materials.

New Museum First Saturdays for Families are free of charge. This program is designed and recommended for families with children four to fifteen years old, and includes free New Museum admission for up to two adults per family. Children under eighteen are always admitted free. No preregistration is required. Tickets are given out on a first-come, first-served basis.

For more information about New Museum First Saturdays for Families, e-mail familyprograms@newmuseum.org.

Saturday, April 3, 2010 | 10:00 AM – 12:00 PM

Seven on Seven Saturday, April 17, 2010 | 2:30 PM

NewMuseum.org — Thu, 11 Mar 2010 16:11:55 -0600

Seven on Seven will pair seven leading artists with seven game-changing technologists in teams of two, and then challenge them to develop something new—be it an application, social media, artwork, product, or whatever they imagine—over the course of a single day. The seven teams will unveil their ideas at a one-day event at the New Museum on April 17th.

Schedule:

Opening Remarks: 2:30 p.m.
Presentations: 3-6:30 p.m.
Cocktail Reception in the New Museum Sky Room: 6:30–8:30pm

Participants:

Art

Cao Fei
Evan Roth
Aaron Koblin
Monica Narula
Ryan Trecartin
Tauba Auerbach
Marc Andre Robinson

Technology

Jeff Hammerbacher
Joshua Schachter
Matt Mullenweg
Andrew Kortina
Hilary Mason
Ayah Bdeir
David Karp

Saturday, April 17, 2010 | 2:30 PM

A Proposition by Miwon Kwon Friday, April 23, 2010 | 7:00 PM

NewMuseum.org — Thu, 19 Nov 2009 15:08:33 -0600

April 23 - 24: Miwon Kwon

Friday: 7PM
Saturday: 12PM

Art Historian Miwon Kwon's research and writing encompasses several disciplines including contemporary art, architecture, public art, and urban studies. Kwon is currently Associate Professor of Art History at UCLA. In addition to her curatorial experience at the Whitney Museum of American Art, she serves on many advisory boards, including October magazine, the Hudson Valley Art Project, and the Excellence in Design Program of the U.S. General Services Administration. Kwon is the author of One Place After Another: Site-Specific Art and Locational Identity (MIT Press, 2002), and was a founding editor and publisher of Documents, a journal of art, culture, and criticism (1992-2004).

Friday, April 23, 2010 | 7:00 PM

A Proposition by Miwon Kwon Saturday, April 24, 2010 | 12:00 PM

NewMuseum.org — Thu, 19 Nov 2009 15:09:24 -0600

April 23 - 24: Miwon Kwon

Friday: 7PM
Saturday: 12PM

Saturday, April 24, 2010 | 12:00 PM

SkowheganTALKS: Judy Pfaff and Jessica Stockholder Saturday, May 1, 2010 | 7:00 PM

NewMuseum.org — Wed, 24 Feb 2010 15:48:47 -0600

SkowheganTALKS, a lecture series organized by the Skowhegan School of Painting & Sculpture, features conversations between some of the most influential visual artists working today. The third talk of the second season of the series includes a conversation between artists Judy Pfaff and Jessica Stockholder.

Judy Pfaff received a BFA from Washington University, Saint Louis (1971) and an MFA from Yale University (1973). Balancing intense planning with improvisational decision-making, Pfaff creates exuberant, sprawling sculptures and installations that weave landscape, architecture, and color into a tense yet organic whole. A pioneer of installation art in the 1970s, Pfaff synthesizes sculpture, painting, and architecture into dynamic environments in which space seems to expand and collapse, fluctuating between the two- and three-dimensional. Pfaff’s site-specific installations pierce through walls and careen through the air, achieving lightness and explosive energy. Pfaff’s work is a complex ordering of visual information composed of steel, fiberglass, and plaster as well as salvaged signage and natural elements such as tree roots. She has extended her interest in natural motifs in a series of prints integrating vegetation, maps, and medical illustrations, and has developed her dramatic sculptural materials into set designs for several theatrical stage productions. Pfaff has received many awards, including a John D. and Catherine T. MacArthur Foundation Award (2004); a Bessie (1984); and fellowships from the John Simon Guggenheim Memorial Foundation (1983) and the National Endowment for the Arts (1986). She has had major exhibitions at the Elvehjem Museum of Art, University of Wisconsin, Madison (2002); Denver Art Museum (1994); St. Louis Art Museum (1989); Albright-Knox Art Gallery, Buffalo (1982); and the Whitney Museum, New York (1975, 1981, 1987). Pfaff represented the United States in the 1998 São Paolo Bienal.

Jessica Stockholder studied painting at the University of British Columbia, Vancouver, received her BFA from the University of Victoria, and received an MFA from Yale University. Stockholder is a pioneer of multimedia genre-bending installations that have become a prominent language in contemporary art. Her site-specific interventions and autonomous floor and wall pieces have been described as “paintings in space.” Stockholder’s complex installations incorporate the architecture in which they have been conceived, blanketing the floor, scaling walls and ceiling, and even spilling out of windows, through doors, and into the surrounding landscape. Her work is energetic, cacophonous, and idiosyncratic, but close observation reveals formal decisions about color and composition, and a tempering of chaos with control. In a single work, Stockholder deploys a myriad of materials that might include bales of hay, fruit, toys, laundry baskets, curtains, heat lamps, fans, yarn, newspaper, bowling balls, automobiles, and construction materials—bricks, concrete, plywood, and Sheetrock. Bringing the vibrant, Technicolor-plastic products of consumer culture to her work, she adds paint, calibrating each color orchestrating optical and spatial impact. Stockholder’s installations, sculptures, and collages affirm the primacy of pleasure, the blunt reality of things, and the rich heterogeneity of life, mind, and art amid a vortex of shifting polarities—abstraction/realism, classical order/intuitive expressionism, conscious thought/unconscious desire. Stockholder is Director of Graduate Studies in Sculpture at Yale University. Her work has been exhibited at Dia Center for the Arts, New York; the Whitney Museum of American Art, New York; P.S. 1, New York; SITE Santa Fe; the Venice Biennale; Kunstmuseum St. Gallen; and Centre Georges Pompidou, Paris, among others.

Saturday, May 1, 2010 | 7:00 PM

Get Weird: Tarek Atoui: Un-drum 2/The Chinese Connection and Un-drum 3/Semantic Scanning Electron Microscope Thursday, May 6, 2010 | 7:00 PM

NewMuseum.org — Wed, 24 Feb 2010 15:51:35 -0600

Tarek Atoui’s Un-drum performances are a series of complex interactions between music composition, movement, performance, and computer and electronic engineering. In July 2009, Atoui performed the remarkable Un-drum 1/Strategies for Surviving Noise at the New Museum and returns this May with the next two projects from the series.

Un-drum 2/The Chinese Connection considers how traditional and modern art forms were radically affected and altered by the ideology of the Cultural Revolution. In the work, samples from the trials of masters of art and music are juxtaposed with a sea of dense, agitated electronic sounds and rough, distorted textures.

For Un-drum 3/Semantic Scanning Electron Microscope, Atoui has developed an audio library of tens of thousands of micosamples to explore semantics through a system analogous to a scanning electron microscope (SEM). Like a SEM, which magnifies things on a ﬁne scale, the tools of Un-drum 3 allow live exploration of long audio tracks at a very small scale. Through a system of pressure sensors that engage the physical strength of the artist’s body, Atoui scans tracks at a high speed to instantly select and edit microsamples based on the Fast Fourier Transform analysis technique. FFT is a complex sound analysis protocol that determines the spectrum of a sound, its constituting frequencies, and their density according to the law of Fourier. Systems of infrared modules respond to Atoui’s movements to select microsamples according to mathematical serial algorithms that create elaborate rhythmical structures of hundreds of microsmaples played simultaneously.

Tarek Atoui was born in Lebanon in 1980 and moved to Paris in 1998 where he studied contemporary and electronic music at the French National Conservatory of Reims. He was co-artistic director of the STEIM Studios in Amsterdam in 2008, and released his first solo album in the Mort Aux Vaches series for the label Staalplaat (Amsterdam/Berlin). Atoui is an electro-acoustic musician who initiates and curates multidisciplinary interventions, events, concerts, and workshops. For each new project, he builds new software to create computer tools for interdisciplinary art works and youth education. He has performed at many contemporary art events and festivals in the Middle East and Europe including Today’s Art Festival (the Hague), Club Transmediale (Berlin), Arborescence (Aix-en-Provence/ Marseille), and Scopitone (Nantes), and is currently artist in residence at the Sharjah Art Foundation. Much of Atoui’s work references social and political realities and presents electronic music and new technologies as powerful tools of expression and identity. He has presented his pioneering youth workshop, Empty Cans, in France, Holland, Lebanon, Egypt, and last summer, at the New Museum, as part of his Museum as Hub residency.

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Thursday, May 6, 2010 | 7:00 PM

New Museum presents ICI On The Move: Contemporary Art and Curatorial Practices in a Transnational Age: A Conversation with Bisi Silva Wednesday, May 19, 2010 | 4:00 PM

NewMuseum.org — Thu, 11 Mar 2010 16:38:40 -0600

ICI (Independent Curators International) has developed its first touring curatorial conversation with Bisi Silva, an independent curator and the founder/director of the Centre for Contemporary Art in Lagos, Nigeria. The conversation will explore the growing impact of transnational practice, using Silva’s extensive curatorial experiences across Africa, Asia, and Europe as a starting point for discussion. Looking at the potential for new dynamic forms of exhibition-making and cultural exchange, Silva will present her research into artists, as well as her perspectives on the expansion of curatorial networks and emerging collaborative institutional models around the world. ICI’s executive director Kate Fowle will moderate.

Bisi Silva is an independent curator and the founder/director of the Centre for Contemporary Art, Lagos (CCA, Lagos), which opened in December 2007. She was co-curator of the 2nd Thessaloniki Biennale of Contemporary Art, Greece, “Praxis: Art in Times of Uncertainty” (September 2009), as well as “Maputo: A tale of One City” (February 2009). In 2008 she was co-selector with Portuguese curator Isabel Carlos for the international Artists’ Prize, Artes Mundi 3. In 2007 Silva co-curated “Contact Zone: Contemporary Art from West and North Africa” at the National Museum of Mali, as well as “Telling… Contemporary Finnish Photography” at the 7th African photography biennale in Bamako. As director of CCA, Lagos, she has curated “Fela, Ghariokwu Lemi and The Art of the Album Cover” (2007); “Ndidi Dike, Waka-into-bondage:The Last ¾ Mile” (2008) and “George Osodi, Paradise Lost: Revisiting the Niger Delta” (2008) as well as “‘Like A Virgin...’,” “Lucy Azubuike (NIG)” and “Zanele Muholi (SA)” (2009). In 2006 Silva co-curated the Dakar Biennale in Senegal. Other recent curatorial projects include “In the Light of Play” at Durban Art Gallery and Johannesburg Art Fair (March/April 2009) and “Chance Encounters’,Seven Contemporary Artists from Africa” at Sakshi Gallery, Mumbai, India (April/May 2009) and Sakshi Gallery, Taipei, Taiwan (Aug/Oct 2009). Silva has written for international art magazines and journals such as Artforum, artinfo.com, Art Monthly, Untitled, Third Text, M Metropolis, Agufon, and for Nigerian newspapers such as ThisDay and 234Next. She is on the editorial board of N Paradoxa, an international feminist art journal.

About ICI (Independent Curators International)

ICI (Independent Curators International) produces exhibitions, events, publications, and training opportunities for diverse audiences around the world. A catalyst for independent thinking, ICI connects emerging and established curators, artists, and institutions, to forge international networks and generate new forms of collaboration. Working across disciplines and historical precedents, the organization is a hub that provides access to the people, ideas, and practices that are key to current developments in the field, inspiring fresh ways of seeing and contextualizing contemporary art.

Wednesday, May 19, 2010 | 4:00 PM

A Proposition by Matthew Barney Friday, May 21, 2010 | 7:00 PM

NewMuseum.org — Thu, 19 Nov 2009 15:14:09 -0600

May 21 - 22: Matthew Barney

Friday: 7PM

Saturday: 12PM

Matthew Barney creates frequently large-scale and intricately interconnected work as a sculptor, filmmaker, and performer. His work, which often features a fantastical engagement with the rituals of sports and ceremony, has addressed existential instability and transformation through the pataphysical metaphor of sexual differentiation (among other complex cosmological themes). Barney is the producer and creator of the Cremaster film cycle, Drawing Restraint 9, and numerous live performances, including a recent collaboration with Elizabeth Peyton entitled Blood of Two (2009).Matthew Barney won the Europa 2000 prize at the 45th Venice Biennale in 1996 and was the first recipient of the Guggenheim Museum's Hugo Boss Award in 1996. He received the Kaiser Ring Award in 2007.

Friday, May 21, 2010 | 7:00 PM

A Proposition by Matthew Barney Saturday, May 22, 2010 | 12:00 PM

NewMuseum.org — Thu, 19 Nov 2009 15:15:16 -0600

May 21 - 22: Matthew Barney

Friday: 7PM
Saturday: 12PM

Saturday, May 22, 2010 | 12:00 PM

A Proposition by Sam Durant Friday, June 25, 2010 | 7:00 PM

NewMuseum.org — Wed, 02 Dec 2009 11:28:34 -0600

June 25-26: Sam Durant

Friday: 7PM
Saturday: 12PM

The structure of Propositions is as follows:
Saturday, 4:00 PM – Initial proposition and lecture
Sunday, 12:00 PM – Guest speaker responds, followed by a lunch break
Sunday, 3:00 PM – Discussion

Sam Durant was born in Seattle in 1961 and studied at the California Institute of the Arts in Valencia, California. He has had solo exhibitions at the Museum of Contemporary Art, Los Angeles (2002) and the Institute of Visual Arts, Milwaukee, Wisconsin (2002). His work has been included in numerous group exhibitions such as the 8th Bienal de Panamá, 2008; the Busan Biennial, Korea, 2006; and the Whitney Biennial, New York, 2004. In 2007, MIT Press published the monograph Reconsidered, Sam Durant: Scenes from the Pilgrim Story: Myths, Massacres and Monuments. Durant lives and works in Los Angeles.

Friday, June 25, 2010 | 7:00 PM

A Proposition by Sam Durant Saturday, June 26, 2010 | 12:00 PM

NewMuseum.org — Wed, 02 Dec 2009 11:30:10 -0600

June 25-26: Sam Durant

Friday: 7PM
Saturday: 12PM

Saturday, June 26, 2010 | 12:00 PM

Events at the New Museum

The Headless Conference Friday, March 19, 2010 | 7:00 PM

Danspace Project at New Museum presents A Conversation with Elaine Summers Saturday, March 20, 2010 | 3:00 PM

A Proposition by Rodney McMillian: 13 unrelated ideas Friday, March 26, 2010 | 7:00 PM

A Proposition by Rodney McMillian: 13 unrelated ideas: Performance by Rodney McMillian, Tracie D. Morris, and Chicava HoneyChild Saturday, March 27, 2010 | 12:00 PM

Skin Fruit: Selections from the Dakis Joannou CollectionCurated by Jeff KoonsWhy Trash It? Saturday, April 3, 2010 | 10:00 AM – 12:00 PM

Seven on Seven Saturday, April 17, 2010 | 2:30 PM

A Proposition by Miwon Kwon Friday, April 23, 2010 | 7:00 PM

A Proposition by Miwon Kwon Saturday, April 24, 2010 | 12:00 PM

SkowheganTALKS: Judy Pfaff and Jessica Stockholder Saturday, May 1, 2010 | 7:00 PM

Get Weird: Tarek Atoui: Un-drum 2/The Chinese Connection and Un-drum 3/Semantic Scanning Electron Microscope Thursday, May 6, 2010 | 7:00 PM

New Museum presents ICI On The Move: Contemporary Art and Curatorial Practices in a Transnational Age: A Conversation with Bisi Silva Wednesday, May 19, 2010 | 4:00 PM

A Proposition by Matthew Barney Friday, May 21, 2010 | 7:00 PM

A Proposition by Matthew Barney Saturday, May 22, 2010 | 12:00 PM

A Proposition by Sam Durant Friday, June 25, 2010 | 7:00 PM

A Proposition by Sam Durant Saturday, June 26, 2010 | 12:00 PM

Skin Fruit: Selections from the Dakis Joannou Collection
Curated by Jeff Koons
Why Trash It? Saturday, April 3, 2010 | 10:00 AM – 12:00 PM