#Beeler Gallery

[contemporaryartdaily]

Group Show at Beeler Gallery

[mentaltimetraveller]

“arms ache avid aeon: fierce pussy amplified” at Beeler Gallery Chapter Four 

Nancy Brooks Brody

[a-scanner-darkly]

Vier5 (2020) • Communication and signage for the exhibition of Michel Auder and Michael Stickrod, Beeler gallery, Columbus, Ohio; artistic directed by Jo-ey Tang

[sysk-ehess]

JO-EY TANG

Mercredi 22 avril 2020 à 18h (heure de Paris)

Wednesday April 22 2020, 6pm (Paris time) Captation / Recording : click here

Jo-ey Tang peut être un curator, un artiste, un auteur. Il travaille avec et aux côtés des artistes et de leur production, en donnant la mesure des temporalités de leur engagement sur la durée. Pour ce séminaire, il aimerait réfléchir sur ses travaux récents : la notion de lenteur, le travail de celle-ci, ses contingences, les proximités et les distances. C’est ainsi que s’est engagée, depuis 2015, avec Nancy Brooks Brody, Joy Episalla, Zoe Leonard et Carrie Yamaoka, quatre artistes formant le noyau dur du collectif queer newyorkais fierce pussy depuis 1991, l’exploration des résonnances entre leurs pratiques individuelles et leur activisme commun. Pendant un an, cinq chapitres de ‘arms ache avid aeon: Nancy Brooks Brody / Joy Episalla / Zoe Leonard / Carrie Yamaoka: fierce pussy amplified’ se sont succédés à la Beeler Gallery at Columbus College of Art & Design (2018-2019), dont Jo-ey Tang a été Directeur des expositions ; puis à l’Institute of Contemporary Art, Philadelphie (2019). Le chapitre 6 prendra la forme d’un livre. 'Follow the Mud' (2019-2020) était structurée comme un processus d’accumulation en neuf  “instances”, proposant de découvrir et d’activer des histoires éradiquées et invisibilisées : avec  Michel Auder, Laëtitia Badaut Haussmann, Heide Hinrichs, Laura Larson, Michael Stickrod, Julia Trotta, Vier5, et C. Spencer Yeh. Jo-ey Tang a également été curator au Palais de Tokyo (Paris) et a régulièrement contribué en tant qu’éditeur artistique eu projet n+1, un journal/magazine littéraire basé à Brooklyn.

[EN] Jo-ey Tang can be a curator, an artist, and a writer. He works with and alongside artists and their output, and calibrates the temporality of their engagement over time. He will reflect on his recent endeavors: the notion of slowness, its labor and contingencies, and proximities and distances. A project since 2015, with Nancy Brooks Brody, Joy Episalla, Zoe Leonard, and Carrie Yamaoka, original core members of New York-based queer art collective fierce pussy, explores the resonances between the artists’ individual practices. Over a year, five chapters of''arms ache avid aeon: Nancy Brooks Brody / Joy Episalla / Zoe Leonard / Carrie Yamaoka : fierce pussy amplified' were sited at Beeler Gallery at Columbus College of Art & Design (2018-2019) where Tang served as Director of Exhibitions ; and Institute of Contemporary Art, Philadelphia (2019); Chapter six will take the form of a book. 'Follow the Mud' (2019-2020) was structured as a process of accumulation in nine "instances" to uncover and activate suppressed and hidden histories: with Michel Auder, Laëtitia Badaut Haussmann, Heide Hinrichs, Laura Larson, Michael Stickrod, Julia Trotta, Vier5, and C. Spencer Yeh. Tang was also curator at Palais de Tokyo and arts editor at n+1, a literary journal/magazine based in Brooklyn.

Photo : JiaHao Peng

Programmation et prochains rendez-vous sur ce site ou par abonnement à la newsletter : somethingyoushouldknow-request@ehess.fr

Pour regarder les séminaires antérieurs : http://www.vimeo.com/sysk/

Séminaire conçu et organisé par Patricia Falguières, Elisabeth Lebovici et Natasa Petresin-Bachelez et soutenu par la Fundación Almine y Bernard Ruiz-Picasso para el Arte

[ccadedu]

There’s still time to check out the 2019 CCAD MFA & MDes Thesis Exhibition which runs through April 28 in Beeler Gallery. 

[tigerstrikesasteroidnetwork]

LA / Keeping Score

Hong Hong, Father's Mother: Chart of the Inner Warp and Mother: You are Your Own, Handmade Paper, 112 inches (H) x 120 inches (W) x 86 inches (D), 2022, Photograph by Ben Premeaux, courtesy of artist

Keeping Score October 15 - November 6 Opening Reception: Saturday, October 15 7-10pm

Tiger Strikes Asteroid LA is proud to present Keeping Score, an exhibition featuring large-scale works by Hong Hong and Johnathan Payne, curated by Alex Paik. For both of these artists, paper itself is a living, breathing support, carrying with it the various environmental and material processes that have been imposed upon it. Hong Hong takes material from both the local environment where she is making her paper as well as material from her family history and uses those to create monumental hand-made paper works. Johnathan Payne builds his quilt-like scaffolds from shredded comic books, using both the found imagery from the material as well as layered geometric patterns to complicate the standard intersections of a Cartesian grid. Through their work we see the elusive and constantly shifting relationships between one’s lived experience, environment, and personal journey and how that affects the formation and re-formation of identity.

Johnathan Payne, Bloodline, Acrylic and thread on shredded-and-collaged paper, 31 x 31 inches, 2021

Born in 1989 in Hefei, Anhui, China, Hong Hong earned her BFA from State University of New York at Potsdam (2011) and MFA from University of Georgia (2014). Since 2015, she has travelled to faraway locations across the US to create site-responsive, monumental paperworks. In this nomadic practice, traditional methods of Chinese papermaking coalesces with painting, monastic rituals, and feminist performances. These works have been included in exhibitions at Sarasota Museum of Art, Real Art Ways, Crystal Bridges Museum of American Art, Georgia Museum of Art, Penland School of Crafts, Artspace New Haven, Lawndale Art Center and Jewett Art Center, among others. Hong is the recipient of grants and fellowships at NEA (2019), FCA (2015, 2020), MacDowell (2020), Yaddo (2019), McColl Center for Art and Innovation (2022), Vermont Studio Center (2019), I-Park (2019), and Houston Center for Contemporary Craft (2020 - 2021). Hong currently divides her time between New York and Massachusetts.

Johnathan Payne (he/him) is a visual artist living and working in Brooklyn, NY. He obtained a BA in art from Rhodes College in 2012 and received his MFA in painting and printmaking from Yale School of Art in 2018. Recent exhibitions of Payne’s work include The Bridge to Uncertainty at Beeler Gallery at the Columbus College of Art and Design (2021; Columbus, OH), Threads at Foxy Production (2021; New York, NY), and Miss Lizzie’s Lattice at Deli Gallery (2020; Brooklyn, NY). He is featured in New American Paintings (MFA Annual #135), and has been published in The New Yorker, The New York Times, Observer, and Vice. Payne was a Spring 2020 Artist-in-Residence at Crosstown Arts in Memphis, TN, and was the 2020-22 recipient of the Grant Wood Fellowship in Painting and Drawing at the University of Iowa. Payne was the inaugural recipient of the Aminah Residency in summer 2021, named after the late Columbus-based artist and MacArthur Grant recipient Aminah Brenda Lynn Robinson.

[gdbot]

contemporaryartdaily:“Season Zero” at Beeler Gallery https://ift.tt/2qgD0Qj

[forkadelphia]

Drawing on the themes of individual spirit and collective power, this panel will explore the resonances between the individual practices of Nancy Brooks Brody, Joy Episalla, Zoe Leonard, and Carrie Yamaoka and their collective artistic output as fierce pussy in the context of ICA’s presentation of arms ache avid aeon: fierce pussy amplified, the fifth chapter of a cycle of exhibitions originating at the Beeler Gallery at Columbus College of Art and Design. Perspectives from art historians and the exhibition curators, as well as the presence of the artists themselves, will lend insight to the artists’ practices and their continued efforts toward challenging boundaries and visibility.

Panelists: Jill H. Casid, Professor of Visual Studies at the University of Wisconsin-Madison

Anthony Elms, Daniel and Brett Sundheim Chief Curator at ICA

Jeannine Tang, Assistant Professor of Modern/ Contemporary Art History and Visual Studies at Eugene Lang College of Liberal Arts at The New School

Jo-ey Tang, Director of Exhibitions at the Beeler Gallery at Columbus College of Art and Design

[antitect]

“arms ache avid aeon: fierce pussy amplified” at Beeler Gallery

[ccadanimation]

View this post on Instagram

A post shared by CCAD Animation (@ccadanimation)

Check out this awesome Animation Installation "Strange Neighbors" by Experimental Animation Instructor Tracy Miller-Robbins! You can find it in our Canzani Building near the Beeler Gallery until the end of March! #ccadanimation #animation #ccadedu

[micaramel]

  Artists: Rosa Aiello, Camille Aleña, Adelhyd van Bender, Karin Borer, Patricia L. Boyd, Manuel Burgener, Lisa Herfeldt, Samuel Jeffery, Maggie Lee, K.R.M. Mooney, Kaspar Müller, Phung-Tien Phan, Vaclav Pozarek, Marta Riniker-Radich, Julia Scher, Richard Sides, Davide Stucchi, Sergei Tcherepnin, Angharad Williams, Amy Yao

Venue: Stadtgalerie Bern

Exhibition Title: Kasten

Date: February 28 – July 11, 2020

Curated By: Cédric Eisenring and Luca Beeler

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of the artists and Stadtgalerie Bern

Press Release:

1

SAMUEL JEFFERY

Untitled, 2017

PVC, acrylic primer, insulating tape

30.5 x 47.5 x 28 cm

Untitled, 2019

PVC, acrylic primer, vintage car motor oil

30.5 x 50.5 x 32.5 cm

Two containers, formed from cut, heated and bent PVC sheets, are part of an ongoing series of works by Samuel Jeffery. Each is placed on a plinth. The container-like objects are treated with various materials and coated with hardware store paint. Seemingly manufactured according to precise standards, they nevertheless differ from one another in detail. The outer surface of Untitled (2019) has been treated with motor oil used for vintage classic engines. Much like a car, the box-works could be imagined as carriers of sorts, transport for unidentified transmissions. The motor oil and its mechanical associations only accentuate the containers’ state of inertia and give them a slightly nostalgic, military-industrial feel. Offsetting a longing for the bygone with the anticipation of pending action, these works look both backwards and forwards.

2

RICHARD SIDES

The slowest plane crash ever recorded in history, 2020

1-channel HD, monitor, concrete, plywood

120 x 50 x 25 cm

The slowest plane crash ever recorded in history—the title suggests an event so drawn out as to defy the event-focused, technical logic of media. Plywood covers the front face of Richard Sides’s work. One face broken up into four parts only allows indirect views from the face into the inner space of the concrete structure. The faces move toward the back in perspective, thus drawing the eye slowly into the interior toward a flickering light source—in a hypnotizing way, like watching an unstoppable, eternally dragged-out event. The title of the work is taken from a You-Tube commentary on the Prince Andrew interview, in which he tries for fifty minutes to wriggle himself out of the Epstein scandal.

3

K.R.M. MOONEY

Accord, A Chord I, 2016

Wood composite, vinyl, folded aluminum, steel, spray millet, cast silver, whistle, solder

Two parts: 45.7 x 35.6 x 7.6 cm; 53.3 x 45.7 x 7.6 cm

Composite board form the outer shell of Accord, A Chord I, initially installed in a residential shed that formerly served as a mechanic’s workshop, the work consists of two small, box-like sculptures placed directly on the floor. Incorporating materials with generative qualities or structures that shift with environmental factors, obscured within their interior are seeds and plants—some cast, others dried—that are used by humans and animals alike, normalizing alliances between materials with multiple associations. Linking participatory actors such as existing systems and their adjoining surroundings with sculptural form and behavior, K.R.M. Mooney’s works occupy intermediary positions between abstract, autonomous and the site-specific.

4

AMY YAO

Weeds, 2015

Artificial flowers, silicone, artificial nails

30.5 x 43 x 18 cm

Silk flowers, bones, plastic fingernails and nuts fill the volume of a transparent protective cover for pillows. These materials mark spaces where a specific domesticity and industrial production meet. The preserved and ever-blooming silk flowers are confronted with a logic of circulation and production in which waste is not a by-product, but a basic prerequisite. In this sense, Weeds also illustrates the extent to which the rigid separation of the categories “natural” and “artificial” is associated with a particular form of production.

5a / 5b

ROSA AIELLO

Resolve (tritone inward), 2020

2 motion-activated loudspeakers

Dimensions variable

Detecting movements in their vicinity, the sensors of the two small devices function as electrical switches. Motion activates

the integrated speaker causing each device to play a different chord: the first part of a two-part tritone. The devices are arranged in a particular order in the room. The first chord creates a feeling of anticipation or tension. The second erodes or fulfills the expectation. The minimal variances reinforce to an even greater degree the conditions in the space that are altered by the devices and show how the configuration of the room can impact lived experience.

6

LISA HERFELDT

Slithering, 2019

Acrylic glass, nylon fabric, polyester fleece

23 x 67 x 23 cm

These tongue-like objects perform synthetic affects. Transparent cubes of acrylic glass serve as containers for otherwise disembodied tongues.

7

MAGGIE LEE

Alfred Hitchcock Microchipped Pigeon, 2020

Packing tape, flock fiber, acrylic, photocopy

33 x 27.9 x 2.5 cm

Brown packing tape on canvas. Three photographs serve as labels for this visual package: a low-resolution print of a child’s antique bedframe, a cropped magazine image of a gift of flowers and a dove with a microchip on its head. Alfred Hitchcock Microchipped Pigeon can be interpreted as a suggested title for a fictional (and non-existent) film by Alfred Hitchcock. In attempting to describe the mechanisms of tension in his films, Alfred Hitchcock coined the term “MacGuffin.” The MacGuffin more or less describes any object or creature in a film that triggers or advances the action without serving another functional purpose. The externally controlled behavior of a microchipped pigeon or an unwanted gift could assume this function within the narrative implied here.

8a

MARTA RINIKER-RADICH

A Frame of Cast Iron Lace, 2018

Color pencil and pencil on paper

29.7 x 21 cm

8a

MARTA RINIKER-RADICH

The Vapors, 2019

Color pencil and pencil on paper

29.7 x 21 cm

The tiny vanity cases depicted in the series of drawings by artist Marta Riniker-Radich address the privileged aspect of personal care that allows us to isolate ourselves, to think about ourselves and only about ourselves and no one else. The cases condense domestic space, with its promise of providing protection from the outside world, creating in the process an ever-threatening negative pressure. The meticulous technique of colored pencil drawings only reinforce the latent feeling of tense silence. The space of the box is often the starting point for Marta Riniker-Radich to formulate her drawings: both enclosed and infinite, like a magic box with a false bottom.

9

KASPAR MÜLLER

Ohne Titel, 2020

Wood, metal, coins, lacquer, acrylic paint, glitter, rhinestones

46 x 16 x 32 cm

As is evident, this object served as a historical medicine chest while it has not necessarily been stripped of its original function. In working with the object, the artist has only altered its status. As a box coated in layers, Ohne Titel is suggestive of various temporalities: the artist’s time in the studio, the time of the material, historicism. A seductive patina that serves any desire for authenticity but remains permanently unfulfilled at the same time.

10

PATRICIA L. BOYD

SL-1200MK2 Face: Christian Andersen, 10/25/19-12/21/19, 2019–2020

Used cooking fat, wax, damar resin, particle board

63 x 54 x 10 cm

SL-1200MK2 Face: Christian Andersen, 10/25/19–12/21/19 is part of an ongoing series of works by artist Patricia L. Boyd.

The works in the series go through various stages, forming links with the physical and logistical architecture of an institution

or gallery: the negative forms, cast from a mixture of used cooking fat, wax and damar resin, are embedded on site into

the walls of the exhibiting gallery or institution. The cast is held in place by particle board that is integrated into the gallery

wall. Like a prosthesis, the piece of particle board is not only attached to but also alters and reconfigures the work. After the

closing of the exhibition, the negative form and plate are removed and converted into a free-standing sculpture (box), which

can now be circulated and shown in any number of subsequent exhibitions. The exhibition dates and name of the location

where it was exhibited first is then added to the work’s title. The various negative forms are from components of two objects

Patricia L. Boyd purchased at the liquidation sale of a San Francisco-based tech company: a Herman Miller Aeron office

chair and a Technics SL–1200 record player.

11

MANUEL BURGENER

Untitled, 2017

Glass, cardboard, LED, alcoholic spirits

43.5 x 25.5 x 44 cm

The volume of the glass cube on the bottom is derived from that of the shipping package of Sia Abrasives sandpaper. The cardboard box is positioned in such a way that it defies all structural logic; opening it up is the only way to release the glass structure that supports it. Found inside is a bottle with self-distilled gin and glasses—a situation visitors can activate.

12

CAMILLE ALEÑA

Fortnum and Mason, 2017

9 music boxes, Arduino board

41ø x 17 cm

Fortnum and Mason consists of music boxes from the eponymous British luxury department store. Imprinted with a horse carousel, the nostalgic product is both a biscuit tin and music box. For Camille Aleña’s work the original melodies and rotary motors have been retained, transformed and rearranged into a ghostly choreography that repeats every six minutes.

13

ANGHARAD WILLIAMS

Wet flannel on my side like the saddle on a horse, 2016–2020

Paper, air-dried clay, acrylic ink, hinges, storage box

55 x 18 x 78 cm

Angharad William’s plastic boxes are micro scenes. Oscillating between makeshift display cases and material storage boxes, they create certain reading contexts for the texts that accompany them: stories that feed on despair, vulgarity and seduction. The objects illustrate collages of absent characters – remnants taken from the stories. The box presented at the Stadtgalerie is part of this ongoing series.

14

DAVIDE STUCCHI

Her Mess, 2019

Carton, various unloaded items

38 x 13 x 6 cm

Her Mess, 2019

Carton, various unloaded items

38 x 13 x 5 cm

Her Mess, 2019

Carton, various unloaded items

38 x 13 x 4 cm

Her Mess, 2019

Carton, various unloaded items

38 x 13 x 3 cm

“Personal effects is a mind-boggling way to phrase belongings. I love word plays, especially when English is not our native language so we take ‹meanings› / etymology even more literally—at least I do. It exposes the limits of one’s cognitive abilities, and the labour to keep up with everyday flows. […] Personal effects, titles of my works such as Her Mess or Neck Laced are a lovely way to situate the pieces on a timeline of actions. It definitely feels the works conjure an absent user. The many signifiers point to their class/societal position. To me it came across distinctively bourgeois. It’s incredible to grasp the residue people leave in our lives, especially how immaterial it is mostly. Scents, body areas once touched by lovers and friends, specific times of the day. I don’t know how this happened, but every now and then for years I turn my head to see the time and it is 4:40pm, or around that hour. I used to wait for a really good friend of mine, who I was deeply obsessed and in love with, to meet and have a snack after school. We don’t talk to each other anymore.”

Davide Stucchi in correspondence with Bruno Zhu

15

SERGEI TCHEREPNIN

Baby Box #2 (Ringing Rock Stages of Production), 2013

Steel, copper, transducer, amplifier, iPod

18 x 18 x 18 cm

The object Baby Box # 2 (Ringing Rock Stages of Production), featuring a copper tongue and a steel box, is a sound sculpture that works simultaneously as a loudspeaker and an instrument. The box belongs to a group of sound system-based works, characters that encourage interaction. The material configurations and their specific sounds allow viewers to navigate around using their ears and bodies.

16

JULIA SCHER

For fairness (Pink and Black box), 2019

3-print, paint, cotton glove

3 x 9.5 x 9.5 cm

Artist Julia Scher’s box is a hybrid: deeply rooted in everyday regular boxes, it nevertheless points to the hybridity of future conditions. It could provide support, protection, and nourishment for a range of functions and activities for future entities. Its construction and materiality shifts between the domestic (storage, preservation, cupboard and table) and the terrestrial: it is made out of minerals, cellulose, natural adhesives and colour. Inside the box is a white cotton glove, but it could basically host anything one might deem necessary. Based on a source code, the design is reproducible with any 3D-printer: the code merely suggests an initial state from which to derive new functions and meanings. 

A hybridity of theme- a unique artwork 

A hybridity of making- a formal articulation that celebrates the uniqueness of any making 

A hybrid of assembly- a combination usually called montage or collage 

It seems built for one hand but can suggest the expression of multiplicity. 

Can (anything) work together…as one?

Julia Scher

17

KARIN BORER

Danger, 2018

Charred wood

43 x 6 x 190 cm

The dark surfaces of the ceiling-mounted wooden box have been burned and carbonized—a traditional technique to prevent insect attacks. The box has slits on the bottom and sides. These form links between different habitats. Karin Borer’s work aims to generate intersecting gazes: human and non-human. Here she plays with aspects of the box as addressing the registers of visibility and non-visibility.

18a

DAVIDE STUCCHI

Personal Effects, 2019

Cardboard, adhesive tape

83 x 15 x 15 cm

18b

Infusion d`Iris, 2019

Plexiglass, perfume packaging

23 x 17 x 17 cm

19

PHUNG-TIEN PHAN

Lil Emo, 2019

Toy trucks, photographs in wooden display cases with sliding glass panels

Each 60 x 80 x 9.5 cm 

The work Lil Emo by artist Phung-Tien Phan consists of six commercial display cases. Photographs of male, international pop stars, actors, musicians, models and writers appear as reified rites of passage: a specific collection representative of certain fragile ideas, memories, concepts and masculine imagery, and also of a certain biography and its social background. The images are juxtaposed with a collection of toy trucks of primarily German companies and brands. They suggest different ideas about cultural identification, masculinity and coming of age. Beyond the aspect of adopting things for personal usage, both collections refer to larger industrial and infrastructural links. The objects are arranged into a single letter inside each display case; together they form the title of the work: Lil Emo.

20

ADELHYD VAN BENDER

Untitled (1–14), 1999–2014

Cardboard, metal handles and rivets, adhesive tape, varying contents

Each about 50 x 37 x 25 cm

Folders and boxes serve as physical structures in Adelhyd van Bender’s work, whose cryptic systematization employs graphic and scientific means, repetition and variation. Against the backdrop of impending self-destruction during the Cold War, Adelhyd van Bender developed an obsessive fascination with atomic radiation that preoccupied him up to his death in 2014. Repeatedly appearing in his countless drawings are geometrical diagrams reminiscent of atomic models, orders of the universe or mystical models – like the Sefiroth of the Kabbalah. These also include missile-like structures, maps of alleged nuclear power plants in Germany, plans for the city of Moscow and radiation warning signs. The status of the contents inside the fourteen commercial and variously patterned storage boxes remains unclear. The A4 sheets, often copied multiple times and in some cases showing slight variances, are most likely original material the artist intended to work on further. The boxes also contain official documents – some of which also reappear in drawings – mail-order catalogs, magazines and other material.

21

LISA HERFELDT

Lilac Licker 3, 2019

Acrylic glass, nylon fabric, polyester fleece

45 x 23 x 11 cm

22a

VACLAV POZAREK

Geschlossen, 2016

Wood, painted

75 x 71 x 100 cm

22b

VACLAV POZAREK

Wandrelief halboffen, 2002

Wood, painted

44 x 72 x 57 cm

Terms such as geschlossen [closed], halb offen [half-open], offen halb offen halb leer [open half-open half-empty], or offen [open] are recurring titles or additions to titles in the work of Vaclav Pozarek. They describe an object’s state. The often reappears in Vaclav Pozarek’s sculptures, drawings and photographs. Even the crates used to transport his works, made by the artist himself, look like stand-alone works. The sculptural boxes create space—both visible and invisible. They require no pedestals and most are themselves support structures. Vaclav Pozarek also frequently creates display cases, shelves and entire exhibition arrangements.

  Link: “Kasten” at Stadtgalerie Bern

from Contemporary Art Daily https://bit.ly/3bCsZUj

[charlesbryan]

arms ache avid aeon at Beeler Gallery

http://dlvr.it/R81kxq

[artmakescbus-blog]

Weekend Warriors: Scare Up Some Arts Fun!

10/31/18

By Nick Dekker

I’ve never been super into Halloween, aside from the fun of dressing up in costumes as a kid. I mean, I love the fall and the leaves and the cooler weather and pumpkin everything, sure. But all the scary stuff, horror movies, blood and gore — just not my thing.

But if that IS your thing… Columbus arts organizations are there for you. On Oct. 31, for instance, you can see Bloodthirsty Virgins play at Natalie’s, catch Dracula from Columbus Children’s Theatre or see the special performance of The Rocky Horror Show at Short North Stage. (P.S. Rocky Horror runs all weekend.)

This is all just the start of an arts-filled weekend. I searched the calendars on ColumbusMakesArt.com and discovered so, so much to do:

Hixon Dance performs City Dance, a showcase of contemporary choreography at the Columbus Dance Theatre, Nov. 2-3.

CityMusic hosts the Alonso Brothers, performing classic works from Cuba at the Southern Theatre on Thursday, Nov. 1.

After they wrap Rocky Horror, the Short North Stage launches a production of La Cage Aux Folles that runs Nov. 1-25.

CATCO recently opened Breaking the Code at the Riffe Center, about the life of Alan Turing, running through Nov. 11.

Columbus artist April Sunami opened a new exhibition, Matter and Spirit, at the OSU Faculty Club. The exhibition is free, and runs through Dec. 14.

And this Sunday, Nov. 4 is a special Downtown Art Sunday. You can spend your extra hour exploring CCAD’s Beeler Gallery, Angela Meleca Gallery, the Cultural Arts Center, Riffe Gallery, OSU Urban Art Space and other spots downtown. Best of all: it’s all free.

Now don’t be scared! Get out and explore Columbus arts, and tag your discoveries with #artmakescbus.

Nick is Marketing, Communications, & Events Administrator for the Arts Council. He also leads culinary tours and blogs about breakfast at breakfastwithnick.com. He once went as a weirdo for Halloween. And, no, he didn’t just dress as himself.

[itisallicanthinkabout]

i had back to back appointments this week so i rewarded myself with a trip to the art gallery with fazwa and ate an excessive amount of pita chips and hummus (at Beeler Gallery)

[nofomoartworld]

Hyperallergic: Art Movements

A selection of indigenous masks recovered in Alaska (courtesy University of Aberdeen)

Art Movements is a weekly collection of news, developments, and stirrings in the art world. Subscribe to receive these posts as a weekly newsletter.

Over 50,000 frozen indigenous Alaskan artifacts will be returned to the village of Quinhagak following preservation work by archaeologists at the University of Aberdeen. It has taken over seven years to recover and preserve the massive archeological find, which is thought to be the largest of its kind from a single site in Alaska. The objects will go on display at the new Nunalleq Culture and Archaeology Research Center later this year.

President Trump unveiled his proposed federal budget for 2018. Entitled “America First,” the budget seeks to eliminate the National Endowments for the Arts and Humanities, the Corporation for Public Broadcasting, the Institute of Museum and Library Services, and the Woodrow Wilson International Center for Scholars.

President Trump’s son-in-law and senior advisor, Jared Kushner, failed to disclose his art collection in required financial disclosures. Kushner and Ivanka Trump own a multimillion dollar contemporary art collection that includes work by Alex Israel, Dan Colen, and Alex Da Corte.

Art dealer Perry Rubenstein was sentenced to six months in jail after pleading no contest to two counts of grand theft by embezzlement.

The Guardian obtained over 100 of Facebook‘s internal training manuals and spreadsheets. The documents provide an inside into the social media giant’s policies on sex and nudity in art posted by the site’s users.

A Camille Pissarro painting recovered from the Gurlitt trove was returned to the heirs of Max Heilbronn.

Turner Prize-winning artist Jeremy Deller confirmed authorship of a poster featuring the phrase “Strong and stable my arse,” a play on the oft-repeated (and much derided) campaign slogan of Prime Minister Theresa May. The poster was wheatpasted at various locations across London last weekend.

(via Twitter/@RichardBattye)

The Isabella Stewart Gardner Museum doubled its $5 million reward to $10 million for the return of the 13 works stolen from its collection on March 18, 1990.

The Italian government launched an initiative to give away 103 historical sites to individuals who will commit to their renovation.

The Queens Museum launched a Kickstarter campaign for Never Built New York, an exhibition exploring unrealized architectural projects from the last 200 years.

The Foundation for Contemporary Arts established the Roy Lichtenstein Award, a new annual grant.

Artist David Černý unveiled “Lupič” (or “thief”), a moving mechanical sculpture installed on the façade of the Olomouc Museum of Art.

The Bailang Bridge Ferris Wheel — the world’s tallest spokeless design — was unveiled in Weifang, China.

Britain’s oldest Roman arch was damaged by a truck driver.

Artist and Vincent van Gogh lookalike Matt Butterworth posed for hundreds of selfies outside the National Gallery of Victoria’s Van Gogh and the Seasons exhibition.

Transactions

Faith Ringgold, “American Collection #4: Jo Baker’s Bananas” (1997), acrylic on canvas with pieced fabric border, 80 1/2 x 76 in, National Museum of Women in the Arts, purchased with funds donated by the Estate of Barbara Bingham Moore, Olga V. Hargis Family Trusts, and the Members’ Acquisition Fund (photo by Lee Stalsworth)

The National Museum of Women in the Arts acquired works by Louise Bourgeois, Yael Bartana, Lalla Essaydi, Berthe Morisot, Jami Porter Lara, and Faith Ringgold.

The Rijksmuseum acquired a handwritten botanical book by Anna Atkins, who is credited by some sources as the first female photographer.

Michael R. Bloomberg donated $75 million to the Shed‘s $500 million capital campaign.

The Windgate Charitable Foundation donated $15 million to the Crystal Bridges Museum of American Art.

An anonymous $2.27 million donation was made to the University of Wyoming’s art museum.

The Huntington Library, Art Collections, and Botanical Gardens acquired George Tooker’s “Bathers (Bath Houses)” (1950).

George Tooker, “Bathers (Bath Houses)” (1950), egg tempera on gessoed board, 20 3/8 x 15 3/8 in (courtesy The Huntington Library, Art Collections, and Botanical Gardens)

Transitions

Over a a dozen members of the current staff and board of directors of the Brooklyn Rail resigned. An official press release did not cite a reason for the collective departure.

William D. Adams resigned as the tenth chairman of the National Endowment for the Humanities.

Lord John Browne of Madingley was appointed chairman of the Courtauld Institute of Art.

Susana Bautista was appointed executive director of the Pasadena Museum of California Art.

Kheli R. Willetts was appointed executive director of Art League Houston.

Jenny Gibbs was appointed director of the Sotheby’s Institute of Art’s graduate program in New York.

Brian Sholis was appointed executive director of Gallery TPW.

Matt Carey-Williams was appointed director of Blain Southern, London.

Ellen Rudolph was appointed chief curator of the Akron Art Museum.

Aaron T. Pratt was appointed curator of early books and manuscripts at the Harry Ransom Center at The University of Texas at Austin.

Jo-ey Tang was appointed director of exhibitions at the Columbus College of Art and Design’s Beeler Gallery.

Artists Space will open a new venue at 80 White Street in 2018. The nonprofit has been operating out of its “secondary space” since its lease for 38 Greene Street expired in June 2016.

Galerie Urs Meile opened a new exhibition space in Beijing.

The Musée Dapper in Paris will permanently close next month.

CRG Gallery will permanently close this Summer.

Deutsche Bank plans to open a new arts centre in Berlin next year.

Curator Zissou Tasseff-Elenkoff will open All Star Press, a sports-themed art gallery, in Chicago next month.

Accolades

Kiluanji Kia Henda, “Under the Silent Eye of Lenin” (2017), installation and performance (courtesy the artist)

Kiluanji Kia Henda received the 2017 Frieze Artist Award

Rachel Rose was awarded the inaugural Future Fields Commission, a new collaboration between the Philadelphia Museum of Art and the Fondazione Sandretto Re Rebaudengo.

David Adjaye received a knighthood for services to architecture.

Rebecca Rabinow received the 2017 Walter Hopps Award for Curatorial Achievement.

Olivier Culmann was awarded the 2017 Prix Niépce.

Dana Lixenberg was awarded the 2017 Deutsche Börse Photography Foundation Prize.

The Graham Foundation awarded over $560,ooo in grants for the support of 72 architectural projects.

Margaret Ricciardi will receive an honorary doctorate from CUNY’s College of Staten Island next week. Ricciardi has been taking art classes at the college every week since her husband passed away in 1983.

Obituaries

A recent sculpture created by Raymond Han (courtesy Jason McCoy Gallery)

Roxcy Bolton (1926–2017), feminist and women’s rights activist.

William Brohn (1933–2017) theater orchestrator.

Stanley Brouwn (1935–2017), conceptual artist.

Alexander Burdonsky (1941–2017), theater director. Grandson of Joseph Stalin.

Rand Castile (1938–2017), director of the Asian Art Museum of San Francisco.

Barbara Smith Conrad (1937–2017), mezzo-soprano. Subject of a high-profile race row at the University of Texas at Austin in 1957.

Lloyd Cotsen (1929–2017), philanthropist and art collector.

Anne R. Dick (1927–2017), jewelry designer. Wife and muse of Philip K. Dick.

Stanley Greene (1949–2017), photojournalist.

Johannes Grützke (1937–2017), painter.

Raymond Han (1931–2017), artist.

Elinor Bunin Monroe (1920–2017), graphic designer.

Frankie Paul (1965–2017), reggae singer.

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arms ache avid aeon at Beeler Gallery