Peter Moore: The New York Avant-Garde 1960s and ’70s
Peter Moore’s work documents the 1960’s art-world moment when experimental performance, music, dance, and visual art intersected in radical and transformative ways.
Peter Moore’s work documents the 1960’s art-world moment when experimental performance, music, dance, and visual art intersected in radical and transformative ways.
With images sourced from YouTube featuring teen and young adult “how-to” videos, Odell uses the archived clips to reconstruct new observations.
An old child’s bank, in the guise of a safe, contains documentation and evidence of a life lived. Can the viewer find meaning from this anonymous archive of images and information to understand the time in which they were saved, from what place, and for what purpose?
Transitions is based on the Surrealist game “Exquisite Corps” and features 20 local photographers collaborating to create a responsive, mystery artwork.
Impression is an archive of photos captured during a self-reflection public installation, in which participants sat in front of a mirror and leaned in for a kiss. Artists Janet Creekmore and Ben Jason Neal collaborated on the project to explore ideas of sexuality, gender, self, cultures, and identity.
A photographic documentation of Jewish places of worship and communal gathering, past and present—still extant, but unoccupied or repurposed—merged with related historical photographs from local archives and collections.
Artists Lorena Molina, Gina Osterloh and Carman Winant form the foundation for this group show that portrays the female experience though photographs, videos, film, and performance.
Reinterpreting Nancy Ford Cones pairs her pictorialist photographs alongside smartphone photos submitted via social media that reinterpret her images.
Miranda July in conversation with curator Kelly Gallagher about her career in film and the Joanie 4 Jackie project.
Teju Cole in conversation with curator Drew Klein about his career as photographer, writer, critic, and performance collaborator.