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Futurefarmers: Out of Place, in Place surveys the group’s practice to date. Founded in 1995 in San Francisco, the internationally renowned Futurefarmers group takes a collective, playful, inquiry-based approach to art making that spans multiple disciplines and ways of inhabiting the world, from sailing and farming to environmental design and DIY scientific experimentation.
Their imaginative, environmentally-conscious projects provoke audiences to question the many ways that humans try to control nature, or imagine themselves as separate from it. Their work can be described as social sculpture, a type of making that activates art’s potential to change society. The exhibition includes public programs which invite participants to engage in and experiment with their process-based practice.
For more information and tickets, visit ybca.org.
Futurefarmers: Out of Place, in Place continues at the Yerba Buena Center for the Arts (701 Mission Street, San Francisco, California) through August 12.
An SFMOMA exhibition raises questions about what it means when museum board members have ties to politicians who support border wall policies.
The exhibition at the Jewish Museum delves into “degenerate” art and art made under duress as part of a thought-provoking yet diffuse exhibition.
In Philadelphia, a series of solo shows delves into the interdisciplinary practices of graduates whose work explores identity, familial bonds, political constructs, and nature’s fragility.
Despite his work’s apparent abstraction, Sheroanawe Hakihiiwe insists that “I don’t invent anything, everything I do is my jungle and what is there.”
David Uzochukwu, Kennedi Carter, and Kiki Xue are among the 35 artists whose work will be displayed online and at the festival in Milan, Italy.
On November 14, join Columbia University School of the Arts for virtual information sessions with the program chair, faculty, and staff.
No Vacancy, curated by Jody Graf, will be on view from October 26 through November 8 at the school’s Kellen Gallery in New York City.
To do so before they have returned the Maqdala treasures and the Benin Bronzes and the Easter Island statues and the Maori heads, before a coherent set of precepts for decolonization has been articulated, would affirm the wrong principle.
“Everybody in Mesopotamia, as far as I understand it, believed in ghosts,” said Irving Finkel, a curator of the British Museum’s Middle Eastern department.