The Institute of Contemporary Art at Maine College of Art (MECA) is pleased to announce Making Migration Visible: Traces, Tracks & Pathways, an exhibition and collaboration with over 70 community and institutional entities statewide.
Migration, mobility, and displacement is the story of our era. Fears about human mobility and border crossers are reshaping politics; climate change promises to cause massive displacements; global leaders are scrambling to reconfigure and secure borders; people everywhere are moving to find safe lives for their families. The artists in Making Migration Visible: Traces, Tracks & Pathways challenge the idea that migration is an exception or a crisis, showing viewers that migration is now the norm, inscribed in our landscapes, memories, bodies, and imaginings. What kind of a world do we want to create in this era of great mobility?
MECA is hosting a one day symposium ART+POLITICS on November 2. The symposium will feature a panel of leaders in the arts community who will speak on the role of art in relation to political dialogue and civic action, a set of breakout workshops, and a keynote address. Registration is free. Seating is limited. RSVP by emailing email@example.com by October 15th.
Making Migration Visible: Traces, Tracks & Pathways is organized by Director of Exhibitions, Erin Hutton and co-curated by Julie Poitras Santos and Catherine Besteman. The exhibition is supported in part by an award from the National Endowment for the Arts. Additional support is provided by a Lunder Foundation Challenge Grant, Maine Arts Commission, Colby College, and private donors.
Making Migration Visible: Traces, Tracks & Pathways is on view from October 5–December 14, 2018. For more information, visit meca.edu/traces.
As much as I appreciate the collective’s culture jamming initiatives, I don’t know that their putative premise ever bears meaningful fruit.
The banana’s dominance and ubiquity has had serious and far-reaching implications for the region, engendering exploitative labor systems, climate change, and migration.
The first lecture is on the relationship between early portrait photography and diverse notions of US identity during the Gilded Age. Register to attend on January 25.
Charles Dellheim’s study tells the tale of a small group of Jewish art dealers and collectors who played a key role in the changing art world of the 19th and 20th centuries.
The 18-month fellowship aims to provide artists with “as much access as possible” to the club’s facilities and networks “at a time and place convenient to artists.”
Part of the university’s Artists on the Future series pairing renowned artists with cultural thought leaders, this online event is free and open to the public.
A coalition of investors raised funds to purchase the film’s storyboard and announced they would “make the book public.”
A new project, “Emoji to Scale,” orders every mini-object by their real-world dimensions.
Although Khedoori does not depict living beings, their presence is evoked in the traces they leave behind.
The Bronx Museum’s fifth biennial continues to focus its programming on individual identity, eliding the ever-divergent interests of the art market and local communities.
While it may be strange to think of food insecurity as a basis for art, the works in Food Justice reveal barriers and injustices in food access.