No Tutorial, presented by the Miller Institute for Contemporary Art, reflects upon our current situation in the midst of a global pandemic, shines a critical light on societal shortcomings, and imagines new futures in a post-pandemic world. The exhibition, now on view at notutorial.art, presents final projects by graduating students at Carnegie Mellon University’s School of Art. Quickly adapting to a new remote reality without access to materials, equipment, and facilities, students in this exhibition demonstrate their ingenuity, creativity, and perseverance at a time when there simply is no tutorial.
Imagined and self-curated by students, No Tutorial brings together projects by 41 seniors, drawing distinct parallels between seemingly divergent bodies of work. Exhibition visitors can browse works by a series of categories covering themes, materials, and descriptions, or they can take a deep dive into each individual artist’s work. Taking advantage of this digital format, the exhibition imagines a new way of presenting art online where presentation is not limited by immovable gallery walls. No Tutorial is a testament to the talent, energy, humor, and originality of CMU School of Art’s graduating class at an incommensurable moment in our history.
To view the exhibition, visit notutorial.art.
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.