27/08/2016 12:3027/08/2016 15:00Europe/LondonPublic Tours at Dia:BeaconDia:Beacon provides guided tours every Saturday and Sunday at 12:30 and 2 pm. Tours are free with admission. Reservations are not necessary but can be made in person at the admissions desk.
Dia:BeaconFALSEDD/MM/YYYYFREQ=WEEKLY;BYDAY=SU,SA;UNTIL=20260601T235900;Public Tours at Dia:Beacon
01/11/2017 14:0001/11/2017 13:00Europe/LondonPublic Tours at Dia:ChelseaDia:Chelsea provides guided tours every Saturday at 2 pm. Tours are free with admission. Reservations are not necessary but can be made in person at the admissions desk located at 545 West 22nd Street in New York City.
Dia:ChelseaFALSEDD/MM/YYYYFREQ=WEEKLY;BYDAY=SA;UNTIL=20260801T235900;Public Tours at Dia:Chelsea
21/02/2018 18:3021/02/2018 23:45Europe/LondonCurator-Led Tour of François MorelletEvent DetailsWednesday, February 21, 2018, 6:30 pm For Dual/Family members and above. Join or renew today.
Dia:Chelsea545 West 22nd Street, New York City
Join adjunct curator Béatrice Gross for a private tour of François Morellet. This in-depth exhibition of the late artist—the first to be presented in the United States in more than thirty years—explores his pioneering approach to creating object-based paintings, neon works, and architectural and site-related installations.
RSVP to Sibia Sarangan by February 20 at firstname.lastname@example.org or 212 293 5602.
Dia:ChelseaFALSEDD/MM/YYYYFREQ=WEEKLY;BYDAY=SA;UNTIL=20260801T235900;Curator-Led Tour of François Morellet
03/03/2018 11:0003/03/2018 16:00Europe/LondonFrançois Morellet SymposiumEvent DetailsSaturday, March 3, 2018, 11 am–4 pm
Dia:Chelsea535 West 22nd Street, 5th FloorNew York City
$5 for Dia members; $10 general admission; $8 admission for students and seniors
Advance ticket purchases recommended. Tickets are also available for purchase at the door, subject to availability.
In conjunction with the exhibition of works by François Morellet, Dia Art Foundation hosts a group of scholars, curators, artists, and writers for a symposium on Morellet’s multifaceted oeuvre and extensive career. Speakers reflect on his practice from a diverse array of perspectives. Participants include Alexander Alberro, John Armleder, Béatrice Gross, Valerie Hillings, and Daniel Levin Becker.
Symposium TopicsAlexander Alberro: “Morellet and 1950s Geometric Abstraction in Brazil”John Armleder: From an artist’s perspectiveBéatrice Gross: “Geometry in Motion: Morellet’s ‘Style Versatile’”Valerie Hillings: Morellet and artists’ groupsDaniel Levin Becker: “Morellet: Wordplay, Constraint, Chance, and the Ouvroir de littérature potentielle”
This program is made possible by support from Lisa and Tom Blumenthal.
Symposia and other DiaTalks are part of the Sackler Institute at Dia Art Foundation. Public programs at Dia:Chelsea are supported in part by the Andrew W. Mellon Foundation.
Dia:ChelseaFALSEDD/MM/YYYYFREQ=WEEKLY;BYDAY=SA;UNTIL=20260801T235900;François Morellet Symposium
13/03/2018 18:3013/03/2018 23:45Europe/LondonTonya Foster and Marcella DurandEvent DetailsTuesday, March 13, 2018, 6:30 pmDia:Chelsea535 West 22nd Street, 5th FloorNew York City
Free for Dia members; $10 general admission; $6 admission for students and seniors Advance ticket purchases recommended. Tickets are also available for purchase at the door, subject to availability.
Tonya Foster is the author of the bilingual chapbook La Grammaire des Os (The Grammar of Bones [éditions joca seria, 2016]), the author of the poetry collection A Swarm of Bees in High Court (Belladonna, 2015), and a coeditor of Third Mind: Creative Writing through Visual Art (Teachers and Writers Collaborative, 2002). Foster is an assistant professor of writing, literature, and creative writing at California College of the Arts in Oakland, and is also a poetry editor at Fence magazine. Her work has been published in Callaloo, Hat, MiPOesias, NYFA Arts Quarterly, Poetry Project Newsletter, and Western Humanities Review, as well as on the Poetry Foundation website and elsewhere.
from Etiquette In collaboration with Alice Notley’s Descent of Alette…
2.Toddler-head tilted, fore-finger pressed againstthe side of his tender jaw, M. poses, looks like he’s thinking,looks like he’s looking at me looking at him;
in the photo, looks like he’s looking through the remnantsI’ve made, at each you who holds the photos before your faceno matter how long after you’re looking at the him in this looking out.
You see in the looking out and your looking in something of the selfthat you, years later, will come to know, will come to be, and to know and to be areforms of loving, are forms of holding a body and ideas of looking,of bodies in a mind like a prism.
To say “Light falls” or “Night falls” is to speak of space, the curvatureswe navigate. Blood-bound, we are at B.’s Las Vegas wedding before you are you, and M. has just learned that a camera assembles and refracts. I point. He points. Each shot a we
In-a-would-be-drowned city, what one girl sawof grief was the war-lost father and a baby brother laid out like expansesof water we, even as we stand on far shores, must cross.
And the girl and M and you and I are blood-bound.It is sassy to say, “I see”; sassier to say, “I see you”;sassiest to say, “I see you looking at me,” to call outwhat we are looking for.
4.For a time, grief politely organized the water-logged girl politely.In a family photo, she sits center, hands folded in her lap. I hear that shewas for a long time largely quiet, holding her grief-strung tongue
the way a proper lady is meant to. A woman watches her p’s and cues“woman” through the delicate clearing of her bangs or the smoothing of her skirt,value “biologically determined,” “socially performed.”
In some corners, to ask “What are you looking at?” is another way of saying“What do you want?” Is another way of saying, “Keep that shit to yourself.”Is another way of saying, “I’m not available for the viewing.”
5.And a wake is another kind of viewing, a view of the surface of darknessoverfocused and announced, before underground.But laid out, he is still a young man. Laid out, he is always but a boy.
And you and M and the girl-come woman and I and they are blood-bound,are, of course, an iteration of we that wills out.“Endlessly endless” will…
Marcella Durand’s most recent books are Rays of the Shadow (Tent Editions, 2017) and Le Jardin de M. (The Garden of M. [éditions joca seria, 2016]), with French translations by Olivier Brossard. Other books include: a collaboration with Tina Darragh, Deep eco pré (Little Red Leaves, 2009); AREA (Belladonna, 2008); and Traffic & Weather (Futurepoem, 2008), written during a residency at the Lower Manhattan Cultural Council. She lives in New York, where she is working on a long piece for two voices titled Mirror Lines and completing her translation of Michèle Métail’s book-length poem Les horizons du sol (The Horizons of the Soil, 1999).
from Rays of the Shadow
There are two words: leaf and reflection. We could allparlay via these words and grow conversation.Lights find their end in waves as ocean flowers toland under rain. Amorphous water, when will youtake shape and line? Like life in a like square. Withinit is the already seen and said. Reflect sayswater and leaf says light. Ardent over the land.
Dia:ChelseaFALSEDD/MM/YYYYFREQ=WEEKLY;BYDAY=SA;UNTIL=20260801T235900;Tonya Foster and Marcella Durand