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.
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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.
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20/01/2018 02:0020/01/2018 23:45Europe/LondonLars Nittve and Jessica Morgan on Walter De MariaEvent DetailsSaturday, January 20, 2017, 2 pm Dia:Beacon3 Beekman StreetBeacon, New YorkFree with museum admission. No reservations required.
Lars Nittve was born in Stockholm in 1953. He received an MA from Stockholm University and was awarded an honorary PhD in 2009 by Umeå University in Sweden. Nittve previously studied at the Stockholm School of Economics and New York University, wrote extensively as an art critic for the Stockholm newspaper Svenska Dagbladet and the magazine Artforum during his academic years, and taught art history at the University of Stockholm from 1978 to 1985. In 1986 Nittve was appointed chief curator at the Moderna Museet in Stockholm. In 1990 he was selected as founding director of Rooseum Center for Contemporary Art in Malmö, Sweden, and later went on to serve as director of the Louisiana Museum of Modern Art in Humlebaek, Denmark, first director of the Tate Gallery of Modern Art in London, and director of Moderna Museet. From 2011 to 2016, Nittve was the executive director of M+ in Hong Kong. He has since been CEO and chairman of Nittve Information, Hong Kong and Sweden.
Jessica Morgan joined Dia Art Foundation as director in January 2015, and was named Nathalie de Gunzburg Director in October 2017. At Dia, Morgan is responsible for strengthening and activating all parts of Dia’s multivalent program, including its pioneering Land art projects, site-specific commissions, and collections and programs at Dia:Beacon, as well as reinvigorating its artistic and intellectual presence in New York City. Prior to assuming her position at Dia, Morgan served as the artistic director of the tenth Gwangju Biennale in 2014, the Daskalopoulos Curator, International Art, at Tate Modern in London from 2010 to 2014, and as a curator at Tate from 2002 to 2010. At Tate, she organized a number of important exhibitions including the group show The World Goes Pop (2015–16) and retrospectives Saloua Raouda Choucair (2013), Gabriel Orozco (2011), and John Baldessari: Pure Beauty (2009–10). In addition to her work on exhibitions, Morgan played a key role in the growth of Tate’s collection—helping develop the museum’s holdings of mid-century and emerging art from North America, the Middle East, North Africa, and South Asia—and worked extensively with the institution’s International Council. Morgan received her MA in art history from the Courtauld Institute of Art, University of London.
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27/01/2018 15:0027/01/2018 23:45Europe/LondonImmersion Studio: A Collaboration with Beacon High SchoolEvent Details Saturday, January 27, 2018, 1–3 pm
Dia:Beacon 3 Beekman Street Beacon, New York Free with museum admission. Family-friendly, drop-in program. No reservations required.
Create, discover, play, and relax in this interactive installation designed by Beacon High School students. Families and visitors of all ages are invited to explore this colorful space and choose from a variety of participatory environments and activities. (2 hours)
Students, teachers, and families are invited to attend a reception with light refreshments immediately after the program.
Dia:Beacon Arts Education ProgramDia:Beacon’s partnership with the Beacon City School District provides K–12 students with an intimate setting to respond critically to the art and programs at Dia:Beacon through multi-session workshops both at school and in the galleries.
Dia:Beacon’s annual collaboration with Beacon High School offers students and teachers an opportunity to develop a deep and sustained relationship with the collection and to collaborate with peers, teachers, and artist educators to design and realize a participatory public program.
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30/01/2018 18:3030/01/2018 23:45Europe/LondonDavid Henderson and Andrei CodrescuEvent DetailsTuesday, January 30, 2018, 6:30 pm
This reading, which was originally planned for December 5, 2017, has been rescheduled for January 30, 2018. Dia:Chelsea535 West 22nd Street, 5th FloorNew York City
Readings in Contemporary Poetry curator, Vincent Katz provided an introduction for the evening's reading.
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.
David Henderson was connected to the Black Arts Movement through the Umbra Workshop, where he served as an editor of their magazine and the three Umbra anthologies. His best-known books of poetry are De Mayor of Harlem (1970) and Neo-California (1998), and he has read a selection of his poetry for the permanent archives of the Library of Congress. Author of the lyrics to Sun Ra’s composition “Love in Outer Space,” he has also recorded with the saxophonists and composers Ornette Coleman and David Murray and the cornetist and composer Butch Morris. He is the author of ’Scuse Me While I Kiss the Sky: Jimi Hendrix: Voodoo Child (2009), and wrote and produced an award-winning two-hour documentary on the African American beat poet Bob Kaufman for National Public Radio and the Pacifica Foundation. Recent publications include prose and poetry in the anthologies Beats at Naropa (2009), Obama, Obama (2012), Angles of Ascent: A Norton Anthology of African American Poetry (2013), and Cross Worlds: Transcultural Poetics (2014). A poet-in-residence at the City College of New York, he has taught in CUNY’s SEEK Program and has been a visiting professor at the University of California, Berkeley, University of California, San Diego, State University of New York at Stony Brook, and Wesleyan University, Middleton, Connecticut. Most recently he became the first fellow of the Lost and Found, the CUNY Poetics Document Initiative at the Center for the Humanities.
Kingfish, My Kingfish, Uncle Kingfish
Kingfish, my Kingfish, Uncle Kingfish, in the darkness of the country, slight smile around his perpendicular cigar. Brown face lost in the darkness, dark pants fading into the black, the white apron an apparition, a ghost of service: soda and potato chips for the boy, a swab of white cloth across the hardwood hull of the bar that was indeed at sea for that voyage of the day to night to end in the death of dawn. Beer chasers after the Tanqueray argument, the jukebox so loud the room is bouncing, in the window screeching tires of 450 horsepowers burning eight cylinders of rubber, the smell drifts in and outside the door, becomes a smoke cloud rambling down main street. Let the good times roll for the sixty minute man, lovers too young to be in love -- Afro Mona Lisa laughing out loud all up in your face.
Andrei Codrescu was born in Sibiu, Romania. He has written poetry, novels, essays, and film. He won the Peabody Award and was a National Book Award finalist for poetry. From 1983 to 1996 he edited the multivolume publication Exquisite Corpse: A Journal of Books and Ideas, and he started to edit the ongoing website Exquisite Corpse: A Journal of Life and Letters in 1996. He taught poetry and comparative literature at Johns Hopkins University, the University of Baltimore, and Louisiana State University, where he retired in 2010 as MacCurdy Professor Emeritus. His recent books include Bibliodeath: My Archives (with Life in Footnotes) (2012) and The Art of Forgetting: New Poems (2016). Codrescu was also a regular commentator on National Public Radio’s All Things Considered from 1983 to 2016.
the new golden wretched
Google-worthy immigrants are to be foundsay the fat natives wrapped in fur & fearin the 1938-1948 wave and the post-commieera 1989-2001 when politics was clear
after that as Gogol Bordello sings"we are coming rougher"
we walk on desert rocks come out of tunnelswe left our kin in a storm of shards barrel bombs that tore up legs eyes arms hair a rain of meat that we once called "love"now mud air mushrooms roots grubsthose refugees of two decades agowho came under the umbrella of idealismby boat and plane and real politikdo not want us they have forgotten
"we come rougher"unwanted parcelled out like fuel for the enginesof power's calculated mercybut "rough" is just another texture of despair whether it's 1941, 2015 or sometime imminent and new
history doesn't take vacationsit only stops to take a breath to changebibs continents and menus before it eats again
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