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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15/05/2018 18:3015/05/2018 23:45Europe/LondonMaxine Chernoff and Emily SkillingsEvent DetailsTuesday, May 15, 2018, 6:30 pmDia: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.
Maxine Chernoff is a professor and chair-ex officio of creative writing at San Francisco State University. She received a Writers’ Corner fellowship in poetry from the National Endowment for the Arts in 2013. Chernoff is the author of six books of fiction and sixteen books of poetry including Camera (Subito, 2017), Here (Counterpath, 2014), Without (Shearsman, 2012), A House in Summer (Argotist, 2011), To Be Read in the Dark (Omnidawn, 2011), and The Turning (Apogee Press, 2008). Her collection of stories, Signs of Devotion (Simon and Schuster), was named a New York Times Notable Book in 1993. Both her novel American Heaven (Coffee House Press, 1996) and her book of short stories, Some of Her Friends That Year (Coffee House Press, 2002), were finalists for the Bay Area Book Reviewers Award. With Paul Hoover, she translated The Selected Poems of Friedrich Hölderlin (Omnidawn Press, 2008), which received a Pen Translation Award in 2009. She has read her work and taught at workshops in Australia, Belgium, Brazil, China, England, Germany, and Scotland, as well as the Prague Summer Program for Writers and the Summer Literary Seminars in Saint Petersburg. She was an international visiting scholar at the University of Exeter in England, and a visiting writer at the American Academy in Rome. She is cofounding editor of the long-running and award-winning journal New American Writing, and has reviewed fiction for the Chicago Tribune, Chicago Sun-Times, and New York Times.
A House in Summer
“Virginia Woolf wrote this paragraph.” –Erich Auerbach
In which a woman wonders when her son will grow taller, when the weather will clear and her husband stop throwing his negative shadow on clocks and lamps and objects as they are. Will it grow lighter despite his darkness, her eyes dry, though they are mostly dry, despite the feeling of tears welling up as she wishes for the boy to have more light.
Will the room, nature’s repository of conical shells and tidy driftwood and small and radiant glass beads smoothed for centuries by water's vague intentions, have something to say about the figures that come and go, the careless boy, unhappy man and woman whose demeanor makes the room glow with the distinct light of sickrooms, though no one yet is ill—but there is the care and caution one associates with grief.
When shutters break loose and the wind does its work and the people who've shined with the moment's surprises and disappointments and failures to love quite well enough have left the room, will the wind acknowledge their vivid passing on sofas and loveseats where sand is engrained in scalloped patterns of fabric woven to resemble teardrop-shaped leaves? Will photos teeter on walls in their dampened frames or simply be stacked in boxes for relatives to take to a coach house overlooking a stand of elms on a narrow hill that deflects the wind, where someday a woman opens the box in front of her grandson who asks without much concern, to pass the day, who were these people, did you know them?
And the woman, because she is sentimental but cautious with her emotions, will say without conviction, I hear they were a family who summered at the beach, who lost their mother, who thought many things and then forgot them, who loved as well as they might, as I love you, she will tell her grandson, though not it words. She will think these words as he looks at her without knowing why her answer takes so long and when it does comes seems to acknowledge some deep sorrow of inheritance neither can understand.
If this is in a book as most things turn out to be, the woman will have read it twice: once when she was young herself, a reader whose eyes grew teary for Mrs. Ramsey and all the love in the world that gathers in unmapped corners where someone comes to stand for no good reason, and then again when she is older and knows the pleasure of overhearing in her own voice things she might have said to calm herself and soothe a boy.
Emily Skillings is the author of the poetry collection Fort Not (Song Cave, 2017), as well as two chapbooks, Backchannel (Poor Claudia, 2014) and Linnaeus: The 26 Sexual Practices of Plants (No, Dear, 2014). Recent poems can be found or are forthcoming in BOMB, Boston Review, Brooklyn Rail, Harper’s, Hyperallergic, jubilat, LitHub, and Poetry. Skillings is a member of Belladonna*—a feminist poetry collective, small press, and event series. She received her MFA from Columbia University in New York, where she was a creative writing fellow in 2017, and has also taught poetry at Yale University in New Haven, Connecticut, and at the New School in New York. She splits her time between Brooklyn and Hudson, New York.
I buy an orb-shaped glass orband a designer candleand go home to touch myself.
Take off everything but my shag coat,turn on some minimalist dronesent to me by a man.
I was never almost partly there.I was on a stone beach in Newfoundlandenjoying near-perfect soundwith the early, hovering crowd of bodies.
I was in early evening Brooklynbackchanneling an elder about acupuncturereceiving dull, potato-shaped aches,age-old pricks, hyperbolicEncyclopedia of World Mythology-sized feelings.
Ereshkigal bolts the seven gates of the underworldagainst her sister, ruler of heaven.
Isis buries replicas of Osiris’s genitalsin Egypt’s maternal earth fields.
Some chick gets pregnant when she squats in clay.Her baby a limbless waterpot with a giant mouthbetrays her in the river.
A glitter splotch moves across my eye.Bacteria raft?I’ve been drinking too much possessed broth.I pre-condition. I condition. I deep condition.I leave-in condition. I deflect an imageof the body as a seriesof hermetically sealed plastic cubesfilled with sluggish wasps.
I can skillfully point at somethingby connecting it to a termwith a little line from mycharacter viewer of recentlyused icons, but really there’s nothingin these texts to end on.
I climb out into a thought—some rare embossed urn,youngish flowers pastedon the back of light,misaligned polka dotson an entitled seam,
a pulse in my ass,the exquisitely dropped beatI’ve been searching forin most holdable objects.
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22/05/2018 18:3022/05/2018 23:45Europe/LondonSenga Nengudi on Joan JonasEvent DetailsTuesday, May 22, 2018, 6:30 pm
Dia:Chelsea535 West 22nd Street, 5th FloorNew York City Free for Dia members; $10 general admission; $6 admission for students and seniors This event has reached capacity. Advance tickets are no longer available. Walk-up tickets will be sold based on availability.
Senga Nengudi was born in Chicago in 1943. She studied art and dance at California State University, Los Angeles, from 1966 to 1971. Recent solo exhibitions have taken place at Galleries of Contemporary Art at the University of Colorado in Colorado Springs (2015), Lévy Gorvy in New York (2015), Warehouse Gallery at Syracuse University (2012), and Pennsylvania Academy of the Fine Arts in Philadelphia (2007). Recent group exhibitions include: Radical Presence: Black Performance in Contemporary Art at the Contemporary Arts Museum Houston, Grey Art Gallery at New York University, Studio Museum in New York, and Walker Art Center in Minneapolis (2012–15); Blues for Smoke at the Museum of Contemporary Art in Los Angeles and the Whitney Museum of American Art in New York (2012–13); Now Dig This!: Art and Black Los Angeles, 1960–1980 at the Hammer Museum in Los Angeles, MoMA PS1 in New York, and Williams College Museum of Art in Williamstown, Massachusetts (2011–12); Under the Big Black Sun at the Museum of Contemporary Art, Los Angeles (2011); and Los Angeles Goes Live: Performance Art in Southern California, 1970–1983 at the Los Angeles Contemporary Exhibitions (2011). Nengudi’s work is in the collections of the Brooklyn Museum in New York, Carnegie Museum of Art in Pittsburgh, Hammer Museum, Museum of Contemporary Art in Los Angeles, Museum of Modern Art in New York, Studio Museum, and Whitney Museum of American Art. Nengudi lives and works in Colorado Springs.
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27/05/2018 00:0027/05/2018 23:45Europe/LondonLast Sundays at Dia:BeaconHudson Valley residents receive free admission to Dia:Beacon on the last Sunday of each month.
Additionally, City of Beacon residents (including the adjacent Hudson Valley communities of Chelsea, Fishkill, and Glenham) receive free admission to Dia:Beacon every Saturday and Sunday.
Please present identification and proof of residence at the admissions desk.
Last Sundays at Dia:Beacon are made possible by Kiki McMillan, Charlie Pohlad, and the Pohlad family.
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31/05/2018 18:3031/05/2018 00:00Europe/LondonParticulates Book LaunchEvent DetailsThursday, May 31, 2018, 6:30 pm
Dia:Chelsea541 West 22nd Street New York City
Particulates is an anthology of science fiction initiated by Rita McBride to accompany her commission Particulates at Dia:Chelsea. Edited by Nalo Hopkinson, this book features sixteen contributions from acclaimed writers of this powerful genre. A conversation between Hopkinson and McBride will occur at 6:30 pm, followed by select readings from the book.
Signed books will be available for purchase.
Admission is free. Reservations encouraged.
The exhibition was made possible by major support from Brenda R. Potter. Significant support was provided by the Horace W. Goldsmith Foundation, the Andy Warhol Foundation for the Visual Arts, and Dia’s Director’s Council: Fady Jameel, Leslie and Mac McQuown, Hope Warschaw, and Sara and Evan Williams. Generous support was provided by Frances Bowes, Nathalie and Charles de Gunzburg, and Marissa Sackler. Additional support was provided by Karyn Kohl and Light Art Space.
The publication was made possible by support from Katherine Farley and Jerry Speyer, Jill and Peter Kraus, and Susan Bay Nimoy and Leonard Nimoy.
A publication of the Sackler Institute at Dia Art Foundation.
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31/05/2018 16:0031/05/2018 18:00Europe/LondonDia:Beacon Arts Education Program, 2018 Student Exhibition and ReceptionEvent DetailsThursday, May 31, 2018, 4–6 pm
Dia:Beacon Learning Lab
Dia:Beacon3 Beekman StreetBeacon, New York
View the invitation as a PDF.
The exhibition will also be open Friday, June 1, and Saturday, June 2, from 12 to 4 pm. Additional appointments are available by request; e-mail email@example.com.
About the exhibitionDia Art Foundation invites you to an exhibition of works made by the 2018 Arts Education Program participating students from Glenham, J. V. Forrestal, Sargent, and South Avenue Elementary Schools as well as Rombout Middle School.
Artist educatorsDiana Mangaser, Kirsten Mosher, Julia Norton, Jaanika Peerna, and Audra Wolowiec
Participating teachers and classroom aidesKim Asch, Allison DeLisi, Lisa DeMeo, Rosemary Engel, Sallie Farkas, Michelina Farrauto-Martin, Marcia Figueroa, Jennifer Gall, Victoria Hoerup, Victoria Kidd, Kaitlin King, Dena Marro, Justine Marsh, Gisela Mercado, Cathy Pezzo, Alicia Reilly, Jane Sylvester, Edmund Trad, Kerry Velie, and Susan Wurtz
Special thanksMatthew Landahl, Superintendent, Erik Wright, Director of Curriculum Instruction, principals Brian Archer, Asheena Baez, Laura Cahill, Cassandra Orser, and Brian Soltish, and Claudine Farley, District Art Department Coordinator, at the Beacon City School District
Funding The Arts Education Program is part of the Sackler Institute at Dia Art Foundation.
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