Queens Museum Of Art New York City Building

Programs: Exhibitions the following exhibitions attracted more visitors than ever before in the museum's history:mierle laderman ukeles: maintenance artsince the late 1960s, mierle laderman ukeles' performances, sculptural installations, and writing have explored issues profoundly important to society today: the role of women in society, cultures of work and labor, and urban and community resilience. Her manifesto for maintenance art 1969! Laid out the hidden, yet essential role of maintenance in western societyand the radical implications of actively valuing rather than dismissing or hiding it. This first survey of ukeles' work is organized by the queens museum's larissa harris and guest co-curator patricia c. Phillips, who initiated the project in 2012. The show spans five decades, from her work as a pioneer of feminist performance to a practitioner of public art, in which ukeles invites us to reconsider indispensable urban systems and the workers who maintain them. Ukeles is undoubtedly best-known for her 36+ year role as the official, unsalaried artist-in-residence at new york's department of sanitation. Unprecedented when it began in 1978, this residency has now become a model for municipalities engaging with artists as creative agents. Commonwealth: water for allin new york city, it's easy to take water for granted. Water makes up more than 60% of our bodies, and while it is essential to life, increasingly we've come to think of it as a commodity to be bought and sold thoughtlessly. Meanwhile, there is unequal access to clean water in many regions across the country and throughout the world, where scarcity renders visible the substance's basic vitality to all living things. From wars over water that have taken place throughout latin america for the past two decades, to the recent privatization of public water in american cities like flint and detroit, the effects of fragmented and shortsighted perspectives on water management are stark. Highlighting the urgency of this issue, two recently acquired portfolios of prints developed by the justseeds artists' cooperative, we are the storm (2015) and wellspring (2016), are presented with a selection of materials developed for the movement against the dakota access pipeline at the standing rock reservation in north dakota. Additionally, a poster production project will run concurrently with the exhibition, with designs addressing related issues printed in editions of 500 on the museum's risograph machine, and available for free to visitors, with a new poster unveiled every two weeks. Social movements have a history of using and altering developing technology to rejuvenate traditional methods of cultural production and communication tools and artists in solidarity with standing rock are using traditional printmaking techniques to create iconic imagery which the movement picked up, distributed through social media, and re-deployed not only as online icons and avatars, but also as posters, banners, and t-shirts. By abandoning the concept of an original work," the art has become part of multiple, alternative value systems. Commonwealth: water for all is the third in a series of exhibitions that features contemporary expressions about water, its utility, and its preservation and consumption in dialogue with the museum's long-term display of the relief map of new york city's water system, a sprawling wpa project commissioned for the 1939-40 world's fair. The model traces the system of aqueducts and tunnels that support the flow of water from the mountains of upstate new york to new york city. Marinella senatore: piazza universale / social stages (apr 9 2017- jul 30 2017)the queens museum is proud to host the first show initiated by an american museum by italian artist marinella senatore. Piazza universale / social stages, curated by matteo lucchetti, introduced the multifaceted practice of senatore by looking at a range of important recent projects created in spain, france, italy and the us between 2009 and today. Piazza universale "the universal square" refers to the exquisitely italian concept of the piazza, a public space par excellence where different communities meet, and as an embodiment of an ideal, universal space where future communities can be envisioned collaboratively. The title piazza universale/social stages presents one italian and one english phrase as if the second were a translation of the former. But the second is not a translation of the first. This gap is where the exhibition unfolds, in its attempt to translate or transform the artist's live, participatory and community-engaged projects which unfolded in europe and elsewhere into a new and unique experience within the queens museum galleries. In doing so, the galleries themselves turn into theatre, cinema, or television production sets, or a setting for poetry or dance class, offering the works of senatore as "stages for and "stages of" a collective social becoming tools for individual growth and collective empowerment. Senatore's art is characterized by public participation. Everyone can take part in the artist's works, which simultaneously question her role as an author and that of the public as the receiver. Starting with the dialogue between individual stories, collective cultures and social structures, senatore uses a broad spectrum of media: video, drawing, performance, installation, photography, sound, painting and sculpture, in order to let her projects speak to multiple publics and contexts. Ronny quevedo: no hay medio tiempo / there is no halftime (apr 9 2017-aug 13 2017)no hay medio tiempo / there is no halftime features site-specific and cross-disciplinary works that incorporate wide-ranging references from sports field diagrams to andean heraldic codes. The exhibition's centerpiece, no hay medio tiempo / there is no halftime (after glissant and quevedo), 2017, is a polychromatic line drawing executed directly on the 2,700 square foot expanse of the museum's atrium. The work's dynamic composition echoes the museum's immediate environment of flushing meadows corona park, where various ball games are played daily by local immigrant communities, the work is composed of fragmented diagrams of basketball, soccer, volleyball, and handball courts. Having moved from ecuador to new york city in the '80s, quevedo's work interlaces autobiographical and sociological insights in a reflection on his bicultural upbringing and his father's soccer career as player and referee in both places. Taken together, the installation renders the disquiet, yet poetic and exuberant state of peoples and cultures in global flux through a materially syncretized and conceptually complex body of work.

education the queens museum's education department serves a wide range of participants ranging from 28,000 public school students to thousands of seniors, recent adult immigrants, and people with special needs. New new yorkers, our groundbreaking education program for recent adult immigrants offered in partnership with the queens library offers a range of workshop series taught in nine languages; queens teens, our award-winning after school program offers paid year-long apprenticeships for students who live in or attend high school in queens; artaccess, an array of art education programming for children and adults with special needs serves more than 5,000 people every year with varying physical, emotional and cognitive abilities as well as children and families on the autism spectrum; family programs, free, weekly drop-in art workshops; senior programs, providing many of the borough's senior citizens who are unable to travel long distances with a range of art-making activities both on site and remotely; school programs, a roster of activities for school students in all five boroughs, including school tours, in-school residencies with teaching artists and after-school programs; and finally, the big summer art thing for kids, a series of two-week long affordable, arts education camp sessions for children ages 7-12. Much of our development work in the education department is focused on our move toward the opening of the queens library @ queens museum branch library. We are ever expanding and deepening our collaboration with the library in order to lay the groundwork that will be crucial to creating a fully integrated museum and library service model for our local community.

public programs and community engagementintegral to our efforts to establish deep and lasting relationships with our local community, the public programs and community engagement department is staffed by community organizers and cultural producers who run a series of on and off-site programs with more than 70 community based partners. These include, immigrant movement international, corona, tania bruguera's social art project that has taken the form of a community center, immigration think-tank, and living performance; corona plaza, a partnership between the queens museum, local elected officials, businesses and community based organizations to provide seasonal activities and events that benefit the local community and to transform corona plaza into a viable public space now in the midst of redesign by the department of transportation, and studio in the park, a residency program developed by queens museum and artbuilt which provides an artist or artist collective use of a 150 square foot mobile studio space situated within a public park in nyc to carry out a public art project over the course of 4-6 weeks. Public programs department also offers a full slate of public activities and programs that supplement our upcoming exhibitions. These programs, which include our summer music, dance and film series, passport thursdays, as well as lectures, symposiums, and celebrations, that enhance each of our exhibitions and help ensure more of a connection between our local community and the museum.