Calendar

April 19 to May 19, 2018

MCB_Particulates, 2017

Dia Talks

Mamiko Otsubo on Rita McBride


Dia Chelsea

Artists on Artists Lecture Series

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01/05/2018 18:30 01/05/2018 23:45 Europe/London Mamiko Otsubo on Rita McBride Event DetailsTuesday, May 1, 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 Advance ticket purchases recommended. Tickets are also available for purchase at the door, subject to availability. Mamiko Otsubo was born in Nishinomiya, Japan, in 1974. Her work has recently been featured in the solo exhibition Sky Lobby at Cleopatra’s in New York (2015) and Lullin + Ferrari in Zürich, Switzerland (2013), and included in the group show Minimal Baroque at Rønnebæksholm in Næstved, Denmark (2014). Recent public art commissions include Bold Tendencies in London, Lujiazui Harbour City in Shanghai, PS 313Q in New York, Public Art Fund in New York, and Socrates Sculpture Park in New York. Having first earned her BA in economics from the University of California, San Diego, she went on to study fine art at the Art Center College of Design in Pasadena, California, and receive her MFA in sculpture from Yale University in New Haven, Connecticut. She is a recipient of the Brown Foundation Fellows Program at the Dora Maar House in Ménerbes, France, which was awarded by the Museum of Fine Arts in Houston, and has held artist residencies at the MacDowell Colony in Peterborough, New Hampshire, and Statens Værksteder for Kunst in Copenhagen. In 2017 she was commissioned by the City of Seattle to realize a three-part public art project for the Center City Connector streetcar in 2020. She currently lives and works in Los Angeles.     Dia Chelsea FALSE DD/MM/YYYY Mamiko Otsubo on Rita McBride
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Poetry Reading

Maxine Chernoff and Emily Skillings


Dia Chelsea

Readings in Contemporary Poetry

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15/05/2018 18:30 15/05/2018 23:45 Europe/London Maxine Chernoff and Emily Skillings Event 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. Backchannel 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.     Dia Chelsea FALSE DD/MM/YYYY Maxine Chernoff and Emily Skillings

Exhibitions & Projects On View

WAR_Shadows

Andy Warhol: Shadows

Long-term view, Dia Beacon

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Truitt, Installation view

Anne Truitt

Long-term view, Dia Beacon

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Le Va, Cleaved Corners, 1969/2019

Barry Le Va

Long-term view, Dia Beacon

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Carl Craig

April 2020, Artist Playlists

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Carl Craig at Dia:Beacon

Carl Craig: Party/After-Party

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Images of sculptures by Charlotte Posenenske in Dia Beacon

Charlotte Posenenske: Work in Progress

March 8, 2019–January 10, 2021, Touring

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A green fluorescent barrier spans a large dark room with pillars.

Dan Flavin

Long-term view, Dia Beacon

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JUD_Untitled, 1976

Donald Judd

Long-term view, Dia Beacon

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ROC_installation view 2019

Dorothea Rockburne

Long-term view, Dia Beacon

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Three large reflective planes of gray sheet glass each mounted to a different white wall in large sunlit room with a polished concrete floor and windows.

Gerhard Richter

Long-term view, Dia Beacon

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Large, smooth, curved wooden shapes and cubes abutt and pile atop each other in the center of a room, with wooden panels and empty frames leaning on the walls, all stained a reddish brown.

Imi Knoebel

Long-term view, Dia Beacon

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<p>Photo: Eva Deitch</p>

Isabel Lewis

August 2020, Artist Playlists

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<p>Photo: Jennie C. Jones</p>

Jennie C. Jones

June 2020, Artist Playlists

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Jill Magid, Yellow Cereal

Jill Magid

July 25, 2020–June 6, 2021, Dia Bridgehampton

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A crumpled-and-folded metallic object in white, brown, silver, and various shades of red rests on a wooden floor in front of a white background.

John Chamberlain

Long-term view, Dia Beacon

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Lawrence Weiner, CADMIUM & MUD & TITANIUM & LEAD & FERROUS OXIDE & SO ON . . ., 1991. Detail view, Dia:Beacon, Beacon, New York, 2016. © Lawrence Weiner/Artists Rights Society (ARS), New York. Photo: Eva Deitch

Lawrence Weiner

Long-term view, Dia Beacon

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Thousands of tightly arranged, thin steel rods stand upright in a bed of sand on a concrete floor surrounded by three white walls.

Lee Ufan

Long-term view, Dia Beacon

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A triangular white marble sculpture with irregular oval structures coming out of its base sits low to the ground.

Louise Bourgeois

Long-term view, Dia Beacon

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LEW_West Garden 2008_2_for Lawler image

Louise Lawler

Long-term view, Dia Beacon

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<p>Photo: Lyle Ashton Harris and Rico Washington</p>

Lyle Ashton Harris and Rico Washington

June 2020, Artist Playlists

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Zazeela, installation view, Dia:Beacon

Marian Zazeela

Long-term view, Dia Beacon

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Merz, 8, 5, 3, 1985

Mario Merz

opening November 20, 2020, Dia Beacon

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COR_installation view_May 8 2018

Mary Corse

Long-term view, Dia Beacon

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Two adjacent beige rectangular pieces of paper, the left displaying a multicolored line drawing, the right a block of handwritten text

Max Neuhaus

Long-term view, Dia Beacon

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Bochner, Measurement Room 1969/2019

Mel Bochner

Long-term view, Dia Beacon

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A large gray-brown rock sits upright in a rectangular cutout of a white wall.

Michael Heizer

Long-term view, Dia Beacon

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STU_Sayreville Strata Quartet 1976

Michelle Stuart

Long-term view, Dia Beacon

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Mika Tajima / New Humans

May 2020, Artist Playlists

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<p>Photo: AT Rossetti</p>

MV Carbon

September 2020, Dia Online

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A navy-blue canvas with centered white sans-serif type that reads

On Kawara

Long-term view, Dia Beacon

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SER_Torqued Ellipses_Bill Jacobson 10.22.2014 HR

Richard Serra

Long-term view, Dia Beacon

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Irwin, Rendering of Dia:Beacon, c. 1999

Robert Irwin, Beacon Project

Long-term view, Dia Beacon

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MOR_Install 7_Photo Bill Jacobson

Robert Morris

Long-term view, Dia Beacon

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Two square white paintings hang on either side of a corner; the left one is very large and the right one is very small. A large, rectangular white painting affixed to a wall by long metal rods and resting on the wood floor is partially visible through a doorway to the left of the paintings.

Robert Ryman

Long-term view, Dia Beacon

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A pile of teal glass on a concrete floor.

Robert Smithson

Long-term view, Dia Beacon

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Robert Smithson’s Record Collection

May 2020, Artist Playlists

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SAM_CAPITAN_STATE_PARK (1)

Sam Falls

May 2020, Artist Playlists

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Gilliam, Double Merge, 1968

Sam Gilliam

Long-term view, Dia Beacon

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LEW_Wall_Drawing_411B_D_Photo Bill Jacobson

Sol LeWitt

Long-term view, Dia Beacon

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de maria equal area series postcard[1]

Walter De Maria

Long term-view, Dia Beacon

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