BEGIN:VCALENDAR
VERSION:2.0
PRODID:icalendar-ruby
CALSCALE:GREGORIAN
X-WR-CALNAME:Beverly Semmes: FRP: RPF
X-WR-TIMEZONE:Eastern Time (US & Canada)
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31083526408869
DTSTART:20190911T120000Z
DTEND:20190911T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31083526428626
DTSTART:20190912T120000Z
DTEND:20190912T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31083526448534
DTSTART:20190913T120000Z
DTEND:20190913T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31083526468025
DTSTART:20190914T120000Z
DTEND:20190914T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31083526486942
DTSTART:20190915T120000Z
DTEND:20190915T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31083526506425
DTSTART:20190916T120000Z
DTEND:20190916T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31083526524450
DTSTART:20190917T120000Z
DTEND:20190917T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31083526542578
DTSTART:20190918T120000Z
DTEND:20190918T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31083526565694
DTSTART:20190919T120000Z
DTEND:20190919T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31083526590274
DTSTART:20190920T120000Z
DTEND:20190920T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31083526613225
DTSTART:20190921T120000Z
DTEND:20190921T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31083526635679
DTSTART:20190922T120000Z
DTEND:20190922T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31083526655939
DTSTART:20190923T120000Z
DTEND:20190923T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31083526674929
DTSTART:20190924T120000Z
DTEND:20190924T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31083526696732
DTSTART:20190925T120000Z
DTEND:20190925T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31083526715949
DTSTART:20190926T120000Z
DTEND:20190926T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31083526737243
DTSTART:20190927T120000Z
DTEND:20190927T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31083526758585
DTSTART:20190928T120000Z
DTEND:20190928T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31083526780189
DTSTART:20190929T120000Z
DTEND:20190929T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31083526798536
DTSTART:20190930T120000Z
DTEND:20190930T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31083526820242
DTSTART:20191001T120000Z
DTEND:20191001T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31083526838413
DTSTART:20191002T120000Z
DTEND:20191002T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31083526858194
DTSTART:20191003T120000Z
DTEND:20191003T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31083526882074
DTSTART:20191004T120000Z
DTEND:20191004T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31083526904701
DTSTART:20191005T120000Z
DTEND:20191005T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31083526923885
DTSTART:20191006T120000Z
DTEND:20191006T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31083526943822
DTSTART:20191007T120000Z
DTEND:20191007T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31083526963123
DTSTART:20191008T120000Z
DTEND:20191008T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31083526981698
DTSTART:20191009T120000Z
DTEND:20191009T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31083527010680
DTSTART:20191010T120000Z
DTEND:20191010T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31083527061502
DTSTART:20191011T120000Z
DTEND:20191011T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31083527090514
DTSTART:20191012T120000Z
DTEND:20191012T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31083527111214
DTSTART:20191013T120000Z
DTEND:20191013T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31083527138238
DTSTART:20191014T120000Z
DTEND:20191014T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31083527160300
DTSTART:20191015T120000Z
DTEND:20191015T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31083527182399
DTSTART:20191016T120000Z
DTEND:20191016T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31083527215973
DTSTART:20191017T120000Z
DTEND:20191017T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31508201413240
DTSTART:20191018T120000Z
DTEND:20191018T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31508201434051
DTSTART:20191019T120000Z
DTEND:20191019T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31508201458596
DTSTART:20191020T120000Z
DTEND:20191020T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31508201482265
DTSTART:20191021T120000Z
DTEND:20191021T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31508201508564
DTSTART:20191022T120000Z
DTEND:20191022T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31508201533757
DTSTART:20191023T120000Z
DTEND:20191023T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31508201553242
DTSTART:20191024T120000Z
DTEND:20191024T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31508201575345
DTSTART:20191025T120000Z
DTEND:20191025T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31508201595022
DTSTART:20191026T120000Z
DTEND:20191026T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31508201619393
DTSTART:20191027T120000Z
DTEND:20191027T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31508201641638
DTSTART:20191028T120000Z
DTEND:20191028T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31508201669271
DTSTART:20191029T120000Z
DTEND:20191029T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31508201696388
DTSTART:20191030T120000Z
DTEND:20191030T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31508201726311
DTSTART:20191031T120000Z
DTEND:20191031T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31508201748742
DTSTART:20191101T120000Z
DTEND:20191101T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31508201770204
DTSTART:20191102T120000Z
DTEND:20191102T210000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31508201793059
DTSTART:20191103T130000Z
DTEND:20191103T220000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31508201816387
DTSTART:20191104T130000Z
DTEND:20191104T220000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261016T205355Z
UID:tag:localist.com\,2008:EventInstance_31508201838874
DTSTART:20191105T130000Z
DTEND:20191105T220000Z
DESCRIPTION:This exhibition presents work by Beverly Semmes from her acclai
 med Feminist Responsibility Project (FRP). Initiated in the early 2000s\, 
 FRP originated as a series of pornographic images culled from vintage gent
 lemen's magazines and "censored" by the artist with ink and paint. Continu
 ing to speak to American society's conflicted relationship to pornographic
  and sexual censorship\, the enlarged found images are overlaid with pools
  of color in shapes suggestive of vessels with occasional glimpses between
  brushstrokes reminding the viewer of what they cannot quite see.\n\nA scu
 lptor by training\, Semmes has been employing massive scale\, electric col
 or\, and vessel forms — such as dresses\, pots\, and chandeliers — to 
 disrupt the organizational status quo. FRP:RPF is presented as a play with
  the notion that rationality and authority are tied to the rectilinear and
  the standardized. Set against the commanding perpendicularity of the conc
 rete and glass forms of OMA's Milstein Hall\, this exhibition is an interc
 hange between art\, architecture\, femininity\, and materiality. Tall cera
 mic stacks\, titled Angel\, Putty\, Bucket\, and Top Handles\, (2015–18)
 \, which were constructed from dozens of small pots\, greet the viewer as 
 they enter and exit the gallery. These perversely ornate sentries stand gu
 ard over Blue Sky and Copper Pot (2019)\, two paintings commissioned for t
 his exhibition\, deployed in a mirror image–like placement around the ce
 nter space where handmade crystal vessels sit in distinction against the s
 pace. The asymmetric and fluid forms of these crystals\, such as Strange W
 ig\, Kevin's Daisy\, and Laurie Love (2006)\, shimmer in refractions of li
 ght\, and posit whether we can recategorize these forms\, not as in proces
 s or in transition\, but as the determined end and on their terms. As meta
 phors for the female body and its characterization as a vessel of human li
 fe\, the works add to Semmes' longstanding engagement with the erotics and
  power of materiality\, texture\, color\, feminism\, and the body politic.
 \n\nSemmes's work has been in solo exhibitions at institutions such as MoM
 A PS1\, Institute of Contemporary Art Philadelphia\, SculptureCenter\, the
  Museum of Contemporary Art Chicago\, the Wexner Center for the Arts\, Art
 ist's Space\, the Fabric Workshop and Museum\, the Irish Museum of Modern 
 Art\, the Frances Tang Teaching Museum and Art Gallery at Skidmore College
 \, and the Hirshhorn Museum and Sculpture Garden. Semmes has also taken pa
 rt in a many group exhibitions\, notably at Denver Art Museum\, Berkeley A
 rt Museum and Pacific Film Archive\, the Barbican Centre\, Yale University
  Art Gallery\, the Brooklyn Museum\, and most recently in this year's Carn
 egie International. Her work was included in the infamous Bad Girls exhibi
 tion at the New Museum in 1994 and in Cornelia Butler's seminal WACK! Art 
 and the Feminist Revolution publication in 2007. She has been featured in 
 the New York Times\, ARTNews\, Artforum\, the New Yorker\, Art in America\
 , BOMB\, Flash Art\, Frieze\, and many other publications. Her work is hel
 d in numerous public collections including those at the Walker Art Center\
 , the Hammer Museum\, the Denver Art Museum\, the Whitney Museum of Americ
 an Art\, the Hirshhorn Museum\, and the Albright Knox Art Gallery. Semmes 
 is represented by Susan Inglett Gallery in New York and Shoshanna Wayne Ga
 llery in Los Angeles.\n\nThis exhibition is curated by Maria Park\, associ
 ate professor and director of AAP exhibitions.\n\nBeverly Semmes will be s
 peaking at the Becker Café\, Carl Becker House\, Room G50\, at 7:15 p.m. 
 on Wednesday\, September 11.\n\nArtist Talk and Reception\nThursday\, Sept
 ember 12\n4:30 p.m.
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SUMMARY:Beverly Semmes: FRP: RPF
URL;VALUE=URI:https://events.cornell.edu/event/beverly_semmes_frp_rpf
CATEGORIES:Exhibit
END:VEVENT
END:VCALENDAR