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Nov
19
Sat
Exhibition. Last Days of Pangea: In the Footsteps of the Dinosaurs @ Bruce Museum Tickets
Nov 19 2016 @ 10:00 am – Jul 16 2017 @ 5:00 pm
Exhibition. Last Days of Pangea: In the Footsteps of the Dinosaurs @ Bruce Museum |  |  |

This exhibition features beautiful fossils and life restoration models of some of the weird and wonderful species that thrived in the Triassic but died out at the end of that Period. These include armored plant-eating crocodile relatives, long-necked reptiles that swam like frogs, and the Icarosaurus, which glided on a membrane supported by outstretched ribs. Also featured are the 14-foot-long predator Postosuchus, a bipedal relative of modern crocodiles that kept early dinosaurs off the top of the food chain, and Coelophysis, a small dinosaur accused of cannibalism but acquitted by new scientific research. Historic footprints from throughout the Connecticut Valley record the comings and goings of dinosaurs and their kin.

Feb
5
Sun
Leandro Erlich: Port of Reflections at the Neuberger Museum @ Neuberger Museum of Art Tickets
Feb 5 @ 12:00 pm – Jul 30 @ 5:00 pm
Leandro Erlich: Port of Reflections at the Neuberger Museum @ Neuberger Museum of Art |  |  |

Leandro Erlich’s spectacular, monumental installation Port of Reflections will be on view for the first time in the United States at the Neuberger Museum of Art February 5 – July 30, 2017. Filling the museum’s expansive Theater Gallery, Erlich’s nighttime “harbor” with its boardwalk, rails, and dark “water,” will include several colorful rowboats that appear to float and gently rock as their reflections “shimmer” in the waters beneath. But all is not what it seems, as visitors will discover, for Erlich is a master of illusion. The exhibition also will include a selection of photographs, models and videos tracing the artist’s trajectory. Erlich, a noted Argentine conceptual artist, is recipient of the 2017 Roy R. Neuberger Exhibition Prize. Port of Reflections is his most ambitious museum installation to date.

Leandro Erlich: Port of Reflections is organized by the Neuberger Museum of Art and co-curated by Patrice Giasson, Alex Gordon Associate Curator of Art of the Americas and Helaine Posner, Chief Curator. The exhibition is accompanied by a beautiful, fully-illustrated, scholarly exhibition catalogue documenting the artist’s innovative work.

Erlich is well known for turning the ordinary – an elevator, a swimming pool, a staircase, and in this instance, a harbor – into a nonfunctional work that takes the viewer into a world of illusion. In Port of Reflections, there is no water beneath the rowboats and there are no reflections. The railings and boats are but cleverly constructed elements that create the illusion of reflection. The boats are suspended in midair, and motors create the rocking motion. “Each element of the work has been fabricated as the artist challenges notions of reality,” notes Ms. Posner in her essay.

“He asks us to consider the everyday and to question it,” adds Dr. Giasson. “Erlich thus brings the boats out of their expected context, subtracting the source of its existence. The boats are further decontextualized by bringing them into a museum gallery.” The work was modified from an earlier version created for the National Museum of Modern and Contemporary Art in Seoul, Korea in 2014 and later presented as Puerto de Memorias (Port of Memories) at MUNTREF, Museo de la Universidad Nacional de Tres Febrero in Buenos Aires. It crystalizes most of the elements that define Erlich’s works: displacement and challenging perceptions about how and where things are supposed to be.

New York viewers first saw Leandro Erlich’s work in the 2000 Whitney Biennial and, more recently, at MoMA PS 1 where his signature Swimming Pool was on view from 2008 to 2010. Viewed from above, visitors were surprised and astounded to see people seemingly walking underwater. The artist acheived this effect by placing a large acrylic sheet, covered with a few inches of water, over an empty enterable space. Said Erlich at the time: “Revealing the trick is crucial; it transforms the deception into something positive [and] allows the spectator to think and discover.” In 2013, his Dalston House at the Dalston Mill in East London, was an optical illusion with a huge mirror suspended at 45° (from the horizontal) over a life-size model of the façade of a Victorian terraced townhouse placed horizontally on the ground, giving the appearance of visitors climbing or hanging off the side of the building.

According to Andrea Giunta, Professor of Latin American Art, Universidad de Buenos Aires, who contributed an essay to the catalogue, “Erlich’s works articulate as visual, emotional, and mental puzzles. We know immediately that the space we walk into is not real and that nothing is what it seems. But we are certainly delighted with the enigma…We want to decode it.” There’s fun involved in solving the mystery, which explains why for years, viewers have enjoyed inhabiting the universe that Erlich fabricates. But the work is also ambiguous. The small boats recall aquatic activity “but they also suggest departure, or even escape,” says Giunta. “Erlich’s works propose seeing the world differently. They open a gap in the limits of the possible, slightly transgressing rules and laws, expanding the possibilities of experience and imagination…As art, these installations have the capacity to open spaces that offer visitors transit between potential worlds.”

Leandro Erlich, 43, was born in Buenos Aires, Argentina. Between 1998 and 1999, he took part in an artist residency at the Museum of Fine Arts in Houston, where he attracted wide notice. In 2001 he was invited to represent Argentina in the 49th Venice Biennale. He later participated in the Biennials of Istanbul (2001), Shanghai (2002) and São Paulo (2004), and in the Whitney Biennial (2000), among others. In 2012, he created a monumental outdoor installation, Monte-Meuble, l’Ultime Déménagement, in Nantes, France and in 2013, The Barbican, Europe’s largest arts and conference venue, commissioned Erlich to create a new installation in the Dalston district of London, England. His works are included in several private and public collections including the Museum of Modern Art, Buenos Aires, Argentina; the Museum of Fine Arts, Houston; Tate Modern, London, England; Musée d’Art Moderne, Paris, France; 21st Century Museum of Contemporary Art, Kanazawa, Japan; MACRO, Rome, Italy; The Israel Museum, Jerusalem, Israel; and the Fonds National d’Art Contemporain (FNAC), Paris, France.

Roy R. Neuberger, founding patron of the Neuberger Museum of Art, who had a lifelong commitment to support the work of living artists, first funded the Neuberger Prize. It continues to be generously supported by Jim Neuberger and Helen Stambler Neuberger. Previous recipients of the prize were Cuban installation and performance artist Tania Bruguera, American figurative painter Dana Schutz, and South African video and performance artist Robin Rhode.

Upcoming event
March 29, 2017, 6:30pm
Panel Discussion: The Uncanny Work of Leandro Erlich
Andrea Giunta, author of exhibition catalogue essay A Gap in the Limits of the Possible and Professor of Latin American Art, Universidad de Buenos Aires will discuss the work of Argentinian artist Leandro Erlich, 2017 Roy R. Neuberger Exhibition Prize awardee with curators Helaine Posner and Patrice Giasson. Panelists will examine Erlich’s large-scale installation, Port of Reflections, his historical relevance, and themes of the uncanny and trompe l’oeil. The artist will join the final thirty minutes of the conversation via Skype for a Q&A with the audience.

The Neuberger Museum of Art opened on the campus of Purchase College, SUNY, in 1974 with a core collection donated by one of the greatest private collectors, philanthropists, and arts advocates of the twentieth century, Roy R. Neuberger. Today, the Neuberger is more active and vibrant than ever. Critically acclaimed exhibitions and a wealth of educational tours, lectures, and interactive programs engage the many parts of our broad community. The Neuberger is a center of teaching and learning for all stages of life.

The Museum is located at 735 Anderson Hill Road in Purchase, N.Y. (Westchester)
(tel) 914-251-6100
www.neuberger.org

Museum Hours
Tuesday, Thursday to Sunday: noon-5 pm
Wednesday: noon-8 pm*
Monday: Closed
*Labor Day to Christmas and MLK Day to Memorial Day
Closed major holidays
Group tours by appointment only on Tuesdays through Fridays, 10 am to 12 noon
For persons with special needs, designated parking is available at the south end of the Museum building. Call ahead for wheelchair accommodations.

Guided Tours
Docent-led tours are available by appointment. Fees are $8.00 per person. For more information or to book educational tours, please contact the Museum’s Education Department at nma.education@neuberger.org

Museum Store
Open during Museum hours. The store features a broad selection of art books,
art cards, handcrafted jewelry, children’s items and one-of-a-kind limited edition gifts.

Admission
$5.00 General Public
$3.00 Seniors 62+
$3.00 Students
Free admission for Museum members, children 12 and under, and Purchase College students, faculty, and staff ; FWMA institutions
FREE to all on the first Saturday of every month; Wednesdays 5-8 pm

Directions
The Neuberger Museum of Art is easily accessible by car or bus, and may also be reached by Metro-North. By car: From the North or South – take the Hutchinson River Parkway to Exit 28. Head north on Lincoln Avenue to Anderson Hill Road. Turn right onto Anderson Hill Road. Left at first traffic light into Purchase College campus. From 684 – take Exit 2 South on Route 120 to Anderson Hill Road. Turn left onto Anderson Hill to 2nd traffic light. Turn left at Purchase College campus. From the East – take Route 287 (Cross Westchester Expressway) to Exit 8E. Take second left over Expressway onto Anderson Hill Road. Follow signs to SUNY Purchase. At SUNY purchase follow signs to Parking Lot W-1.

Parking
Neuberger Museum visitors’ parking is in Purchase College Parking Lot W1. A $6.00 per car campus parking fee applies all days for all visitors. Please stop at the Park 2 Fly booth, pay the attendant in advance of your visit, and place your ticket on your dashboard before walking to the museum.

Handicap Parking:
Please click http://bit.ly/2jlZ1Z0 to view a map from the campus entrance to the drop-off point for visitors with disabilities.

By Bus
The Bee-Line Bus Route #12 serves the Purchase College campus. Please call 914-813-7777 or visit http://beelinebus.westchestergov.com for schedule and fare information.

By Train:
Use the Harlem Line of the Metro-North Railroad to arrive in White Plains. Taxicabs are readily available for hire to Purchase College. Please call (800) METRO-INFO or visit http://www.mta.nyc.ny.us/mnr for schedule and fare information.

Photo caption: Leandro Erlich, Puerto de Memorias (Port of Memories), 2016. Mixed media installation. Dimensions variable. MUNTREF Museum de la Universidad Nacional de Tres de Febraro, Buenos Aires © MUNTREF. Photo: Diego Spivacow.

Apr
17
Mon
Fred Wilson @ Neuberger Museum of Art Tickets
Apr 17 @ 12:00 pm – Jul 30 @ 5:00 pm
Fred Wilson @ Neuberger Museum of Art |  |  |

Conceptual artist Fred Wilson is primarily known for rearranging art and artifacts in museum collections to reveal the difficult topics in our culture and society that are frequently overlooked. A 1999 John D. and Catherine T. MacArthur (genius) Grant Award winner, Wilson gained critical acclaim in the early 1990s with the seminal exhibition Mining the Museum, in which he placed a whipping post in a gallery and encircled it with four ornate chairs—all from the permanent collection of the Maryland Historical Society.

Now, Wilson, who earned his B.F.A. with Purchase College’s first graduating class in 1976, is turning his eyes to his own alma mater. His show at the Neuberger Museum of Art, located on the Purchase campus, includes a survey of the artist’s work from 1995 to the present, featuring 76 pieces of his studio work. The exhibition, on view from March 19 to July 30, 2017, includes three new works by Wilson that have not been exhibited publicly before, and a site-specific installation that recontextualizes thirty-nine works from the Museum’s and the College’s collections to create an “artistic intervention” that subtly explores hidden agendas and how power is perpetuated by society’s institutions. The installation includes a display of a couple of Wilson’s own “collection projects,” put together over the artist’s career. This is the first time Wilson has exhibited together his studio work, a museum intervention, and collection projects within a museum context.

Jacqueline Shilkoff, Neuberger Museum Curator of New Media/Director of Digital Initiatives, says, “Wilson’s conceptual practice and his studio practice form a continuum. He researches process and context – how and why works of art are made and the sociopolitical environment in which they are interpreted. He investigates the dynamic between the self and society, and how societies in power dominate the historical narrative.”

Fred Wilson is organized by the Neuberger Museum of Art, Purchase College, SUNY. Generous support for this exhibition has been provided by Morgan Stanley and by ArtsWestchester with support from the Westchester County Government. Additional support has been provided by O. Anthony Maddalena, and Helen Stambler Neuberger and Jim Neuberger. Support is also provided by the Friends of the Neuberger Museum of Art and the Purchase College Foundation.

Museum Survey, 1995 to present
Wilson’s desire to reassess social and historical narratives and examine the politics of erasure and exclusion is apparent throughout his entire body of work featured in the survey, dating from the earliest work on view, “Old Salem: A Family of Strangers” (1995). The piece features 20 color photographs that document a collection of dolls, many of them depicting minorities, found in storage at the Museum of Early Southern Decorative Arts in Winston-Salem, NC. “This was a box of dolls that were gifted to the museum but would never be put on display. They were misfits,” Wilson says. “I wanted to give these characters a voice by making portraits of them. I saw their histories etched on their faces – their fear, their desires, their dignity.”

In “Snuff” (2003), created by Wilson when he represented America in the Venice Biennale, the artist examines the historical role of Africans in Venice. Wilson’s artworks in the Biennale were largely inspired by paintings at the Venice Academia and several other museums dating from the 15th to the 19th centuries and their images of Africans – gondolier drivers, merchants, and others – as part of the scene in Venice. Wilson utilized various wood and polychrome sculptures depicting Africans, often found in front of hotels and people’s homes. In this particular piece, the character in the candelabra is a reproduction of one from the opera house in Venice (Teatro La Fenice). Wilson pairs the sculpture with fire extinguishers and swirling hoses.

“I look at objects and other depictions of African people, and personify them,” he explains. “When I see them in service to someone else, I want to give them a life, an internal thinking. The piece is called “Snuff” – if you were to light it, this person depicted could easily blow it out. So, the figure is empowered to decide whether the object is lit or not.” Of course there are other meanings as well.

“No Way But This” (2013) is the third in Wilson’s series of chandeliers composed of Murano glass. Created in the style of Venetian Rezzonico chandeliers from the 18th century, it conjures up a history of class privilege, tradition, and race relations in Venice. But while Venetian chandeliers are cherished for their pastel colors, this piece is made of entirely opaque black crackled glass. It is also fitted with 1950s-style glass orbs, creating an uncomfortable mixture of two periods of design. “As beautiful as it is, it’s like a body and almost tumorous with these orbs,” says Wilson. In fact, the artwork’s title is based on a line from Othello, and the artist notes that the chandelier evokes the protagonist – “a magnificent and monstrous and mournful person.”

The Museum survey also includes three new works by Wilson: “Milieu,” “Slither,” and “Sparse Spill” (all from 2017). Made of black glass by Seattle glassblowers under Wilson’s direction, these oversized “glass drips” reflect the artist’s musings on shape and color and the various notions of what they can mean.

“With black, I can’t hide behind the color. Black glass is not shimmery; it absorbs light,” says Wilson. “That limitation has allowed me to push out other ideas beside the fact that it’s a beautiful thing. I am interested in what all the meanings of the word black and the color black are in our culture and around the world.”

Site-specific Installation
Wilson spent the past several months doing extensive research into the Museum’s collection and archives and creating an “artistic intervention” in its second floor exhibition space. Utilizing works owned by the museum ¬ ¬– ranging from a wooden Ghana fertility figure to paintings by Romare Bearden, Jacob Lawrence, Max Weber and Mark Rothko ¬– Wilson has manipulated them into a series of different environments.

“I’m exploring the relationships with what’s seen and not seen, as I do in many of my works,” explains Wilson. “Objects have various lives and these lives are formed by the context that they’re in. Where they’re moved to can change their meaning and they can become something different. My goal is to tease out other ways of looking at and viewing the objects and see what that elicits.”

The display also includes Wilson’s own “collection projects.” The artist has collected throughout his career, to explore how objects can have multiple meanings and how we, as Americans, understand objects in the many ways that they exist. By placing them together Wilson makes viewers realize their projections on objects and the meanings they bring to them.

Background: Fred Wilson
In addition to receiving a MacArthur Foundation “genius grant,” Wilson has represented the United States at the Biennial Cairo and the Venice Biennale. He has created site-specific installation in collaboration with museums and cultural institutions throughout North America, the Caribbean, Europe, the Middle East, and Asia. Wilson is also a trustee at the Whitney Museum and the Sculpture Center, and was a Distinguished Visiting Fellow in Object, Exhibition, and Knowledge at Skidmore College.

EVENTS ORGANIZED IN CONJUNCTION WITH THE EXHIBITION

Wednesday, March 22, 2017, 6:30 – 8 pm

Artist Talk: Fred Wilson

Fred Wilson talks about his site-specific installations that encourage viewers to reconsider social and historical narratives, raising critical questions about the politics of erasure and exclusion.
Free

Wednesday, April 12, 12:30 pm
Members’ Tour: Fred Wilson
Curator Jacqueline Shilkoff will walk members through Fred Wilsons’ solo exhibition. Senior Members+
Rsvp: jessica.denaro@purchase.edu

—–

The Neuberger Museum of Art opened on the campus of Purchase College, SUNY, in 1974 with a core collection donated by one of the greatest private collectors, philanthropists, and arts advocates of the twentieth century, Roy R. Neuberger. The collection contains important works by some of our best-known artists including Milton Avery, Romare Bearden, Willem de Kooning, Edward Hopper, Georgia O’Keeffe, and Jackson Pollock. Housed in a building designed by Philip Johnson, the permanent collection now encompasses more than 7,000 works of contemporary, modern, and African art.

Today, the Neuberger is more active and vibrant than ever. Critically acclaimed exhibitions, regularly accompanied by catalogues, draw local, regional, and international audiences. Our signature biannual award, The Roy R. Neuberger Exhibition Prize, recognizes the work of exceptional young artists, continuing our founder’s dedication to supporting those in early careers. A wealth of education tours, lectures, and interactive programs engage the many parts of our broad community. On any day, you can see Purchase College students and faculty, families with young children, K-12 school children and their teachers, and seniors. The Neuberger Museum of Art is a center of teaching and learning for all stages of life: a place where appreciating art is both active and interactive; where the student, the scholar, the artist and the art lover fine common ground to experiment, question, and grow.

Neuberger Museum of Art SPACE | 42 which opened in October, 2016 as a space for public art, is located on the ground floor of 33 West 42nd Street (across from Bryant Park) in Manhattan. It is open to the public daily: Monday–Friday, 9 am-5 pm; Saturday, 9 am-4 pm;
Sunday 10 am-6 pm.

The Neuberger Museum of Art is located at 735 Anderson Hill Road in Purchase, New York. (Westchester)
(tel) 914-251-6100
www.neuberger.org

Museum Hours
Tuesday, Thursday to Sunday: noon-5 pm
Wednesday: noon-8 pm*
Monday: Closed
*Labor Day to Christmas and MLK Day to Memorial Day
Closed major holidays
Group tours by appointment only on Tuesdays through Fridays, 10 am to 12 noon
For persons with special needs, designated parking is available at the south end of the Museum building. Call ahead for wheelchair accommodations.

Guided Tours
Docent-led tours are available by appointment. Fees are $8.00 per person. For more information or to book educational tours, please contact the Museum’s Education Department at nma.education@neuberger.org

Museum Store
Open during Museum hours. The store features a broad selection of art books,
art cards, handcrafted jewelry, children’s items and one-of-a-kind limited edition gifts.

Admission
$5.00 General Public
$3.00 Seniors 62+
$3.00 Students
Free admission for Museum members, children 12 and under, and Purchase College students, faculty, and staff ; FWMA institutions
FREE to all on the first Saturday of every month; Wednesdays 5-8 pm

Directions
The Neuberger Museum of Art is easily accessible by car or bus, and may also be reached by Metro-North. By car: From the North or South – take the Hutchinson River Parkway to Exit 28. Head north on Lincoln Avenue to Anderson Hill Road. Turn right onto Anderson Hill Road. Left at first traffic light into Purchase College campus. From 684 – take Exit 2 South on Route 120 to Anderson Hill Road. Turn left onto Anderson Hill to 2nd traffic light. Turn left at Purchase College campus. From the East – take Route 287 (Cross Westchester Expressway) to Exit 8E. Take second left over Expressway onto Anderson Hill Road. Follow signs to SUNY Purchase. At SUNY purchase follow signs to Parking Lot W-1.

Parking

Neuberger Museum visitors’ parking is in Purchase College Parking Lot W1. A $6.00 per car campus parking fee applies all days for all visitors. Please stop at the Park 2 Fly booth, pay the attendant in advance of your visit, and place your ticket on your dashboard before walking to the museum.

Handicap Parking
Please click http://bit.ly/2jlZ1Z0 to view a map from the campus entrance to the drop-off point for visitors with disabilities.

By Bus
The Bee-Line Bus Route #12 serves the Purchase College campus. Please call 914-813-7777 or visit http://beelinebus.westchestergov.com for schedule and fare information.

By Train
Use the Harlem Line of the Metro-North Railroad to arrive in White Plains. Taxicabs are readily available for hire to Purchase College. Please call (800) METRO-INFO or visit http://www.mta.nyc.ny.us/mnr for schedule and fare information.

Photo credit: Fred Wilson, Love and Loss in the Milky Way, 2005, 1 table with 47 milk glass elements; 1 plaster bust; 1 plaster head; 1 standing woman and a ceramic cookie jar. 77-3/4 x 92 x 43-7/8” (197.5 x 233.7 x 111.4 cm). © Fred Wilson, courtesy Pace Gallery. Photograph by Kerry Ryan McFate, courtesy Pace Gallery.

Apr
21
Fri
Mannequins on the Runway, Haute Couture and Contemporary Designs of the 20th Century @ Darien Historical Society Tickets
Apr 21 @ 12:00 pm – Aug 31 @ 5:00 pm
Mannequins on the Runway,  Haute Couture and Contemporary Designs of the 20th Century @ Darien Historical Society |  |  |

In keeping with its mission to tell the ongoing story of “costume”, one of history’s most tangible artifacts, the Darien Historical Society is presenting designer and ready-to-wear styles that existed during and after World War II. Mannequins on the Runway, Haute Couture and Contemporary Designs of the 20th Century highlights five decades of fashion with designer outfits from the 1940s through the 1990s. It follows the history of prêt-à-porter, or ready-to-wear, as it largely replaced haute couture in the fashion industry. The exhibit opens on April 21 and runs through August 2017, with a Champagne Reception on April 21 from 6:30-8:30 p.m. and Ladies’ Luncheons with the Curator on May 3 and 10 at 11:30 a.m.

Curator of the show, Babs White, set up the exhibit to mimic a 20th century fashion show, with mannequins lined up as if on the runway. White, who has her own 47-year history with the Darien Historical Society as its costume curator, arranged the fashions chronologically, beginning with a 1947 design by Christian Dior. She commented, “At the end of World War II, women longed to replace fashion’s stiff, square shoulders and straight lines. Dior’s more romantic look took the fashion world by storm.” Dior’s success allowed Paris to reassert its world leadership of haute couture following its decline during the war.

Dior eventually commissioned his designs to be produced abroad as ready-to-wear lines in the 1950s and Yves Saint Laurent followed suit with his “Rive Gauche” designs. In the 60s, the charm and elegant style of Jackie Kennedy was greatly admired and copied, and Sophie of Saks and Elizabeth Arden, both represented in the exhibit, produced designs in New York. By the mid-60s, fashion began to focus on youth, their music, and their “free-wheeling” attitude, producing the most potent symbol of the 60s scene, the miniskirt, also on display.

Bill Blass and Oscar de la Renta creations reflect the bold fabrics of the 1980s, which also heralded the look of big shoulders and giant sleeves. The Reagan administration signaled the return of formality, and Adolfo and Ungaro fashions mirror the 90s, an era in which ready-to-wear had become dominant. In keeping with a typical fashion show of the 20th century, the exhibit concludes with a bridal gown: a 1983 design by Carolina Herrera, socialite and longtime fixture on the best-dressed list.

Fairfield County Bank, Darien Board of Realtors, Pagano’s Seafood, Palmer’s of Darien, Leary’s Liquor Cabinet, Cesco’s Trattoria, Sanda’s Cleaners and Tailors, Darien Sport Shop, The Finishing Touch Landscaping, and Diane Browne Catering sponsor Mannequins on the Runway. The hours of the exhibit are from noon to 5 p.m. from Tuesdays through Thursdays, and on Sundays from noon to 3 p.m. A non-member donation of $5 is suggested. Cost for the Champagne Reception on April 21 is $50 for members and $65 for nonmembers. Ladies’ Luncheons on May 3 and 10 are $25 for members and $35 for nonmembers. To make reservations or to find out about sponsorship opportunities, contact the Historical Society at (203) 655-9233. The Darien Historical Society is located at 45 Old Kings Highway North. To find out more about Mannequins on the Runway, Haute Couture and Contemporary Designs of the 20th Century, please visit, darienhistorical.org.

May
14
Sun
Art Exhibit: Waterworks @ The Donald Gallery Tickets
May 14 – Jun 25 all-day
Art Exhibit:  Waterworks @ The Donald Gallery |  |  |

“Waterworks” in Dobbs Ferry features artist Wendy Naidich’s photographs. May 14 through June 25, 2017. Free opening reception on May 14, 11:00 am – 2:00 pm. Gallery hours: 10 am to 4 pm daily. The Donald Gallery at South Presbyterian Church, 343 Broadway, Dobbs Ferry, NY 10522. Call 914-693-0473 or visit http://www.southpres.org/the-donald-gallery .

May
15
Mon
Yin Yoga at Wainwright House with Hiromi Nomoto   NEW! @ Wainwright House Tickets
May 15 @ 7:00 pm – Aug 28 @ 8:00 pm
Yin Yoga at Wainwright House with Hiromi Nomoto   NEW! @ Wainwright House |  |  |

Simple Yin practice to allowed our body to be as is; by practicing letting go of our body and mind, learning to rest, and deep relax. Make sometimes for ourselves, and for our body. By practicing yin yoga we can give us a break or a pose to pay deeper attention to our breath and our body. The practice will help us cultivate the self-acceptance, and mindfulness.
*Japanese translation available. Level:  Open to All, Senior Friendly
Wainwright House, Rye, NY. For more info visit wainwright.org or call 914-967-6080

May
16
Tue
Healing Flow Yoga at Wainwright House NEW! @ Wainwright House Tickets
May 16 @ 11:00 am – Aug 29 @ 12:15 pm
Healing Flow Yoga at Wainwright House NEW! @ Wainwright House |  |  |

This 1 hour 15min class emphasizes deep breath work during movement and poses. All sections of the spine will be awakened, stretching extensively with breath. Holly incorporates her knowledge of Jin Shin Jyutsu, a hands on energy healing technique, to teach each student self-healing with breath. Each student will leave the class feeling deeply restored and energetically balanced. Level: Beginner Friendly, Senior Friendly
Wainwright House, Rye, NY. For more info visit wainwright.org or call 914-967-6080

May
17
Wed
Yin and Yang Yoga at Wainwright House NEW! @ Wainwright House Tickets
May 17 @ 11:45 am – Aug 30 @ 12:45 pm
Yin and Yang Yoga at Wainwright House NEW! @ Wainwright House |  |  |

Meditational Yin Practice followed by Vigorous Vinyasa: Yang practice, to experience the fire and water, Sun and Moon relation of Yang and Yin, the unification.
*Japanese translation available. Level: Basic/Intermediate
Wainwright House, Rye, NY. For more info visit wainwright.org or call 914-967-6080

May
18
Thu
Healing Flow Yoga with Holly Galgano @ Wainwright House Tickets
May 18 @ 11:00 am – Aug 31 @ 12:15 pm
Healing Flow Yoga with Holly Galgano @ Wainwright House |  |  |

This 1 hour 15min class emphasizes deep breath work during movement and poses. All sections of the spine will be awakened, stretching extensively with breath. Holly incorporates her knowledge of Jin Shin Jyutsu, a hands on energy healing technique, to teach each student self-healing with breath. Each student will leave the class feeling deeply restored and energetically balanced.
Level: Beginner Friendly, Senior Friendly

May
24
Wed
Mill River Park Spring Cornhole League @ Brownstein|Selkowitz Carousel Pavilion Lawn Tickets
May 24 – Jun 28 all-day
Mill River Park Spring Cornhole League @ Brownstein|Selkowitz Carousel Pavilion Lawn |  |  |

Back by popular demand, we’re at it again with round two of the Mill River Park Cornhole League, Spring edition! Wednesday evenings May 24th – June 28th from 6pm-8pm we will be meeting on the Carousel Lawn for beer, fun, and competition. We will be teaming up with our friends at Half Full Brewery, serving discounted beer (and snacks) to you and your teammates. 5 weeks of regular competition will come to a head in week 6 for the playoffs, finals, and a summer barbecue celebration on June 28th! Registration opens Monday, April 10th. Pre-registration is required and you must be 21+ to register and play. www.millriverpark.org/cornholeleague.