Welcome to‘Masterpiece for the MAC’

Explore Pack

Please register for the competition by emailing your completed registration form

to clare@themaclive.comDeadline for entries: Friday 18th

October 2019

Getting started Here’s a great way to get started with Masterpiece for the MAC.

In this pack, we have a made a list of artists and artworks for each theme to help inspire your pupils to create their very own original work of art.

Research these images on your computer, print them in colour or upload onto your white board for your pupils to see.

Then use the questions below to get the conversation started.

Conversation StartersTo help your pupils respond to what they are seeing, here are some conversation starters – ask your pupils to begin a sentence with:

I CAN SEEEncourage close observation of different aspects of the work, challenging them to discovering more detail.

What do you see in this picture? What is the largest and the smallest thing you see in this picture? What colours can you see? What process / art medium has the artist used? What style or artistic movement do you recognise?

I THINKEncourage pupil’s opinions and ideas about works, using imagination to answer why and how art is made.

What is the first thing you notice about this work? Why does that stand out?

What do you think it’s about? Is there a story? Why do you think the artist chose this medium and these colours? Do you think the artist has chosen a good title for this work? What title would you give this work? What does it remind you of or make you think about? What do you think is the most important part of this artwork? Why? Do you think other people should see this work? Why? How many stars out of 5 would you give the artist for this work?

Why?

I FEEL

Encourage your pupil’s emotional and sensory responses to the work – put yourself in the picture.

How does it make you feel? What do you think it would smell like? What would the temperature be like? Would it be hot or cold? Could you taste anything? What do you think is important to remember about this work?

I WONDER – PHILOSOPHICAL QUESTIONSEncourage your pupils to think deeper by asking philosophical questions.

Where do artists get their ideas from? Why is this art? What is art? Does art have to be beautiful? Why do artists do what they do? Are some types of art better than others? What is the most important purpose of art? Should art make you feel good?

To help tease out responses and develop group philosophical discussion use some of the responses below.

Information-processing questions (listening and clarifying): Could you explain what you mean? Can someone give an example? I’m not sure I understand, are you saying…?

Reasoning questions (expanding and probing): What are your reasons for saying that? Do we have any evidence? Why do you think that is the case? How do you know?

Enquiry questions (connecting, generalising, making distinctions):

So, you agree/disagree with…? Can you give an example/ counter-example? Is that always the case or only sometimes? What are the exceptions? Is that the same as…?

Creative thinking questions (speculating, exploring implications and larger context):

What if…? Is it possible that...?

Can we think of other reasons to support this view? Does this change our perspective?

Evaluation questions (evaluating, reviewing, concluding, summarising):

Has anyone changed their mind? Have we reached any conclusions? What made us think of…? Can anyone summarise what we have said so far? Do we all understand the differences of opinion on this? Has anyone changed their mind in this discussion? Have you learned anything new?

You can print this and use the conversation starters and philosophical group work to help inspire pupils to create their own masterpieces, show examples of different artistic movements, styles and mediums and ask your pupils to think, look, question and be inspired by the art they have seen, but be original in the work they create (no copying!).

Immerse yourself See Enjoy

Be inspired Question Listen

Be philosophical ExperimentCreate

Be bold Challenge Invent

Be different Think Inspire

Be Original Observe Learn

Masterpiece for the MAC ThemesThis year, although we are still offering the option of five themes we are particularly interested in Landscapes. The Masterpiece for the MAC exhibition will be on display in February 2020 at the same time as ‘Songs

and the Soil’, an exhibition by Irish contemporary artist, Mark Garry, and is based on concepts relating to land and landscapes. Contemporary artists are those who are living and creating art now. They create pieces that reflect their own opinions, philosophies and styles. They often try to get people to think about current events or ideas in new ways. Contemporary art can take many forms, including installation, site-specific and performance art.Mark Garry’s work is often site-specific or installation art. That means an artwork created for a space. He looks at how to create his art in a particular space. Sometimes he looks at the spaces that are usually not of interest or not noticed by people… the spaces in-between. His current work ‘Songs and the Soil’ will be exhibited in the MAC 30 January – 19 April 2020 and is made up of film, sculpture, music, sound and painting to create an environment where landscape, music and sound come together. One of the galleries will be transformed into an indoor meadow where there will be hundreds of dried flowers and you will hear a musical composition made up of birdsong using field recordings in a variety of locations around where the artist lives.

Theme’s relating to the ‘Songs and the Soil’ exhibition. Our land Your land The planet Nature Poetry of the Land Shared spaces Landscapes

There is an example of Mark Garry’s work (sculpture) permanently on display in the MAC. If you have visited us before, you might remember this colourful artwork. It’s a rainbow of coloured thread reaching up towards the light above the stairs in the foyer.

‘The Permanent Present’ in the MAC BelfastTheme 1. LandscapesTraditionally, a landscape painting or drawing is an artwork which focuses on natural scenery, such as mountains, forests, cliffs, trees, rivers, valleys, etc. ...

Artists have been painting the landscape since ancient times. The Greeks and Romans created wall paintings of landscapes and gardenscapes. Today, landscape continues to be a major theme in art.

Artists use many different techniques and methods to express the form, shape, colour, mood etc. of a landscape. Artists may use documentary techniques such as video or photography as well as traditional painting or sculpture to explore the ways we relate to the places we live in and to record the impact we have on the land and our environment. Artists may also create landscapes in an abstract way, where the imagery has a deeper meaning.Abstract art is art that does not attempt to represent an exact likeness of a subject but instead use shapes, colours, forms and gestural marks to achieve its effect.

“Art is not what you see, but what you make others see.” - Edgar Degas 

“The artist is a receptacle for emotions that come from all over the place: from the sky, from the earth, from a scrap of paper, from a passing shape, from a spider’s web.” - Pablo Picasso 

By studying the landscape, children can gain a sense of nature and history, and learn to see their own surroundings more clearly.

Artists and landscape artworks to inspire you.Use the conversation starters to help pupils respond to some of the works below:

Edvard Munch – Moonlight, 1895 Pablo Picasso - Mediterranean Landscape, 1953 Joan Miró - The Tilled Field, 1923 – 1924 David Hockney -Garrowby Hill, 1998 LS Lowry - A Landmark, 1936 Gerard Dillon - The White Rocks, 1956 Vincent Van Gogh - A Wheatfield with Cypresses, 1889 Georgia O'Keeffe - My Shanty, Lake George, 1922 Bridget Riley - Pink landscape, 1960 John Constable - Flatford Mill, 1816 Peter Doig - Grande Riviere, 2001-2002 Joseph Mallord William Turner - Rain, Steam and Speed, exhibited

1844 Claude Monet - Houses of Parliament, Sunlight Effect, 1903 Peter Doig - Orange Sunshine, 1995-1996 Dora Carrington - Farm at Watendlath, 1921 Paul Nash - Totes Meer (Dead Sea), 1940–1941

Things to think about when creating your Landscape masterpiece

What kind of Landscape do you want to create?Why not use Mark Garry’s themes to give you inspiration for your

landscape?E.g. our land, your land, the planet, nature, poetry of the land,

shared spaces.

Perhaps create a landscape from Northern Ireland. Make it special to your area by thinking of local landscapes and landmarks to paint for your masterpiece. You can go on a site visit and paint there or make sketches, take photographs or research images online to help you create your piece.

Experiment with your photos, printouts and sketches – you might want to add something different or new to the landscape. You might want to take things out and simplify the image or use collage to create a different dimension to your work.

What kind of mood or feeling do you want to get from your landscape painting?

Close your eyes and imagine what you want it to feel like inside your landscape. Describe it.

o Is it hot or cold in your landscape, sunny, windy, wet?o Calm or busy? Slow or fast? Quiet or noisy?o What sounds would you hear?o Can you hear music in your landscape? Maybe listen to some

music when you are creating it. o How would you feel if you were sitting in your landscape?o What colours do you see? Why?

Write down ten words that describe this place and why it’s important to you.

Is there a story unfolding in your landscape?

Think about the focal point of your picture and the background; are there any objects or people in your picture?

What season will it be in your painting; what will the landscape look like in Summer, Winter, Autumn and Spring? What will the light look like in that season? Is it soft, warm, hard, dark, high, low, dotted, harsh, direct, or faded?

Think about how you will create this landscape. Will you use paint, pencil, chalk, oil pastel, collage, print or perhaps create an iPad digital print?

Think of the colours, shapes, lines, light and the mood / emotion in your painting.

Change the colours of the landscape to see what mood you can create.

Theme 2. People & PlacesChoose an artwork and artist to explore.

For example: The Farm by Spanish artist Joan Miró is a priceless masterpiece.

The creation, completed in 1922, shows his family farm in a realistic manner. Some have called the painting an “inventory” of everything that was on the farm – the variety of animals kept, the vegetables grown, the buildings, tools, gardens, soil and terraces – all against a background of a marvelous blue sky. The artist himself spent many years living and working on a farm, raising crops and keeping livestock. Miró said that the level of work he put into completing this image was extreme - the painting entailed nine months of work before he was satisfied with the result. Joan Miró had a true sense of childlike wonder about the world around him and believed that images and ideas for his work lay hidden in everyday things, often seeing shapes appear before his eyes as he lay in bed staring at the ceiling, which he collected in a notebook.

David Hockney felt a compulsion to draw and paint the world around him from an early age. Have a look at Regional College of Art, 1989. Here he chose a subject matter that was familiar to him so that he could observe as much detail as possible. Hockney said of Bradford: “This big city I live in may be grey and black, a dirty city, but there is magic in it if I look at it closely.”

LS Lowry liked to draw pictures of what he could see from his window. He was always doing quick sketches on the spot using whatever paper he had in his pockets. He drew what he could see; children playing in the streets, people returning from work, going off to work, gossip on the front steps, incidents, marketplaces and towns.

Artists and artworks to inspire you.

Use the conversation starters to help pupils respond to some of the works below:

Edvard Munch - The Girls on the Bridge, 1901 Pablo Picasso - The Studio ,1955 Georges Seurat - A Sunday Afternoon on the Île de la Grande

Jatte, 1884 Camille Pissarro - Children on a Farm, 1887 Joan Miró - The Farm, 1922 David Hockney - Builders, 1954 Paul Klee - Tightrope Walker, 1923 Joan Miro - People in the Night, 1949

Frida Kahlo - The Bus, 1929 Vincent van Gogh – Two Women Crossing the Fields, 1890 L S Lowry – The School Yard, 1956 Jack Yeats - The Liffey Swim, 1923 Edgar Degas - The Dance Class - 1874 Gerard Dillon - Island People – 1950

Things to think about before creating your People & Places masterpiece.

Where do you live? Do you live in the town or the country? What does your local area look like? What is a landmark? What are the landmarks in your area? Have you been on a visit / trip to your town / city centre?

o What did you see?o Were there a lot of people?o How did it make you feel?o What were they doing?o What did they look like?o What can you remember most?o What colours can you remember?o What sounds, smells and images can you remember? o If it were a smell, what would it smell like? o If it were a colour, what colour would it be? Why?

Tell stories about your community.

Tell us about your family and where they live.

Do you have a pet?

Is there a colourful character that lives in your area?

Try some observational drawing. Use a sketch book or maybe an iPad if you can.

Sketch what you see around you…

o Buildings, landmarks, roads, houses, steps, doors, lampposts. o People, friends, pets, prams, bikes, phones, cars, motorbike,

lorries.o Landscape, trees, birds, mountains, rivers, sea.

Take some paper into the playground at lunch time and draw other children playing.

Think about the composition of your final artwork – are you telling a story about a place or are you describing a place and the people in it?

Think about colour, shape, line and artistic style

Teachers could do some research on the local area /landmarks and use the white board or pads to show the children, or perhaps take the class out for a walk with their sketch books or pads. Theme 3. Still lifeWhat is a still life?

A still life is the drawing and painting of objects that are placed or arranged in a certain way. Originally, the name 'still life' came from the Dutch word stilleven, which was used to describe still life paintings that showed flowers, fruit, and similar items usually arranged on a table top or surface. The name comes from the fact that the objects shown in the paintings are things that are still in life. Still life as a subject is not a new type of painting; it has actually been around for thousands of years and has been used by artists to explore the world of objects that surround us. Some still life paintings have been found in Egyptian tombs and in ruins from ancient Rome.The magic of still life painting is that it can show us a new way of looking at the ordinary objects around us. Once objects are placed into a specific arrangement and then drawn in pencil, paint, ink, pastel, or any other medium - the objects take on a whole new meaning.

Frida Kahlo said, “I paint flowers, so they will not die.” Picasso shows us how collage can be used as a medium to depict

still life. David Hockney says you must look closely before you can draw it.

“Most people don’t look much. I mean, they scan the ground in front of them, so they can move around. Well, I have spent my life looking”.

Henri Matisse intensified our experience with his expressive use of colour.

In still life painting, the artist will look at the objects and carefully study their shape, texture, relationship and position to each other, where the light and shadows fall.

Artists and artworks to inspire you.Use the conversation starters to help pupils respond to some of the works below:

Rembrandt - Apples , 1640 David Hockney – Green and Blue Plant, 1987 David Hockney – Four Flowers in Still Life, 1990 Andy Warhol - Campbell's Soup with Can Opener, 1962 William Scott (Irish) - Five Pears, 1976 Paul Gauguin - Nature morte aux chats (still life with flowers and

cats), 1899 Roy Lichtenstein – Still life with Goldfish , 1997

Georges Braque - Still Life with Guitar Vincent Van Gogh - Vase with Twelve Sunflowers , 1889 Frida Kahlo - Viva la vida, 1954 Rachel Ruysch - Roses, Convolvulus, Poppies and Other Flowers in

an Urn on a Stone Ledge, 1688 Henri Matisse - Still Life with Blue Tablecloth, 1909 Pablo Picasso, Compotier avec fruits, violon et verre, 1912

Things to think about before creating your Still Life masterpiece.

What have you learned from looking at still life art that great artists have painted? Has it helped you to think about how you’d like to create your own?

How about recreating your own still life in the classroom? You could split up into groups and each group create a still life.

Choose your objects. Use some fruit from your lunch box, pick flowers from the garden, or find something at home you want to draw. Think about colours or contrast in textures.

Arrange the objects so that they look good together in position and won’t fall over. Take a photo (just in case someone knocks over your still life) but if you can, draw from source /real life.

Study and observe your still life - look closely and draw what’s in front of you.

Look at where the light is falling on your objects and whether it casts a shadow. Can you tell which direction the light coming from? Shade areas where the light doesn’t fall. Think about the various tones in your shading.

Think about how you want to create or construct your masterpiece. You could draw the whole still life or concentrate on an area or a few objects within the still life.

Think about which still life artist or artistic style has inspired you most.

Practice mixing colours and creating textures. Change the background and see how that effects the image.

Think about colour, shapes, texture, size and pattern of the objects you have chosen and how they work together.

Choose a medium or technique you like. It could be paint, collage, pastel, pen, ink or print.

You can make your image more abstract by deconstructing the objects, changing the view, distorting the shape, or playing with the colour of the arrangement.

Have fun! It’s your still life masterpiece.

Theme 4. Portraits

What is a portrait?A portrait is an artwork of a person's face and its expression - showing the likeness, personality, and even the mood of a person. When making a portrait, the artist aims to show a person’s appearance as well as show elements of their character which can tell us something about them.Portraits can show a view from the side of a person (profile) or the front. It can show the full length of the person's body but usually shows the head and shoulders.Portraits can be created in any media, from paintings, to photographs, sculpture and even mixed media.To create a good portrait, you must research your subject. Find out about the character and personality of the person you are going to draw. Artists often draw the people they know, for example, David Hockney loves to draw the friends and family around him. He says it’s easier because he knows them well and that each time he draws them it’s different. A self-portrait is a portrait that an artist produces of themselves. Encouraging children to draw portraits gives them the time to study eyes, nose, mouth and the rest of their face and body and to work out how it all fits together, creating a self-portrait allows the maximum amount of artistic freedom.

Frida Kahlo said, “I paint self-portraits because I am the person I know best.” David Hockney said, “I think I have to know a person quite well to know what they look like, really”.

Artists and artworks to inspire you.Use the conversation starters to help pupils respond to some of the works below:

Pierre-Auguste Renoir - Mlle. Irène Cahen d'Anvers, 1880 Edvard Munch - Girl with Red Checkered Dress and Red Hat, 1902-

1903 Vincent van Gogh - Portrait of Joseph Roulin David Hockney - My Parents, 1977

David Hockney – Celia with Her Foot on a Chair, 1984 Paul Klee - Portrait of Mrs P. in the South. 1924 Pablo Picasso - Portrait of Dora Maar, 1937 Frida Kahlo - Self Portrait in a Velvet Dress, 1926 Frida Kahlo - Self Portrait - Time Flies, 1929 Vincent Van Gogh - Self-Portrait with Straw Hat, 1887 Andy Warhol - Marilyn Monroe, 1967 Andy Warhol - Self-Portrait, 1966 Paul Klee - Senecio, 1922 Grant Wood - American Gothic, 1930 Henri Matisse – Self-Portrait, 1906

Things to think about before creating a Portrait masterpieceTeachers can research how to create a portrait online and show examples of where to start and how to use guidelines to help position eyes, ears, nose and mouth.

In the class room Get into pairs and draw a portrait of the person sitting opposite you. Choose an emotion and ask your partner to show that emotion on

their face - draw or paint what you see, try a new emotion and look at the differences.

Do you want the person you are drawing to be happy or sad, excited or bored, angry, scared or surprised?

Think about the colours and tones you are using to show emotion. Think about what art materials to use: paint, pen, ink, pencil,

collage, etc.

Self – portrait Use a mirror to draw / paint a picture of yourself Experiment and try different positions (e.g. profile, ¾ or front) and

different expressions – chose and stick to it. Place a red dot on the mirror between your eyes and a line at your

ear to help you keep your place and locate your features as you look back and forth between the mirror and your painting while you work. Set the mirror up so that you can easily see yourself or the photo, if using one, and can easily reach for your paints.

Keep looking and drawing, looking and drawing, looking and drawing! The more you look, the more you see.

Remember to keep stepping back and checking your image from a distance. It is easy to lose perspective. Getting distance between you and your painting helps you to assess your work and proportions more accurately.

Lighting - it is helpful to have strong light shining on the side of your face; a strong contrast of light and dark.

Painting a self-portrait is the perfect place to try experimenting with different painting techniques and colours, so pull out a mirror and give it a try.

Homework At home, ask a member of your family to sit for 15 minutes so you

can really look at them when you draw. Think about the background, who the person is, what they like, what you like about them and try and include those thoughts in your portrait.

You can use your imagination to create a portrait Create a portrait of a famous person or a character that you like. Maybe a portrait of who you would like to be when you grow up. Think about the content and the background of the portrait. You

could paint objects or symbols in the background that are important to the person you are drawing.

Theme 5. AnimalsThroughout history, artists have always created drawings and paintings of animals. Stone age men decorated their caves with the images of the animals that they hunted for food. The Ancient Egyptian artists depicted many of their gods with the heads of animals.In the Middle Ages, artists used mythical beasts to decorate medieval manuscripts. In 17th century art, hunting scenes illustrating dramatic life and death struggles between man and beast became a popular subject.18th century artists chose to celebrate the natural beauty and majestic power of animals in their natural habitats. In the 19th century, Victorian artists painted sentimental pictures of their domestic pets and livestock.The artists of the 20th century explored the entire range of animal genres and invented a few more of their own.Animals have been a source of inspiration for many artists. From art about rural life and growth, to myths and legends, animals are used in art in many different ways. Art can help us explore our relationship to wildlife and can help us think about how we care for animals and the environment.

Artists and artworks to inspire you to create your animal in art.Use the conversation starters to help pupils respond to some of the works below:

Albrecht Dürer – Rhinoceros, 1515 Henri Rousseau – Surprised!, 1891 Henri Matisse - Les Oiseaux, 1947 Jacques-Laurent Agasse - Male Quagga, early 1800s Paul Klee – Cat and Bird , 1928 Rembrandt - Two Studies of A Bird of Paradise, 1630 Roy Lichtenstein - Bull III, 1973

Pablo Picasso - A Rooster, 1938 Pablo Picasso - Dove of Peace, 1949 Wassily Kandinsky – The Cow, 1910 Joan Miró – The Singing Fish, 1972 Joan Miró - Dog barking at the moon, 1926 Joan Miró - Le Coq, 1960 Franz Marc - Horses Resting, 1911 David Hockney – Dog Painting 17, 1995 Andy Warhol – Cow, 1971 Andy Warhol - Cats Named Sam, 1954 Paul Klee - landscape with yellow Birds, 1923 John Piper - Beach with Starfish, 1933–4 Brett Whiteley - 5. Giraffe, 1965 Damien Hirst - Away from the Flock, 1994

Things to think about before creating an Animal masterpieceArtists explore habitats before painting an animal, looking at textures, colours and shapes. Animals in artworks can make us consider our own relationship to nature. How do we treat wildlife and its environment? Are there some animals we look after more than others?

Animals live in a complex network of environments. This is called an ecosystem. Artists like to explore these ecosystems to tell stories. Can you find any stories in the list of artworks above to inspire you?

Teachers can print images of the artworks listed above or pictures of animals in different surroundings. Pupils could also bring in photos of their pets or from their visits to the zoo.

Study the list of artists and artworks to inspire you. How important is it that animals in artwork look like real animals?

Look at Joan Miró - Le Coq (1960) and The Singing Fish (1972). Look at the habitat and environment in Wassily Kandinsky – The

Cow (1910). Why do you think he used these colours? Start thinking about what animal you would like to draw or paint. Perhaps visit the zoo to do some sketching. What happens when we take animals out of their natural habitat?

How does it change the way we look at them? Look at Damien Hirst’s artwork Away from the Flock. Why do you

think he put the sheep in a box? What could it mean? Think about the habitat and environment your animal comes

from. In 100 years, what do you think natural environments will look

like? What will cities look like? What colours and textures do you associate with natural

environments compared to man-made environments? What kind of natural events can change habitats? Is there

anything we can do to stop events like this happening?

Think of a story about your chosen animal to help you create the drawing.

Perhaps you would like to create an image of your pet. Imagine your animal or pet created or painted in the style of an

“Old Masters” painting. Think about colour, shape, line, tone, mood and emotions. Choose an animal and transform its mood by changing its

habitat.

Try some of the fun activities on the next page.

I DESCRIBE – paired work

Think about Dürer’s image of a rhino. Interestingly, over 500 years ago, the artist Dürer had never actually seen a Rhino. There were no photos or film. He had asked other people who’d seen a rhino close up to described it to him and he drew his famous image. It is not an anatomically accurate representation of a rhino, and portrays it as having an armoured body, breastplate and rivets along the seams of its skin. It looks tough, imposing and grand.

Each pupil should choose and research an animal and print out the best and most descriptive image they can find of it.

Create a list of words and sentences which best describe and enable another person to visualise and draw the animal picture you have chosen.

Describe the animal in as much detail as possible without saying what it is and taking care not to totally give it away. Talk about characteristics and form descriptively, using shape, height, weight, colours, patterns and textures and background. Perhaps describe the background or landscape the animal is to help with scale or describing the animal.

Get into pairs and take turns describing your animal pictures while your partner visualises and draws from your description.

Remember they can only draw as good an image as the description you give, so be thorough in the description. Add details that appeal to all five senses - sight, touch, smell, sound and taste.

Show your drawing to your partner to see if their description was good enough for you to understand it and recreate it. How close

is it to the picture they were describing? Compare with your partners original printed image.

When viewing the drawings beside the printed original teachers can ask if pupils have ideas in which they could have described their animal better?

HABITAT MIX-UP – paired work

Write down lots of different habitats. Put them into a hat. Write down lots of different types of animals and put them in a separate hat.

Split your group into pairs. Get them to pick an animal and a habitat out of the hats. Get one to draw the animal and the other to draw the habitat Have them cut out the animal and stick it on their partners habitat Discuss what they have made. Does the animal belong there? If not,

why not? What else could they add to that habitat?

We hope you’ve had fun creating your Masterpiece!

Don’t forget to come and have a look in the MAC galleries for yourself.

What’s on in the Galleries MAC Now

Danilo Correale: They will say I killed them19 July - 13 October, Upper GalleryFor Italian artist Danilo Correale’s first exhibition in Ireland, we present this major new film work produced by Careof, a nonprofit contemporary art space in Milan, in partnership with the MAC.

Mark McGreevy: Flop Sweat19 July - 13 October, Tall GalleryBuilt on McGreevy’s collected archive of personal and found imagery drawn from the media and everyday experiences, this exhibition brings together a major new body of work by the Belfast based painter.

Rationalism on Set: Glamour and Modernity in 1930s Italian Cinema19 July - 13 October, Sunken GalleryAn exhibition exploring a little-known period of Italian cinematic history, highlighting the strong Modernist influence apparent in the set designs created for a number of romantic comedies during the inter-war years.

Coming soon…

On Refusal: Representation & Resistance in Contemporary American Art25 October 2019 - 19 January 2020

Mark Garry: Songs and the Soil 30 January – 19 April 2020