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German artist Vera Lutter's large-scale photographs of industrial sites were on exhibition at Dia from October 14, 1999, through June 18, 2000. Using pinhole cameras, the precursor to the modern multi-lens camera, Lutter draws on pioneering techniques and historical models to construct vividly arresting representations. He is a filmmaker and film theorist, and has written widely on the history of art. As curator of the Palais des Beaux Arts in Brussels, he initiated an exhibition on the history of the Wide White Space Gallery in Antwerp, the first gallery exhibiting Panamarenko's work. Schnauwaert has written extensively on artists from the European Belgian Neo-Avantgarde of the 1960s and 1970s, such as Marcel Broodthaers and Jef Geys, in addition to other contemporary artists, including Allan Sekula and Lawrence Weiner.

I am proposing a sort of encyclopaedic collage of ideas relating to the above. . Throughout history one can observe how different models of seeing and of relating to space - that is our relation to our surroundings - have replaced one another, parallel with social, ideological, technical and other changes. Values of a given time will always determine the models and relations through which we choose to conduct our lives. If the values change, the relations change as well.

I am proposing a sort of encyclopaedic collage of ideas relating to the above. . Throughout history one can observe how different models of seeing and of relating to space - that is our relation to our surroundings - have replaced one another, parallel with social, ideological, technical and other changes. Values of a given time will always determine the models and relations through which we choose to conduct our lives. If the values change, the relations change as well.

This exhibition investigates the tensions between this view of satirical prints, and the prolonged and enjoyable examination which is invited by Gillrays work, through his use of ambitious and complex printmaking techniques, and the depth and range of his references. Gillrays prints, from the time they were first produced, belonged both to the street and to the connoisseurs study. They retain an ambivalent status today, hung in a kind of limbo between political history and art history. Signacs work is best known for its exploration of colour and light and this exhibition demonstrates his love of watercolour as a means of depicting the bright, colourful landscapes of the coasts of France. Many of these artists would also become well-known figures in the world of Canadian art.

A site I really like: http://www.nyhistory.org/exhibits.html

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