Popular Events in February 2024(January Updated)

Egypt’s 26th Dynasty (664–526 BCE) was a period of revival and renewal. It marks the last great phase of native pharaonic rule in ancient Egypt and is notable for its exceptional artworks, particularly stone sculpture. The achievements of Egyptian artists of this period are vividly expressed in the sculpted portraits of officials associated with the court and priesthood, which were created to be displayed in tombs and temples. The works in this exhibition are on special loan from the British Museum, London.

On 27 July 2023, the exhibition “Beauty as Rhythm: Female Figures in the Collection of Traditional African Art of the State Hermitage Museum” begins its run in the General Staff building.The display features five wooden statues of women that belong to three different African cultures – Dan, Bamana (or Bambara) and Mossi – and date from around the turn of the 20th century. Such sculptural depictions had both aesthetic and magical significance in the communities where they were created. In the Bamana culture, they were involved in male initiation rites and conveyed the most prominent features of an ideal woman – an oversized bust, coiffured hair and jewellery. Among the Mossi, they were produced for girls entering puberty. They could dress these figurines (in essence dolls), adorn them and anoint them with oil. Taking care of them became a compulsory practice for girls entering into womanhood. Researchers term African statuettes of this kind “fertility figures” and their function is always bound up with the power of the feminine, the birth-giving, creative principle. One of the figures included in the exhibition, for example, depicts a woman with a child on her back. In this way, the sculptor focusses attention on the main female social role – motherhood. The creators of the exhibition invite us to look at these objects as works of art capable of telling us about a different conception of beauty, one to which Europeans are unaccustomed. Strict realism is something alien to the African artists: they strive to convey meanings by different means. Beauty, in this instance, lies not in the harmony of specific features, but in correspondence to some ideal, to the archetype of the essentially feminine. That is created, first and foremost, with the aid of rhythm. As Léopold Sédar Senghor, the French and Senegalese politician, poet and philosopher wrote: “For an African, a beautiful statue is one that evokes particular emotions in him. Here, for example, I have before me a statuette of the Dogon people. It does not in the least resemble an image of a beautiful woman, but this statuette of a seated woman is captivating, because it is imbued with rhythm.”

The Pre-Raphaelite artists lived, loved, and worked at the cusp of change for women and, in many ways, this is reflected in their work. Yet these stories are rarely told. Through Tullie House’s superb collections we explore how women were the objects of the artists’ gaze often becoming a symbol for morality. We consider the striking women who featured in the work, and the determined women who created their own. The women who collected and patronised these artists are celebrated along with their important acquisitions. Featuring favourite works by Gabriel Dante Rossetti, Elizabeth Siddal, Edward Burne-Jones, Phoebe Anna Traquair and Arthur Hughes, alongside works never before displayed in our galleries, we look at the pioneering nature of the Pre Raphaelites, asking the question: when before had gender been so central to art?

Artificial lights have become such a common nighttime fixture that we take them for granted. But what do brighter nights mean for people and wildlife? The effects of light pollution extend beyond our reduced view of the stars, but solutions can have an immediate impact. Through more than 100 photographs, nearly 250 objects, interactive experiences, tactile models, and a theater program, discover why the dark night matters, rekindle your connection to the night sky, and consider how much light at night is enough—for whom, for what purpose, and who gets to decide?

The Asian Civilisations Museum presents Textile Masters to the World: The global desire for Indian cloth with a selection of exquisite garments and textiles at its Fashion and Textiles Gallery. Featuring 27 pieces from the National Collection and loans, the exhibition spotlights the historic global impact of textile production in India, and its role as evidence of trade and cultural exchange between India and regions such as the Middle East, Southeast Asia, and Europe from the fourteenth to nineteenth century. From fashion and furnishing, to gift exchange and heirlooms, visitors can marvel at the artistry and craftsmanship of early textile masters, and discover how Indian textiles influenced local designs, materials and fashions wherever they were traded.

The North Florida Home Show 2024, held at the prestigious Donald L. Tucker Civic Center in Tallahassee, is an event that homeowners and home improvement enthusiasts simply cannot miss. From 2024-02-02 to 2025-02-04, this annual show will showcase an expansive range of areas, including kitchens, bathrooms, carpeting, concrete, brick, spas pools, patios, tile, appliances, windows, doors, utility building, interior design, telephone and communications systems, home services, and much more. Whether you're looking to renovate your kitchen, remodel your bathroom, or enhance your outdoor spaces, the North Florida Home Show 2024 has got you covered. With a diverse selection of exhibitors from various industries, this event offers visitors the opportunity to explore the latest trends and innovations in home improvement. Discover the finest in interior design, browse through state-of-the-art appliances, and find inspiration for your dream home. Located at 505 W Pensacola St, Tallahassee, FL 32301, the Donald L. Tucker Civic Center provides a spacious and convenient venue for this exciting event. Immerse yourself in a world of home improvement possibilities as you connect with industry experts, gain valuable insights, and gather ideas for your next project. Whether you're a homeowner looking to enhance your living space or a home improvement professional seeking inspiration, the North Florida Home Show 2024 is an event that promises to deliver. Mark your calendars and join us at this remarkable showcase of innovation and creativity in the world of home improvement.

This February ‘DRIVE’ will open with The Parking Space, featuring a Chevrolet Caprice and Impala, a Ferrari 328 GTS and a Ligier microcar, parked in the gallery alongside a video in which Rhoades fervidly discourses on his concept of the Car Projects. While driving around Los Angeles in 1998, Rhoades explains the relationship of cars to his art (parking is equated with sitting in a sculpture) and to daily practice (driving between the house, the studio and stores is time and space for the mind to race and wander). He expounds on cars as icons of art history (Marcel Duchamp and Francis Picabia speeded modern art forward with their mechanized abstractions), identifiers of class (you are what you drive) and environments of control. The radio is tuned to Power 106 FM and as the world streams by to the propulsive hip-hop beat, the romance of cars seems irresistible. In April, the installation will be reconfigured to accommodate a lounge and become The Pit. An influx of archival materials will be key to unpacking the various episodes of Rhoades’ Car Projects, starting with the Caprice and the 1996 exhibition ‘Traffic.’ Not only did the artist cut a deal with CAPC musée d’art contemporain de Bordeaux, France the organizers of the show, to go in on buying him the car as a transactional work of art, he later leveraged its symbolic value by trading the Caprice for a Ferrari. This summer the exhibition’s focus will swerve onto The Racetrack. A set of half-scale NASCAR-style cars, custom jackets and colorfully painted tire barriers are among what remains of ‘The Snowball.’ Staged in California as a daylong racing event at Willow Springs speedway, ‘The Snowball’ was ultimately destined for the 2000 Venice Biennale and Rhoades’ collaborative work for the Danish Pavilion. In September, The Garage will cover the final stretch of ‘DRIVE’ with a selection of framed works on paper and a major sculptural installation. Throughout the year, the line-up for ‘DRIVE’ will feature a range of public programs. A film series centered on cars and the city of Los Angeles will be curated by film historian and critic Elvis Mitchell. A theatrical staging of the playwright Charles Mee’s ‘Under Construction,’ which was inspired by Rhoades’ art in its collage depiction of America today, will be presented as part of Hauser & Wirth’s Performance Project. Organized as an investigation in real time, ‘DRIVE’ invites people to approach the exhibition like a garage of art and ideas, in which cars are coming and going and tinkering is a productive state of mind. As an artist, Rhoades was keenly attuned to sources of cultural power and weakness. When he put the internal combustion engine on art’s pedestal, was he presciently placing the car where it belongs for a greener tomorrow? The car as a subject in Rhoades’ art continues to drive and trouble the imagination today.

Artists such as Pablo Picasso, Edgar Degas, Francis Bacon, Leonora Carrington, Jean Arp, Henry Moore, Lucie Rie, Alberto Giacometti, Sonia Delaunay and Amedeo Modigliani are displayed alongside major holdings of art from Oceania, Africa, the Americas, and Asia, the ancient Mediterranean, classical cultures of Egypt, Greece and Rome, and Medieval Europe. Join one of our volunteer guides for a FREE introductory tour of the Sainsbury Collection. These run from Tuesday-Sunday at 2pm, subject to availability. Limited to 15 people, places must be booked at the Visitor Services desk.

The Berlinische Galerie has devoted over 1000 square metres to presenting its collection. Waiting to be discovered among the roughly 250 works on show are paintings, prints, photographs, architecture and archive materials rarely or never displayed before. Walking around this exhibition is like time travel and takes visitors through Berlin in 17 chapters: the Kaiser’s era, the Weimar Republic, the Nazi dictatorship, the new beginnings after 1945, Cold War in the divided city, and the counter-cultures and unconventional lifestyles that evolved in East and West under the shadow of the Wall. In East Berlin, an alternative art community developed from the late 1970s. In West Berlin from the late 1970s, aggressive art by the “Neue Wilden” placed the divided city back in the international limelight.

explores the rise of Futurism in contemporary Indigenous art as a means of enduring colonial trauma, creating alternative futures, and advocating for Indigenous technologies in a more inclusive present and sustainable future. Over fifty artworks are on display, some interspersed throughout the museum, creating unexpected encounters and dialogues between contemporary Indigenous creations and historic Autry works. Artists such as Andy Everson, Ryan Singer, and Neil Ambrose Smith wittily upend pop-culture icons by Indigenizing sci-fi characters and storylines; Wendy Red Star places Indigenous people in surreal spacescapes wearing fantastical regalia; Virgil Ortiz brings his own space odyssey, to life in a new, site-specific installation. By intermingling science fiction, self-determination, and Indigenous technologies across a diverse array of Native cultures, envisions sovereign futures while countering historical myths and the ongoing impact of colonization, including environmental degradation and toxic stereotypes.

A Traveler’s Guide to Mettlach: Villeroy and Boch showcases everyday life in the 1800s Mettlach, Germany. Scenes of everyday life in Mettlach have been documented and celebrated by Villeroy and Boch, a ceramic production company founded in 1836 when Jean François Boch and Nicolas Villeroy merged their ceramic businesses into what is now known as Villeroy and Boch. The workers of the Mettlach factory came from diverse backgrounds, including art studios, archives, and museums. The varied backgrounds of the factory workers contributed to the artistic achievements of the Villeroy and Boch company. The Mettlach collection reflects German cultural experiences, societal interpretations, and mythology. This exhibition shows scenes of love and relationships as well as larger themes of fantasy, offering an all-encompassing snapshot of the myriad facets of human life within Mettlach. A Traveler’s Guide to Mettlach, on view in the Robert and Colette Wilson Gallery through June 2025, presents concepts of life, laughter, relationships, and the day-to-day existence of the German people.

The "Reflections & Inspirations from Emirati Heritage" exhibition is the result of a collaboration between Sharjah Heritage Museum and University of Sharjah's College of Fine Arts and Design. The exhibition includes 54 artworks that shed light on students' interpretations of Emirati heritage, created with a variety of materials and ideas to express the students' feelings and thoughts about heritage design elements and inscriptions. The works were overseen by a number of distinguished professors from the College of Fine Arts and Design, representing various artistic disciplines. The exhibition aims to help students understand heritage concepts, form a unique perception of tangible and intangible heritage elements, and creatively translate this perception through artistic works that reflect the heritage character.

The Louvre’s Department of Near Eastern Antiquities is hosting ten major works from New York’s Metropolitan Museum of Art, whose Department of Ancient Near Eastern Art is currently closed for renovation. The Louvre and The Met have created a unique dialogue between these two collections, which is displayed in the Louvre’s permanent galleries. These ‘special guest’ artworks from The Met, dating from between the late 4th millennium BC and the 5th century AD, show some remarkable connections with the Louvre’s collection. In some cases, a pair of objects has been reunited for the first time, while in others, pieces complement each other by virtue of specific historical features of their respective collections. Representing Central Asia, Syria, Iran and Mesopotamia, this dialogue between collections is (re)introducing visitors to these extraordinary, age-old works of art and the stories they tell.

Created by artist and sculptor Carole Vincent the artwork features a large sundial design and fountain. The artwork was commissioned by Plymouth City Council as part of the pedestrianisation of the City Centre in 1987. The work was officially launched on 22 July 1988 by Queen Elizabeth II and commemorates the ‘Armada 400’ celebrations in the city. (Image courtesy of Plymouth Herald image archive) Cast in concrete with Terrazzo and stainless steel, the sundial also features 12 plinths around the outside. Information panels on top of the stone plinths offer in detail ways to ‘read’ the sundial in a range of different languages. The information plinths were made a particular feature of in 2010 when they were covered with decorative textiles as part of ‘Mrs Smith’s hit on Plymouth sundial’ – a secret commission by Plymouth College of Art. Guerrilla textiles installed overnight to the surprise of the public! The sundial is set to G.M.T which differs in the summer (B.S.T) by one hour in advance. The sun is also due south in Plymouth 17 minutes later than it is at Greenwich; therefore at some points of the year the dial runs 1 hour 17 minutes behind G.M.T. About the Artist Carole Vincent (1939-2019) was an artist working in concrete. She lived and worked in Boscastle, Cornwall. Painter as well as sculptor, she explored the use of natural colour and texture in concrete for sculpture. Her work with pigments achieved remarkable success, opening new doors to architects, engineers and planners. Her passion was to work on commissions for specific environments, ranging from public spaces to individual buildings and gardens.

Artist Ian McChesney created two opposing sculptural forms hand carved from solid granite, designed to resemble nautical bollards. Project Description Ian McChesney’s sculptures are a tribute to Plymouth’s maritime heritage and the many historic voyages that are part of Plymouth’s history as well as our own personal journeys. Each part is a two-tonne piece of granite from De Lank quarry (in nearby Bodmin), carved smoothly with a tactile appeal. McChesney was awarded the commission following an open brief competition led by Peninsula Arts, the arts and culture public programming organisation for University of Plymouth. The university started as a School of Navigation in 1862 and 2012 marked their 150th anniversary. The work was unveiled as part of the programme of year long celebrations in which more than 50,000 people took part.

A walkway, which has extended the coastal path through Plymouth, comprises a distinctively marked trail across 9.3 miles designed to enhance the rich social, industrial and naval history of Plymouth. This is an entertaining and engaging walk where art is used to highlight the city's history and heritage. The Plymouth Waterfront Walkway was developed by the City Council in 2002 as a unique part of the South West Coast Path National Trail. It links the Cremyll Ferry landing stage on the shores of the Tamar with Jennycliff on the eastern side of Plymouth Sound. Along the way you’ll come across larger than life characters such as Sir Arthur Conan Doyle, Isambard Kingdom Brunel, Robinson Crusoe and Lawrence of Arabia. Then there’s the wall of stars, a golden scallop, a ten ton rhino and so much more. The features were created by the artists of Why Not Associates, and bring to life many of the stories that make Plymouth special.

The mural is made up of varying sizes and textures of ceramic tiles in a mosaic design which highlights Plymouth’s agricultural and naval heritage. The differing glazes and patterns woven into the design represent the rich detail and description on the original maps. The work was initially unveiled by HRH Princess Anne in an underpass on the Drakes Circus site; but relocated in 2007 when the area was redeveloped into a new shopping centre.

A mirrored panel behind the figure reflects a warped vision of the work to represent the impact and distortion that war has on all ordinary life but particularly civilians and children. Commissioned by the University of Plymouth, the sculpture is located behind the University’s Portland Square Building as a memorial to those who lost their life at the site during the Second World War. The night of 22–23 April 1941 saw Plymouth’s heaviest loss of civilian life in a single incident in which 76 people are known to have died. The 'Hope' memorial sculpture is a lasting testament to those who tragically lost their lives that night in the underground bomb shelter, sited on what is now the University campus. The sculpture design itself was inspired by the harrowing account Favata was told by Portland Square Historian Tony Rees. He recounted the tale of a young couple who, on the night of the terrible bombing, sent their child to Plympton to be cared for. Sadly they died in the blast. As well as a symbol of hope; the sculpture stands as a tribute to the enduring spirit of the community. Favata said:“I wanted to make a statement about the tenacity of the people of Plymouth... When I learned about the disaster I started to think about all the wars Plymouth has gone through–the Armada, the civil war, the Napoleonic war, the First and Second World Wars–and I was struck by how much upheaval the people of Plymouth have survived.”

The sculpture is made of corten steel (a weathering steel) which gives it the appearance of rusting over time.‘Spare, simple, strong and timeless… its scale always totally in charge of its setting’ are words that have been used to describe the sculpture. Ann Christopher once said:‘I am drawn to the contemplative and calm image and that is what I strive for – journeys of discovery – journeys into the mind.’

The pub was demolished in the 1990s but the sign remained as a symbol for the community. The artist worked with the local residents and school to refurbish the sign with a new design inspired by memories of the pub and its landlord.

The Forest of Dean Sculpture Trail celebrates 30 years of commissioning contemporary artworks with two new permanent commissions by artists Henry Castle and Pomona Zipser, unveiled on 15th July 2016. In Coal Measure Giants, rising British star Henry Castle brings to the surface aspects of what lies hidden beneath the Forest’s surface. Exploring the geological, industrial and sociological aspects of the Forest’s history, visitors will be able to touch the fossilized remains of 300 million year old trees and see the form of the mine shaft sets that provided a livelihood for generations of local freeminers. Two sculptures placed 300 metres apart act as markers, measuring the depth of the coal seam that lies directly below the ground. The work invites the public to experience a physical expression of this vertical depth. Meanwhile, Yaşasin by established Romanian artist Pomona Zipser creates a space and a structure from which to contemplate and observe the ever-changing forest. Berlin-based Zipser’s sculpture has been handcrafted from sweet chestnut felled from the site of the Trail and Zipser has collaborated with local artists and craftsmen to make the sculpture. It makes a thought-provoking and visual connection to the surrounding environment, playing with density, dimensions and colour.

The Forest of Dean Sculpture Trail celebrates 30 years of commissioning contemporary artworks with two new permanent commissions by artists Henry Castle and Pomona Zipser, unveiled on 15th July 2016. In Coal Measure Giants, rising British star Henry Castle brings to the surface aspects of what lies hidden beneath the Forest’s surface. Exploring the geological, industrial and sociological aspects of the Forest’s history, visitors will be able to touch the fossilized remains of 300 million year old trees and see the form of the mine shaft sets that provided a livelihood for generations of local freeminers. Two sculptures placed 300 metres apart act as markers, measuring the depth of the coal seam that lies directly below the ground. The work invites the public to experience a physical expression of this vertical depth. Meanwhile, Yaşasin by established Romanian artist Pomona Zipser creates a space and a structure from which to contemplate and observe the ever-changing forest. Berlin-based Zipser’s sculpture has been handcrafted from sweet chestnut felled from the site of the Trail and Zipser has collaborated with local artists and craftsmen to make the sculpture. It makes a thought-provoking and visual connection to the surrounding environment, playing with density, dimensions and colour.

Beginning in 2016, the Glass Tank has been acquisitioning works of art from both the annual BA Fine Art Degree Show and School of Architecture End of Year Show. Just as the Glass Tank produces shows which are dedicated showing the work of it's staff, students and alumni; this collection is a celebration of the creativity and talent of Oxford Brookes students. The works, from both Art and Architecture are purchased into the Oxford Brookes Student Art Collection. Managed by the Glass Tank gallery, these art pieces are permanently mounted onto the walls of the University, and can be found across all of Brookes' campuses. As a public institution, the pieces of this collection are available for the public to view. Ranging in medium from film and photography to sculpture to print, the Student Art Collection is a must see for any one visiting Oxford. http://file:///C:/Users/p0078514/Downloads/Public%20Art%20Headington%20Road%20site%20(1).pdf

Guillaume Bottazzi is producing a painting 16 meters high and 7 meters wide sited at the emblematic Place Jourdan, the most pleasant of Brussels’ squares. With the partnership of European Commission and French Embassy in Belgium The desire of the artist to share leads him to install this outdoor workshop. The artist will paint alone from mid-October during 1 or 2 month. The visitors will be able to see the work in progress in front of them at any time! This painting will have a “dopamine” effect in its appeal to the senses. The work will inspire pleasure and a sense of well-being. Date: from October 26th to End-December 2016 and then permanent on public view.

Guillaume Bottazzi has signed more than forty artworks in public spaces. He created the biggest painting in Japan (900 square meters) on all the walls of the Miyanomori International Museum of Art in Sapporo. The artist is also the author of 6 paintings, each one 6m x 6m, at La Défense in Paris, the largest open-air contemporary art space in France. The painting, which can be seen by the public at its location in the European District and which took two and a half months to produce, is already well-known. The monumental artwork, 16 metres by 7 metres, now belongs to the heritage of Brussels-Capital. The painting is one of the first abstract works to be painted in the manner of the Old Masters. The abstract nature of the work and the traditional techniques used to produce it create a feeling of strangeness, a dichotomy. The artist worked alone to produce the work, using fine brushes and oil paints. Successive transparent overlays give depth, diffuse light and softness to the colours. Before starting to paint, the artist installed a supporting structure that enabled him to reproduce as closely as possible the techniques of creation he uses in the workshop. The poetic dimension of this painting will extend throughout Place Jourdan: the colours of the painting will appear on the street furniture in particular, especially the cafe parasols. This project was carried out with the partnership of the European Commission in Belgium and support of the French Embassy. More reading: http://www.guillaume.bottazzi.org

Explore the interactive displays, listen to recordings and view the different objects on display to gain an insight into the work, life, and cultural context of one of the twentieth century’s most significant writers. The exhibition is family friendly, free, and open Tuesday to Sunday. The exhibition comprises a main room, a temporary exhibition area which houses changing displays, and a learning space which is open to the public when not in use for workshops. There’s lots to explore on the interactive Timeline, such as the Children’s Trail which features some of the animals that appear in Dylan’s writing. Follow the People Trail around the Timeline, too, and discover some of the key people in Dylan’s life, and the rich cultural context in which he lived and worked. One section in the centre of the exhibition is dedicated to Dylan the writer, and another to Dylan the performer. There are fun interactives, and touchscreens which tell the story of Dylan’s Notebooks, explore his famous poem ‘Do not go gentle into that good night’ and look at the circumstances surrounding his death. Listen to Dylan himself, and those who knew him, via the built-in speakers in the chairs.

This May, Vivacity will be proudly re-siting Antony Gormley’s first sculpture commission, Places to Be, 30 years after the piece was first installed at Monkstone House, Peterborough. Due to vandalism at their second location, Peterborough Boat Lake, the figures were removed and held in storage- until now. The piece has been carefully restored by the Artist and Vivacity, and is now ready to be re-shared with the public. Placed on the rooftops of Queensgate Shopping Centre, Leeds Building Society, and Norwich & Peterborough Building Society, the lead, life-sized figures of Antony Gormley’s Places to Be, will find their home within the Peterborough City Centre skyline for public view on the 25th May 2018.

Liverpool Mountain is Swiss-artist Ugo Rondinone’s first public artwork in the UK and the first of its kind in Europe. Inspired by naturally occurring Hoodoos (spires or pyramids of rock) and the art of meditative rock balancing, this 10-metre high sculpture stands within Mermaid Courtyard, outside Tate Liverpool on the Royal Albert Dock Liverpool. It consists of coloured rocks, stacked vertically which seem to defy gravity. This outdoor sculpture marks the 10th anniversary of Liverpool European Capital of Culture, the 20th anniversary of Liverpool Biennial and the 30th anniversary of Tate Liverpool. Commissioned by Liverpool Biennial and Tate Liverpool as part of the Liverpool 2018 events programme with support from Royal Albert Dock Liverpool.