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Art in the Age of the Internet, 1989 to Today examines how the Internet has radically changed the field of art, especially in its production, distribution, and reception.

The exhibition comprises a broad range of works across a variety of mediums—including painting, performance, photography, sculpture, video, and web-based projects—that all investigate the extensive effects of the Internet on artistic practice and contemporary culture.

The Drents Museum focuses on art from 1945 to 1965, while the Kunsthalle Emden focuses on the period from 1965 to the present.

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They show, for example, the real living conditions of the Americans, represent societal criticism and political positions, and focus on the human figure and human existence in the USA. Peoples, places and worlds beyond at the British Museum, London, England.

This exhibition will display objects that reveal the practice and expression of religious beliefs in the lives of individuals and communities through time and around the world.

Included in group exhibition Art and China after 1989: Theater of the World at the Solomon R. Art and China after 1989: Theater of the World is a major exhibition of contemporary art from China spanning 1989 to 2008, arguably the most transformative period of modern Chinese and recent world history.

The largest show of this subject ever mounted in North America, it offers an interpretative survey of Chinese experimental art framed by the geopolitical dynamics attending the end of the Cold War, the spread of globalization, and the rise of China...

The double exhibition, which will take place parallel in the Drents Museum Assen (NL) and in the Kunsthalle Emden, presents American realism from 1945 to the present, including works by Edward Hopper, Andy Warhol, Alice Neel, Richard Diebenkorn, Martha Rosler, Alex Katz and Chuck Close.

It is the first great overview exhibition on American realism in Europe.

This abstraction, supported by influential art critics, is opposed to American realism, which developed parallel to it.

The various currents and artistic positions of American realism play a part in the development of American art, which is only partly appreciated by the art world.

The New Museum has been committed to urgent ideas since its inception, devoting many exhibitions and programs over the years to issues of representation with regard to gender and sexuality: “Extended Sensibilities” (1982), “Difference” (1984–85), “Homo Video” (1986–87), and “Bad Girls” (1994) are just four notable examples.

Following in this tradition, and in the Museum’s 40th anniversary year, “Trigger” extends the conversation around identity, considering how even a fluid conception of gender is nonetheless marked by ongoing negotiations of power and cannot be understood outside its complex intersections with race, class, sexuality, and disability. With his imposing paunch, outsized neckties, and pompadour as pointy as Woody Woodpecker’s beak, Donald Trump has the most recognizable profile of any American president since Richard Nixon.

The exhibition will show some sixty works by this hitherto little noticed “artists’ artist”, including groundbreaking series such as his Ice Box Paintings, his comics narratives and Vietnam paintings from the 1950s and 1960s, as well as never-before-exhibited drawings and selected late works from the 1980s to the 2000s...

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