do it (home)
Since its inception, do it has grown from 12 to over 400 sets of artists’ instructions, and has been shown in more than 150 art spaces in over 15 countries. To its curator Hans Ulrich Obrist, “do it has always been global and local.” Since 1995, when it became a part of ICI’s traveling exhibitions program, do it has been realized in close to 100 art spaces internationally. With the relaunch of do it (home), the project’s expansion continues. ICI joined in with the Serpentine Galleries in London and Kaldor Public Art Projects in Sydney on do it (around the world), a new chapter of Obrist's exhibition-in-progress.
In response to the COVID-19 crisis, ICI has also made do it (home) available to art spaces within its international network, free of charge, with the support of ICI’s Board of Trustees, contributors to ICI’s Access Fund, and the Jeanne and Dennis Masel Foundation. Over 30 collaborating art spaces have already joined the movement, simultaneously distributing do it (home) to their local audiences and communities around the world.
For more information about how to join the Collaborating Art Spaces and present do it (home), contact Becky Nahom at 212.254.8200 x 205, or firstname.lastname@example.org.
Collaborating Art Spaces: 220 Cultura Contemporánea (Córdoba, Argentina); Agnes Etherington Art Centre (Kingston, Canada); Albanian Institute (New York, New York); Art Museum, University of Saint Joseph (West Hartford, Connecticut); Australian National University School of Art & Design Gallery (Acton, Australia); Cantor Fitzgerald Gallery, Haverford College (Haverford, Pennsylvania); Carolyn Campagna Kleefeld Contemporary Art Museum (Long Beach, California); Centro de Arte Oliva (São João da Madeira, Portugal); Cincinnati Art Museum (Cincinnati, Ohio); Clay Center for the Arts & Sciences of West Virginia (Charleston, West Virginia); CSPS (Cedar Rapids, Iowa); Dahl Arts Center (Rapid City, South Dakota); DeVos Art Museum (Marquette, Michigan); EXPO Chicago (Chicago, Illinois); Faculty of Fine Arts, University of Porto (Porto, Portugal); Garage Museum of Contemporary Art (Moscow, Russia); Grey Art Gallery (New York, New York); Havana Art Weekend (Havana, Cuba); Ilmin Museum of Art, Seoul (Seoul, South Korea); Kitchener-Waterloo Art Gallery (Kitchener, Canada); Longwood Center for the Visual Arts (Farmville, Virginia); Marjorie Barrick Museum of Art, University of Nevada, Las Vegas (Las Vegas, Nevada); Michaelis Galleries, Michaelis School of Fine Art, University of Cape Town (Cape Town, South Africa); Miller Institute for Contemporary Art (Pittsburgh, Pennsylvania); MOCA Toronto (Toronto, Canada); Monmouth Museum (Middletown, New Jersey); Museu de Arte Contemporânea do Paraná (Curitiba, Brazil); National Academy of Design (New York, New York); National Art Gallery of The Bahamas (Nassau, The Bahamas); Norton Museum of Art (West Palm Beach, Florida); NSU Art Museum Fort Lauderdale (Fort Lauderdale, Florida); Pratt Manhattan Gallery (New York, New York); Procesual (Montevideo, Uruguay); Queens Museum (Corona, New York); Reykjavik Art Museum (Reykjavik, Iceland); Samek Art Museum, Bucknell University (Lewisburg, Pennsylvania); Samstag Museum of Art, University of South Australia (Adelaide, Australia); San José Museum of Art (San José, California); South Bend Museum of Art (South Bend, Indiana); The Bass, Miami Beach (Miami Beach, Florida); The Episcopal Academy (Newtown Square, Pennsylvania); The Gund Gallery at Kenyon College (Gambier, Ohio); Virginia Museum of Contemporary Art (Virginia Beach, Virginia); Weisman Art Museum (Minneapolis, Minnesota); YT Media (Beijing, China); and Zimmerli Art Museum at Rutgers University (New Brunswick, New Jersey)