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October 16, 2025

cancelled

Talks & Conversations

Design, Pedagogy, Access

–

Registration Required

October 17, 2025

Finding Awe

We all could use a little more awe in our lives, and art is the perfect place to start. In this series of interactive workshops, explore where artists have found awe, how it has inspired their work, and meditate on awe in your own life.   Learn More about Finding Awe

2:15 p.m. - 4:00 p.m.

Registration Required

cancelled

An armored man on horseback hands a piece of emerald-green cloth down to the nearly nude man standing next to him in this slightly stylized, vertical painting. Both men have light skin, and they, along with the horse, nearly fill the composition. To our right, the bright white horse stands angled to our right with the front left hoof raised. It has a smoke-gray mane, and wears a black bridle. The man riding the horse has short, copper-blond hair and a long face with a pointed chin. He looks down at the ground with dark eyes under black, arched brows. He has a long, thin nose, and his small lips are closed and framed by the faint suggestion of a mustache. He wears a white ruff pleated into figure-eights over his high-necked armor, which is liberally outlined and decorated with gold against the pewter-colored plates. He grips the voluminous, green cape in one hand and holds a sword in the other, down by the leg we can see. The cleanshaven man next to him, to our left, looks off to our right in profile. He has close-cropped, dark hair and smooth skin. His lips are parted, and he tips his head slightly away from us. He holds the green cloth with the hand closer to the horse and gestures down with his other pointer finger, in front of his hip. A white cloth bandage is wrapped around one shin, and he rests his weight on the other leg. The horse and man stand on a curving spit of brown earth. A spring-green landscape dips down behind them, running low near the bottom edge of the painting. The horizon comes about a quarter of the way up the composition, and fog-gray and white clouds create thin screens across the topaz-blue sky. The loose brushstrokes are visible in some areas, especially in the landscape and clothing. The artist signed his name in Greek near the lower right corner.
Talks & Conversations
Finding Awe: El Greco’s Saint Martin and the Beggar 

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West Building Main Floor, Gallery 28

Registration Required

October 18, 2025

Finding Awe

We all could use a little more awe in our lives, and art is the perfect place to start. In this series of interactive workshops, explore where artists have found awe, how it has inspired their work, and meditate on awe in your own life.   Learn More about Finding Awe

10:30 a.m. - 4:00 p.m.

Registration Required

cancelled

An armored man on horseback hands a piece of emerald-green cloth down to the nearly nude man standing next to him in this slightly stylized, vertical painting. Both men have light skin, and they, along with the horse, nearly fill the composition. To our right, the bright white horse stands angled to our right with the front left hoof raised. It has a smoke-gray mane, and wears a black bridle. The man riding the horse has short, copper-blond hair and a long face with a pointed chin. He looks down at the ground with dark eyes under black, arched brows. He has a long, thin nose, and his small lips are closed and framed by the faint suggestion of a mustache. He wears a white ruff pleated into figure-eights over his high-necked armor, which is liberally outlined and decorated with gold against the pewter-colored plates. He grips the voluminous, green cape in one hand and holds a sword in the other, down by the leg we can see. The cleanshaven man next to him, to our left, looks off to our right in profile. He has close-cropped, dark hair and smooth skin. His lips are parted, and he tips his head slightly away from us. He holds the green cloth with the hand closer to the horse and gestures down with his other pointer finger, in front of his hip. A white cloth bandage is wrapped around one shin, and he rests his weight on the other leg. The horse and man stand on a curving spit of brown earth. A spring-green landscape dips down behind them, running low near the bottom edge of the painting. The horizon comes about a quarter of the way up the composition, and fog-gray and white clouds create thin screens across the topaz-blue sky. The loose brushstrokes are visible in some areas, especially in the landscape and clothing. The artist signed his name in Greek near the lower right corner.
Talks & Conversations
Finding Awe: El Greco’s Saint Martin and the Beggar 

–

West Building Main Floor, Gallery 28

Registration Required

cancelled

An armored man on horseback hands a piece of emerald-green cloth down to the nearly nude man standing next to him in this slightly stylized, vertical painting. Both men have light skin, and they, along with the horse, nearly fill the composition. To our right, the bright white horse stands angled to our right with the front left hoof raised. It has a smoke-gray mane, and wears a black bridle. The man riding the horse has short, copper-blond hair and a long face with a pointed chin. He looks down at the ground with dark eyes under black, arched brows. He has a long, thin nose, and his small lips are closed and framed by the faint suggestion of a mustache. He wears a white ruff pleated into figure-eights over his high-necked armor, which is liberally outlined and decorated with gold against the pewter-colored plates. He grips the voluminous, green cape in one hand and holds a sword in the other, down by the leg we can see. The cleanshaven man next to him, to our left, looks off to our right in profile. He has close-cropped, dark hair and smooth skin. His lips are parted, and he tips his head slightly away from us. He holds the green cloth with the hand closer to the horse and gestures down with his other pointer finger, in front of his hip. A white cloth bandage is wrapped around one shin, and he rests his weight on the other leg. The horse and man stand on a curving spit of brown earth. A spring-green landscape dips down behind them, running low near the bottom edge of the painting. The horizon comes about a quarter of the way up the composition, and fog-gray and white clouds create thin screens across the topaz-blue sky. The loose brushstrokes are visible in some areas, especially in the landscape and clothing. The artist signed his name in Greek near the lower right corner.
Talks & Conversations
Finding Awe: El Greco’s Saint Martin and the Beggar 

–

West Building Main Floor, Gallery 28

Registration Required

The Stars We Do Not See: Australian Indigenous Art Opening Weekend

Celebrate the opening of the once-in-a-lifetime exhibition The Stars We Do Not See: Australian Indigenous Art with a curator-led gallery talk, a film screening, and more.  Learn More about Australian Indigenous Art Opening Weekend

11:00 a.m. - 2:00 p.m.

Registration Required

cancelled

Talks & Conversations
Artist Talk: Marlene Gilson and Alick Tipoti

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East Building Auditorium

Registration Required

cancelled

Tiger Palpatja, Wati Wanampi Tjukurpa, 2010, synthetic polymer paint on canvas, National Gallery of Victoria, Melbourne, Purchased in memory of Graeme Marshall with funds donated by Harriet and Richard England and Anne and Ian McLean, 2011 © Tiger Palpatja/Copyright Agency, 2024. Photo: Jeremy Dillon / NGV
Talks & Conversations
Gallery Talk—The Stars We Do Not See: Australian Indigenous Art 

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East Building Concourse

October 19, 2025

cancelled

Talks & Conversations

A Snapshot of Photography and the Black Arts Movement, 1955-1985

West Building Rotunda

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October 20, 2025

cancelled

Talks & Conversations

A Snapshot of Photography and the Black Arts Movement, 1955-1985

West Building Rotunda

–

October 21, 2025

Talks & Conversations

A Snapshot of Photography and the Black Arts Movement, 1955-1985

West Building Rotunda

–

October 24, 2025

Talks & Conversations

Poetry Writing Workshop: Where We At!

West Building Main Floor, Gallery 77

–

Registration Required

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