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March 30, 2017. New York City (NYC) never ceases to amaze you with quantity and quality of its free culture and free entertainment whether it's summer or winter, spring or fall, January or June, May or September.
New York's cultural scene is at its busiest in October and March (and the same goes for free events, free things to do), but other months of the year still offer incredible amount of high quality, off the beaten path, unique free events, free things to do which will take your breath away!
So start using these unique New York City opportunities today, March 30, 2017!
Free things to do, free events that take place in New York City every day of the year are truly amazing. So if you're looking for something interesting to do today (March 30, 2017) or on any other day of the year don't miss those free-of-charge opportunities that only New York provides! You can find lots of high quality, off the beaten path, unique free events, free things to do which will take your breath away!
Featuring work by:
Alison Reiko Loader and Christopher Plenzich
A humanist truism states that there is no art in the non-human world. And yet, there is much that is not human in art. Indeed, art history often begins with depictions of animals (usually the iconic horses of Lascaux Caves), as well as objects made from their bodies, such as etched shells, or carved bones and teeth. While assuming that such images and artifacts inaugurate an uninterrupted aesthetic evolution spanning human existence is questionable, it is nonetheless tempting to see in them one of art’s formative paradoxes: borne of our closeness with animals, it also marks our movement away from them.
Although contemporary art continues to be defined by human activities, the notion of animal culture now serves as a point of departure for a range of artistic practices focused on multispecies aesthetics and interspecies communication. Animal Intent explores trends through the work of artists who partner with non-humans in the creation of unique aesthetic languages. Rather than merely representing animals, using them as surrogates, or politicizing their bodies as part of a broad social critique, these artists treat animal instinct as a form of stylistic invention in its own right. As such, their work questions the validity of anthropocentric theories of creative labor by emphasizing the aesthetic intention of animals. Animal Intent thus highlights the possibilities, limits, and ethics of collaborating with non-human others in the realization of artistic projects, while subtly questioning theories of the post-human and its contrary: the anthroposcene.