{"id":1718,"date":"2021-07-28T11:04:08","date_gmt":"2021-07-28T18:04:08","guid":{"rendered":"http:\/\/localhost.artandpractice\/?page_id=1718"},"modified":"2021-08-10T13:59:20","modified_gmt":"2021-08-10T20:59:20","slug":"exhibitions","status":"publish","type":"page","link":"https:\/\/artandpractice.org\/es\/archive\/exhibitions\/","title":{"rendered":"Exposiciones"},"content":{"rendered":"
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\"\" grabaci\u00f3n de v\u00eddeo<\/p>\n <\/div>\n

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\"\"grabaci\u00f3n de audio<\/p>\n <\/div>\n

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\"\"transcripci\u00f3n<\/p>\n <\/div>\n

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\"\"programaci\u00f3n en vivo<\/p>\n <\/div>\n

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\"\"grabaci\u00f3n pregrabada<\/p>\n <\/div>\n <\/div>\n\n

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\n Exposici\u00f3n <\/span><\/a>\n <\/h2>\n <\/div>\n
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\n Colaborador <\/span><\/a>\n <\/h2>\n <\/div>\n
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\n A\u00f1o <\/span><\/a>\n <\/h2>\n <\/div>\n <\/div>\n\n
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\n \"\"\n <\/p>\n <\/div>\n

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\n Kinship & community: selections from the texas african american photography archive<\/a>\n <\/p>\n <\/div>\n

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THE CALIFORNIA AFRICAN AMERICAN MUSEUM<\/p>\n <\/div>\n

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\n abril 18, 2026 <\/p>\n <\/div>\n <\/div>\n

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\n \"\"\n <\/p>\n <\/div>\n

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\n RAHIM FORTUNE BETWEEN A MEMORY AND ME<\/a>\n <\/p>\n <\/div>\n

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THE CALIFORNIA AFRICAN AMERICAN MUSEUM<\/p>\n <\/div>\n

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\n abril 18, 2026 <\/p>\n <\/div>\n <\/div>\n

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\n \"\"\n <\/p>\n <\/div>\n

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\n Te doy lo mejor de m\u00ed.<\/a>\n <\/p>\n <\/div>\n

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Museo Afroamericano de California<\/p>\n <\/div>\n

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\n 11 de octubre de 2025 <\/p>\n <\/div>\n <\/div>\n

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\n \"\"\n <\/p>\n <\/div>\n

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\n J. Yolande Daniels: Hacia un espacio-tiempo futuro<\/a>\n <\/p>\n <\/div>\n

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Museo Afroamericano de California<\/p>\n <\/div>\n

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\n 5 de abril de 2025 <\/p>\n <\/div>\n <\/div>\n

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\n \"\"\n <\/p>\n <\/div>\n

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\n TEOR\u00cdA DEL KAOS: Las artes medi\u00e1ticas afroc\u00f3smicas de Ben Caldwell<\/a>\n <\/p>\n <\/div>\n

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Museo Afroamericano de California<\/p>\n <\/div>\n

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\n 12 de octubre de 2024 <\/p>\n <\/div>\n <\/div>\n

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\n \"\"\n <\/p>\n <\/div>\n

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\n TATYANA FAZLALIZADEH: ENCONTRANDO TERRENO BLANDO<\/a>\n <\/p>\n <\/div>\n

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Museo Afroamericano de California <\/p>\n <\/div>\n

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\n 6 de abril de 2024 <\/p>\n <\/div>\n <\/div>\n

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\n \"\"\n <\/p>\n <\/div>\n

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\n BAHIA REVERB: ARTISTAS Y LUGAR<\/a>\n <\/p>\n <\/div>\n

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Museo Afroamericano de California<\/p>\n <\/div>\n

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\n septiembre 16, 2023 <\/p>\n <\/div>\n <\/div>\n

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\n \"\"\n <\/p>\n <\/div>\n

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\n HELEN CAMMOCK: CONSERVAR\u00c9 MI ALMA<\/a>\n <\/p>\n <\/div>\n

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Museo Afroamericano de California<\/p>\n <\/div>\n

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\n febrero 11, 2023 <\/p>\n <\/div>\n <\/div>\n

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\n \"\"\n <\/p>\n <\/div>\n

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\n THADDEUS MOSLEY: BOSQUE<\/a>\n <\/p>\n <\/div>\n

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El Museo de Arte de Baltimore<\/p>\n <\/div>\n

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\n septiembre 17, 2022 <\/p>\n <\/div>\n <\/div>\n

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\n \"\"\n <\/p>\n <\/div>\n

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\n JUSTEN LEROY: PONME EN ALABANZA<\/a>\n <\/p>\n <\/div>\n

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Museo Afroamericano de California<\/p>\n <\/div>\n

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\n septiembre 17, 2022 <\/p>\n <\/div>\n <\/div>\n

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\n \"\"\n <\/p>\n <\/div>\n

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\n CHLO\u00c9 BAJO | #SKY #NOFILTER: RETROSPECTIVA PARA UNA AM\u00c9RICA FUTURA<\/a>\n <\/p>\n <\/div>\n

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Museo Afroamericano de California<\/p>\n <\/div>\n

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\n septiembre 17, 2022 <\/p>\n <\/div>\n <\/div>\n

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\n \"\"\n <\/p>\n <\/div>\n

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\n DEBORAH ROBERTS: SOY<\/a>\n <\/p>\n <\/div>\n

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El Museo Afroamericano de California<\/p>\n <\/div>\n

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\n 19 de marzo de 2022 <\/p>\n <\/div>\n <\/div>\n

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\n \"\"\n <\/p>\n <\/div>\n

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\n BLONDELL CUMMINGS: LA BAILE COMO FOTOS EN MOVIMIENTO<\/a>\n <\/p>\n <\/div>\n

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El Instituto de Investigaciones Getty<\/p>\n <\/div>\n

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\n 18 de septiembre de 2021 <\/p>\n <\/div>\n <\/div>\n

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\n \"\"\n <\/p>\n <\/div>\n

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\n CONSTELACI\u00d3N COLECTIVA: SELECCIONES DE LA COLECCI\u00d3N EILEEN HARRIS NORTON<\/a>\n <\/p>\n <\/div>\n

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Museo del martillo<\/p>\n <\/div>\n

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\n febrero 8, 2020 <\/p>\n <\/div>\n <\/div>\n

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\n \"\"\n <\/p>\n <\/div>\n

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\n LA REUNION<\/a>\n <\/p>\n <\/div>\n

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El Museo de Arte de Baltimore<\/p>\n <\/div>\n

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\n 12 de octubre de 2019 <\/p>\n <\/div>\n <\/div>\n

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\n \"\"\n <\/p>\n <\/div>\n

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\n RUMINACI\u00d3N Y RECONOCIMIENTO<\/a>\n <\/p>\n <\/div>\n

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El Museo de Arte de Baltimore<\/p>\n <\/div>\n

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\n 12 de octubre de 2019 <\/p>\n <\/div>\n <\/div>\n

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\n \"\"\n <\/p>\n <\/div>\n

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\n EL TIEMPO SE EST\u00c1 ACABANDO: PEL\u00cdCULA EXPERIMENTAL Y VIDEO DE LA REBELLION Y HOY<\/a>\n <\/p>\n <\/div>\n

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El ancho<\/p>\n <\/div>\n

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\n febrero 2, 2019 <\/p>\n <\/div>\n <\/div>\n

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\n \"\"\n <\/p>\n <\/div>\n

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\n LA ESCLAVITUD, EL COMPLEJO INDUSTRIAL DE LA PRISI\u00d3N<\/a>\n <\/p>\n <\/div>\n

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Museo de Arte Frist<\/p>\n <\/div>\n

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\n 22 de septiembre de 2018 <\/p>\n <\/div>\n <\/div>\n

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\n \"\"\n <\/p>\n <\/div>\n

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\n SENGA NENGUDI, OBJETOS DE ACTUACI\u00d3N (1976-2017)<\/a>\n <\/p>\n <\/div>\n

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El Museo de Arte de Baltimore<\/p>\n <\/div>\n

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\n 23 de junio de 2018 <\/p>\n <\/div>\n <\/div>\n

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\n \"\"\n <\/p>\n <\/div>\n

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\n EL ESP\u00cdRITU DE LAS COSAS<\/a>\n <\/p>\n <\/div>\n

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El Museo de Arte de Baltimore<\/p>\n <\/div>\n

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\n febrero 24, 2018 <\/p>\n <\/div>\n <\/div>\n

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\n \"\"\n <\/p>\n <\/div>\n

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\n MUESTREO Y ENCUESTADO<\/a>\n <\/p>\n <\/div>\n

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<\/p>\n <\/div>\n

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\n septiembre 9, 2017 <\/p>\n <\/div>\n <\/div>\n

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\n \"\"\n <\/p>\n <\/div>\n

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\n JUEGO ESPIRAL<\/a>\n <\/p>\n <\/div>\n

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El Museo de Arte de Baltimore<\/p>\n <\/div>\n

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\n 22 de abril de 2017 <\/p>\n <\/div>\n <\/div>\n

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\n \"\"\n <\/p>\n <\/div>\n

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\n NEGRO, BLANCO, GRIS<\/a>\n <\/p>\n <\/div>\n

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El Museo de Arte Rosa de la Universidad Brandeis<\/p>\n <\/div>\n

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\n 12 de noviembre de 2016 <\/p>\n <\/div>\n <\/div>\n

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\n \"\"\n <\/p>\n <\/div>\n

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\n UNA TEMPORADA EN HE'LL<\/a>\n <\/p>\n <\/div>\n

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Museo del martillo<\/p>\n <\/div>\n

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\n 9 de julio de 2016 <\/p>\n <\/div>\n <\/div>\n

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\n \"\"\n <\/p>\n <\/div>\n

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\n UNA FORMA QUE SE LEVANTA<\/a>\n <\/p>\n <\/div>\n

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Museo del martillo<\/p>\n <\/div>\n

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\n 19 de marzo de 2016 <\/p>\n <\/div>\n <\/div>\n

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\n \"\"\n <\/p>\n <\/div>\n

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\n HOMBRE DE TRAPO<\/a>\n <\/p>\n <\/div>\n

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Museo del martillo<\/p>\n <\/div>\n

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\n 12 de diciembre de 2015 <\/p>\n <\/div>\n <\/div>\n

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\n \"\"\n <\/p>\n <\/div>\n

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\n NJIDEKA AKUNYILI CROSBY: LAS HERMOSAS Y DOS PEL\u00cdCULAS DE AKOSUA ADOMA OWUSU<\/a>\n <\/p>\n <\/div>\n

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Museo del martillo<\/p>\n <\/div>\n

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\n 12 de septiembre de 2015 <\/p>\n <\/div>\n <\/div>\n

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\n \"\"\n <\/p>\n <\/div>\n

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\n ARTISTAS EN RESIDENCIA: DALE BROCKMAN DAVIS, AALIA BROWN Y SANDY RODRIGUEZ<\/a>\n <\/p>\n <\/div>\n

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Museo del martillo<\/p>\n <\/div>\n

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\n 11 de julio de 2015 <\/p>\n <\/div>\n <\/div>\n

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\n \"\"\n <\/p>\n <\/div>\n

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\n LIBRETTOS: MANUEL DE FALLA \/ STOKELY CARMICHAEL<\/a>\n <\/p>\n <\/div>\n

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Museo del martillo<\/p>\n <\/div>\n

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\n 28 de febrero de 2015 <\/p>\n <\/div>\n <\/div>\n <\/div>\n\n <\/div>\n<\/section>","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"parent":1716,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-1718","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/pages\/1718","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/comments?post=1718"}],"version-history":[{"count":4,"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/pages\/1718\/revisions"}],"predecessor-version":[{"id":1761,"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/pages\/1718\/revisions\/1761"}],"up":[{"embeddable":true,"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/pages\/1716"}],"wp:attachment":[{"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/media?parent=1718"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}