#ren100

[renaissancesociety]

Ree Morton, Signs of Love (1976), from her posthumous 1981 retrospective.

Morton's work Let Us Celebrate While Youth Lingers and Ideas Flow (1975), also presented in that retrospective, inspired the title of our forthcoming archive exhibition, which opens in November. This is the last of our ‪#‎Ren100‬ posts, so join us then to see more from our history.

In the meantime, today we opened Irena Haiduk's Seductive Exacting Realism, which runs through Oct 8, and is the first exhibition in our Centennial program. She'll speak as part of the opening reception tomorrow evening.

[renaissancesociety]

Tomorrow is the last day of our #Ren100 archive posts, but it’s also the first day of our Centennial program. Irena Haiduk, Seductive Exacting Realism opens tomorrow, and we’re hosting an opening reception and artist talk on Friday evening from 6 to 9pm. Join us!

Image: SER Logo for the Renaissance Society, 2015. Dimensions and distribution variable. Design: Till Wiedeck.

[renaissancesociety]

Installation view of Joan Jonas, "Lines in the Sand" and "The Shape, the Scent, the Feel of Things” from 2004 

[renaissancesociety]

Cover of Fall 1988 newsletter with image of Mike Kelley at the opening of his exhibition Three Projects

[renaissancesociety]

Invitation to 1943 exhibition Self-Portraits through the Ages

[renaissancesociety]

Julia Fish, Cumulous (1990), from her 1996 Renaissance Society exhibition, View — Selected Drawings and Paintings 1985–1995 

[renaissancesociety]

Label from our 1976 exhibition of work by Robert Smithson, Mirror/Salt Works

[renaissancesociety]

From the US debut of Club Moral, artist Anne-Mie van Kerckhoven’s experimental industrial noise band, during her 2011 exhibition here