Category: News and Events

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Pattie Chalmers: The Thing of It

Thomas Hunter Project Space
Thomas Hunter Building
68th Street and Lexington Avenue
New York, NY

Through April 27
Closing Reception: April 27, 6-8pm

Thomas Hunter Project Space is proud to present Pattie Chalmers’ piece “Every Day I Think of You”, a project about the power of objects to remind us of an individual. Each of the 365 terra cotta objects made by Chalmers over the past five months possess an aura of someone she has known.

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Lynne Cooke, Commensurables or Incommensurables:
a curatorial quandary

Roosevelt House, Hunter College
47-49 East 65th Street
New York, NY

May 3, 7pm

The Hunter College Department of Art and Art History is pleased to announce a public lecture by Lynne Cooke, Senior Curator for Special Projects in Modern Art at the National Gallery of Art in Washington, D.C., Thursday, May 3, 2018, at 7:00 pm at Hunter’s Roosevelt House, 47-49 East 65th St in Manhattan. The talk is free and open to the public.

Lynne Cooke is Senior Curator for Special Projects in Modern Art at the National Gallery of Art in Washington, D.C. From 2012-14, she was Andrew W. Mellon Professor at the Center for Advanced Study in the Visual Arts at the National Gallery of Art. From 2008-12, she served as chief curator and deputy director of the Museo Nacional Centro de Arte Reina Sofia in Madrid, and from 1991 to 2008, as Curator at Dia Art Foundation. In 1991, Cooke co-curated the Carnegie International, and has helmed numerous major shows since, including the 10th Biennale of Sydney (1996) and the traveling exhibition Rosemarie Trockel: Cosmos (2012).  In 2018 she curated Outliers and American Vanguard Art, which explores the interface between mainstream and outlier artists in the United States in the twentieth century; the exhibition is on view at the National Gallery through May 18, 2018.  Cooke has written widely on contemporary and self-taught art.

RSVP here

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Tania Bruguera, Zabar Visiting Artist Lecture

Hunter MFA Studios, Second Floor
205 Hudson Street
New York, NY

May 9, 7pm

RSVP here

The Hunter College Department of Art and Art History is pleased toannounce a public lecture by Tania Bruguera, the Spring 2018 Judith Zabar Visiting Artist. Wednesday, May 9, 2018, at 7:00 pm at Hunter’s MFA Studiosat 205 Hudson Street in Tribeca.

For over 25 years Tania Bruguera has created socially engaged performances and installations that examine the nature of political power structures and their effect on the lives of their constituencies. Her research focuses on ways in which art can be applied to everyday political life, and on the transformation of social affect into political effectiveness. Her long-term projects are intensive interventions on the institutional structure of collective memory, education, and politics. Her works often expose the social effects of political forces and present global issues of power, migration, censorship, and repression through participatory works that turn “viewers” into “citizens.”

By creating proposals and aesthetic models for others to use and adapt, she defines herself as an initiator rather than an author, and often collaborates with multiple institutions as well as many individuals so that the full realization of her artwork occurs when others adopt and perpetuate it.

Tania Bruguera has been awarded an honorary doctorate by The School of the Art Institute of Chicago, selected one of the 100 Leading Global Thinkers by Foreign Policy magazine, and was shortlisted for the #Index100 Freedom of Expression Award. She is a Herb Alpert Award winner, and has been a Guggenheim, Radcliffe and Yale World Fellow. She was the
first artist-in-residence in the New York City Mayor’s Office of Immigrant Affairs. Bruguera has recently opened the Hannah Arendt International Institute for Artivism, in Havana: a school, exhibition space, and think tank for activist artists and Cubans.

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Madeline Hollander, Sean Raspet, Sam Lewitt at The Artist’s Institute

132 East 65th Street
New York, NY

Through May 25

Madeline Hollander’s New Max will be performed every Saturday from 2-6pm.

This spring, the Artist’s Institute’s program brings us closer to the surprising, unstable, and powerful capacities of matter. In the physical sciences and economics, we sometimes call this kind of work energetics―the study of the way that energy flows through a system. For the art field, an emphasis on energetics reorients aesthetics to material expression, sometimes a material expression that exceeds that of the artist’s own imagination or will. Through artworks, talks, and other events this spring, the Institute’s fellows are engaging with energy as an animating force. Energy has the capacity to synthesize molecules. Energy heats up a room.

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Queenie: Selected artworks by female artists from El Museo del Barrio’s permanent collection

Hunter East Harlem Gallery
2180 3rd Avenue at 119th Street
New York, NY

Through June 23

Tania Bruguera, Margarita Cabrera, Maria Fernanda Cardoso, Melba Carillo, Marta Chilindron, Alessandra Expósito, Iliana Emilia Garcia, Dulce Gomez, Cristina Hernández Botero, Carmen Herrera, Jessica Kairé, Carmen Lomas Garza, Evelyn López de Guzmán, Anna Maria Maiolino, Ana Mendieta, Marina Núñez del Prado, Liliana Porter, Raquel Rabinovich, Scherezade, Nitza Tufiño, among others.

New artwork commissions by Melissa Calderón, Alessandra Expósito, and Glendalys Medina.

QUEENIE features a selection of artworks by female artists across various media from the permanent collection of El Museo del Barrio. The exhibition highlights the institution’s collection with a particular focus on the female artists and QUEENIE takes its title from a sculpture by Alessandra Expósito. The exhibition brings together works which prompt a multifarious dialogue around society and gender through the artists’ varying perspectives and experiences. As part of the exhibition, HEHG has invited four NYC-based artists to respond to the exhibition with a new commission that further explores the connections among the collecting process, societal change, and a gendered experience.

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Let us hear about your exhibitions, events, and projects. Use #HunterMFA to appear on the MFA community feed.

The MFA/205 Hudson website now features social media posts tagged with #HunterMFA and/or #HunterMFAshows (for student, faculty, staff, and alumni exhibitions and events).

B. Wurtz, MFASO Lecture

Hunter MFA Studios, 2nd Floor Flex Space
205 Hudson Street
New York, NY

April 18, 7pm

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Pattie Chalmers: The Thing of It

Thomas Hunter Project Space
Thomas Hunter Building
68th Street and Lexington Avenue
New York, NY

Through April 27
Closing Reception: April 27, 6-8pm

Thomas Hunter Project Space is proud to present Pattie Chalmers’ piece “Every Day I Think of You”, a project about the power of objects to remind us of an individual. Each of the 365 terra cotta objects made by Chalmers over the past five months possess an aura of someone she has known.

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The School of Survival: Learning with Juan Downey

Curated by Javier Rivero Ramos and Sarah Watson

Bertha and Karl Leubsdorf Gallery
Hunter West Building
132 East 68th Street
New York, NY 10013

Through May 6

The School of Survival: Learning with Juan Downey foregrounds the relationship between Downey’s artistic and pedagogical practices as illustrated in his works from the series Life Cycles and Mi casa en la playa, produced in the early to mid 1970s while Downey was teaching at Hunter College and Pratt Institute. These works address Downey’s concerns and theories around architecture, ecology, cybernetics, and feedback. Downey sought to redefine architecture as the wielding of invisible forces—physical, social, and psychic. In his assignments, he likewise challenged his students to reconsider their potential as producers of social change through the transformation of space.

The School of Survival: Learning with Juan Downey is made possible by the generous support from the David Bershad Family Foundation, the Susan V. Bershad Charitable Fund, Inc., Carol and Arthur Goldberg, and the Leubsdorf Fund.

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Tania Bruguera, Zabar Visiting Artist Lecture

Hunter MFA Studios, Second Floor
205 Hudson Street
New York, NY

May 9, 7pm

RSVP here

The Hunter College Department of Art and Art History is pleased toannounce a public lecture by Tania Bruguera, the Spring 2018 Judith Zabar Visiting Artist. Wednesday, May 9, 2018, at 7:00 pm at Hunter’s MFA Studiosat 205 Hudson Street in Tribeca.

For over 25 years Tania Bruguera has created socially engaged performances and installations that examine the nature of political power structures and their effect on the lives of their constituencies. Her research focuses on ways in which art can be applied to everyday political life, and on the transformation of social affect into political effectiveness. Her long-term projects are intensive interventions on the institutional structure of collective memory, education, and politics. Her works often expose the social effects of political forces and present global issues of power, migration, censorship, and repression through participatory works that turn “viewers” into “citizens.”

By creating proposals and aesthetic models for others to use and adapt, she defines herself as an initiator rather than an author, and often collaborates with multiple institutions as well as many individuals so that the full realization of her artwork occurs when others adopt and perpetuate it.

Tania Bruguera has been awarded an honorary doctorate by The School of the Art Institute of Chicago, selected one of the 100 Leading Global Thinkers by Foreign Policy magazine, and was shortlisted for the #Index100 Freedom of Expression Award. She is a Herb Alpert Award winner, and has been a Guggenheim, Radcliffe and Yale World Fellow. She was the
first artist-in-residence in the New York City Mayor’s Office of Immigrant Affairs. Bruguera has recently opened the Hannah Arendt International Institute for Artivism, in Havana: a school, exhibition space, and think tank for activist artists and Cubans.

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Madeline Hollander, Sean Raspet, Sam Lewitt at The Artist’s Institute

132 East 65th Street
New York, NY

Through May 25

Madeline Hollander’s New Max will be performed every Saturday from 2-6pm.

This spring, the Artist’s Institute’s program brings us closer to the surprising, unstable, and powerful capacities of matter. In the physical sciences and economics, we sometimes call this kind of work energetics―the study of the way that energy flows through a system. For the art field, an emphasis on energetics reorients aesthetics to material expression, sometimes a material expression that exceeds that of the artist’s own imagination or will. Through artworks, talks, and other events this spring, the Institute’s fellows are engaging with energy as an animating force. Energy has the capacity to synthesize molecules. Energy heats up a room.

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Queenie: Selected artworks by female artists from El Museo del Barrio’s permanent collection

Hunter East Harlem Gallery
2180 3rd Avenue at 119th Street
New York, NY

Through June 23

Tania Bruguera, Margarita Cabrera, Maria Fernanda Cardoso, Melba Carillo, Marta Chilindron, Alessandra Expósito, Iliana Emilia Garcia, Dulce Gomez, Cristina Hernández Botero, Carmen Herrera, Jessica Kairé, Carmen Lomas Garza, Evelyn López de Guzmán, Anna Maria Maiolino, Ana Mendieta, Marina Núñez del Prado, Liliana Porter, Raquel Rabinovich, Scherezade, Nitza Tufiño, among others.

New artwork commissions by Melissa Calderón, Alessandra Expósito, and Glendalys Medina.

QUEENIE features a selection of artworks by female artists across various media from the permanent collection of El Museo del Barrio. The exhibition highlights the institution’s collection with a particular focus on the female artists and QUEENIE takes its title from a sculpture by Alessandra Expósito. The exhibition brings together works which prompt a multifarious dialogue around society and gender through the artists’ varying perspectives and experiences. As part of the exhibition, HEHG has invited four NYC-based artists to respond to the exhibition with a new commission that further explores the connections among the collecting process, societal change, and a gendered experience.

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Let us hear about your exhibitions, events, and projects. Use #HunterMFA to appear on the MFA community feed.

The MFA/205 Hudson website now features social media posts tagged with #HunterMFA and/or #HunterMFAshows (for student, faculty, staff, and alumni exhibitions and events).

Wendy White, MFASO Lecture

Hunter MFA Studios, 2nd Floor Flex Space
205 Hudson Street
New York, NY

April 11, 7pm

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Pattie Chalmers: The Thing of It

Thomas Hunter Project Space
Thomas Hunter Building
68th Street and Lexington Avenue
New York, NY

Through April 27
Closing Reception: April 27, 6-8pm

Thomas Hunter Project Space is proud to present Pattie Chalmers’ piece “Every Day I Think of You”, a project about the power of objects to remind us of an individual. Each of the 365 terra cotta objects made by Chalmers over the past five months possess an aura of someone she has known.

---

The School of Survival: Learning with Juan Downey

Curated by Javier Rivero Ramos and Sarah Watson

Bertha and Karl Leubsdorf Gallery
Hunter West Building
132 East 68th Street
New York, NY 10013

Through May 6

The School of Survival: Learning with Juan Downey foregrounds the relationship between Downey’s artistic and pedagogical practices as illustrated in his works from the series Life Cycles and Mi casa en la playa, produced in the early to mid 1970s while Downey was teaching at Hunter College and Pratt Institute. These works address Downey’s concerns and theories around architecture, ecology, cybernetics, and feedback. Downey sought to redefine architecture as the wielding of invisible forces—physical, social, and psychic. In his assignments, he likewise challenged his students to reconsider their potential as producers of social change through the transformation of space.

The School of Survival: Learning with Juan Downey is made possible by the generous support from the David Bershad Family Foundation, the Susan V. Bershad Charitable Fund, Inc., Carol and Arthur Goldberg, and the Leubsdorf Fund.

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Madeline Hollander, Sean Raspet, Sam Lewitt at The Artist’s Institute

132 East 65th Street
New York, NY

Through May 25

Madeline Hollander’s New Max will be performed every Saturday from 2-6pm.

This spring, the Artist’s Institute’s program brings us closer to the surprising, unstable, and powerful capacities of matter. In the physical sciences and economics, we sometimes call this kind of work energetics―the study of the way that energy flows through a system. For the art field, an emphasis on energetics reorients aesthetics to material expression, sometimes a material expression that exceeds that of the artist’s own imagination or will. Through artworks, talks, and other events this spring, the Institute’s fellows are engaging with energy as an animating force. Energy has the capacity to synthesize molecules. Energy heats up a room.

---

Queenie: Selected artworks by female artists from El Museo del Barrio’s permanent collection

Hunter East Harlem Gallery
2180 3rd Avenue at 119th Street
New York, NY

Through June 23

Tania Bruguera, Margarita Cabrera, Maria Fernanda Cardoso, Melba Carillo, Marta Chilindron, Alessandra Expósito, Iliana Emilia Garcia, Dulce Gomez, Cristina Hernández Botero, Carmen Herrera, Jessica Kairé, Carmen Lomas Garza, Evelyn López de Guzmán, Anna Maria Maiolino, Ana Mendieta, Marina Núñez del Prado, Liliana Porter, Raquel Rabinovich, Scherezade, Nitza Tufiño, among others.

New artwork commissions by Melissa Calderón, Alessandra Expósito, and Glendalys Medina.

QUEENIE features a selection of artworks by female artists across various media from the permanent collection of El Museo del Barrio. The exhibition highlights the institution’s collection with a particular focus on the female artists and QUEENIE takes its title from a sculpture by Alessandra Expósito. The exhibition brings together works which prompt a multifarious dialogue around society and gender through the artists’ varying perspectives and experiences. As part of the exhibition, HEHG has invited four NYC-based artists to respond to the exhibition with a new commission that further explores the connections among the collecting process, societal change, and a gendered experience.

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Let us hear about your exhibitions, events, and projects. Use #HunterMFA to appear on the MFA community feed.

The MFA/205 Hudson website now features social media posts tagged with #HunterMFA and/or #HunterMFAshows (for student, faculty, staff, and alumni exhibitions and events).

Digital Photography

Sweet Flypaper Gallery
Hunter North Building, Floor 11
68th Street and Lexington Avenue
New York, NY

Through April 3

The Sweet Flypaper Gallery is pleased to present its inaugural exhibition: Digital Photography.

Participating Artists: Mika Arava, Solange Buon, Randy Cordoba, Tran Nguyen, Chanel Pegeron, Emilia Pesantes, Masha Puchkoff, Hazel Rivera, Sabrina Sakai, Nikki Ho Ching Wong, and Shotaro Yagura

The Sweet Flypaper Gallery is named in memory of Roy DeCarava (1919-2009) whose collaboration with poet Langston Hughes, published in 1955, was titled The Sweet Flypaper of Life and is considered by many as one of the most influential photography books of the 20th century. Together with Mark Feldstein (1937-2001) he started the photography program in the department of Art at Hunter College in the 1970’s and taught there for 34 years until his death at age 89.

Roy DeCarava was an internationally renowned photographer best known for his black-and-white images of daily life in Harlem and portraits of jazz legends. DeCarava studied painting and architecture at the Cooper Union School of Art and the George Washington Carver Art School before turning to photography in the 1940s. In 1952, he became the first black photographer to win a Guggenheim Fellowship. His work is in the collections of the National Gallery of Art, the National Portrait Gallery, the Smithsonian American Art Museum, The Metropolitan Museum of Art, and the Museum of Modern Art, where he was honored with a one-person exhibition in 1996. In 2006, he received the National Medal of Arts, the highest award the U.S. government gives to an artist. There is vivid testimony to how supportive and sensitive he was with his students and we wish to remember him for his dual role as teacher and artist by naming this gallery the Sweet Flypaper Gallery.

 

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Fr. Frank P Sabatté: Life Threads

Thomas Hunter Project Space
Thomas Hunter Building
68th Street and Lexington Avenue
New York, NY

Through April 6

The Thomas Hunter Project Space is pleased to present an exhibition of tapestries by visual artist Fr. Frank Sabatté.

“My work is a merger of “random-stitch” and “free-motion” embroidery. Random-stitch embroidery was developed by Chinese embroiderers as a divergence from the traditional methods of embroidery. Free-motion embroidery is used in the garment industry for embellishing clothing. The painstaking process involves layering threads of various colors to determine value and tonal qualities. The end result is a sense of  translucence in the skin tones. An industrial sewing machine is used to layer the threads over a carefully rendered drawing.  There is no computer assistance whatsoever, the sewing machine acts as a “brush” to apply the various colored threads.”

Fr. Sabatté is the Director of Openings Artist Collective and Senior Curator of The Gallery at the Sheen Center for Thought and Culture, both based in New York City. An ordained Priest of the Roman Catholic Church, Sabatté is also the Artist-in-Resident with the Paulist Fathers in New York City. He graduated with a BA in Art from the University of California in Los Angeles, and an MA in Theology from Catholic University, Washington.

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Wendy White, MFASO Lecture

Hunter MFA Studios, 2nd Floor Flex Space
205 Hudson Street
New York, NY

April 11, 7pm

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The School of Survival: Learning with Juan Downey

Curated by Javier Rivero Ramos and Sarah Watson

Bertha and Karl Leubsdorf Gallery
Hunter West Building
132 East 68th Street
New York, NY 10013

Through May 6

The School of Survival: Learning with Juan Downey foregrounds the relationship between Downey’s artistic and pedagogical practices as illustrated in his works from the series Life Cycles and Mi casa en la playa, produced in the early to mid 1970s while Downey was teaching at Hunter College and Pratt Institute. These works address Downey’s concerns and theories around architecture, ecology, cybernetics, and feedback. Downey sought to redefine architecture as the wielding of invisible forces—physical, social, and psychic. In his assignments, he likewise challenged his students to reconsider their potential as producers of social change through the transformation of space.

The School of Survival: Learning with Juan Downey is made possible by the generous support from the David Bershad Family Foundation, the Susan V. Bershad Charitable Fund, Inc., Carol and Arthur Goldberg, and the Leubsdorf Fund.

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Madeline Hollander, Sean Raspet, Sam Lewitt at The Artist’s Institute

132 East 65th Street
New York, NY

Through May 25

Madeline Hollander’s New Max will be performed every Saturday from 2-6pm.

This spring, the Artist’s Institute’s program brings us closer to the surprising, unstable, and powerful capacities of matter. In the physical sciences and economics, we sometimes call this kind of work energetics―the study of the way that energy flows through a system. For the art field, an emphasis on energetics reorients aesthetics to material expression, sometimes a material expression that exceeds that of the artist’s own imagination or will. Through artworks, talks, and other events this spring, the Institute’s fellows are engaging with energy as an animating force. Energy has the capacity to synthesize molecules. Energy heats up a room.

---

Queenie: Selected artworks by female artists from El Museo del Barrio’s permanent collection

Hunter East Harlem Gallery
2180 3rd Avenue at 119th Street
New York, NY

Through June 23

Tania Bruguera, Margarita Cabrera, Maria Fernanda Cardoso, Melba Carillo, Marta Chilindron, Alessandra Expósito, Iliana Emilia Garcia, Dulce Gomez, Cristina Hernández Botero, Carmen Herrera, Jessica Kairé, Carmen Lomas Garza, Evelyn López de Guzmán, Anna Maria Maiolino, Ana Mendieta, Marina Núñez del Prado, Liliana Porter, Raquel Rabinovich, Scherezade, Nitza Tufiño, among others.

New artwork commissions by Melissa Calderón, Alessandra Expósito, and Glendalys Medina.

QUEENIE features a selection of artworks by female artists across various media from the permanent collection of El Museo del Barrio. The exhibition highlights the institution’s collection with a particular focus on the female artists and QUEENIE takes its title from a sculpture by Alessandra Expósito. The exhibition brings together works which prompt a multifarious dialogue around society and gender through the artists’ varying perspectives and experiences. As part of the exhibition, HEHG has invited four NYC-based artists to respond to the exhibition with a new commission that further explores the connections among the collecting process, societal change, and a gendered experience.

---

Let us hear about your exhibitions, events, and projects. Use #HunterMFA to appear on the MFA community feed.

The MFA/205 Hudson website now features social media posts tagged with #HunterMFA and/or #HunterMFAshows (for student, faculty, staff, and alumni exhibitions and events).

Queenie: Selected artworks by female artists from El Museo del Barrio’s permanent collection

Hunter East Harlem Gallery
2180 3rd Avenue at 119th Street
New York, NY

Through June 23
Opening Reception: March 27, 6:30-9:30pm

Tania Bruguera, Margarita Cabrera, Maria Fernanda Cardoso, Melba Carillo, Marta Chilindron, Alessandra Expósito, Iliana Emilia Garcia, Dulce Gomez, Cristina Hernández Botero, Carmen Herrera, Jessica Kairé, Carmen Lomas Garza, Evelyn López de Guzmán, Anna Maria Maiolino, Ana Mendieta, Marina Núñez del Prado, Liliana Porter, Raquel Rabinovich, Scherezade, Nitza Tufiño, among others.

New artwork commissions by Melissa Calderón, Alessandra Expósito, and Glendalys Medina.

QUEENIE features a selection of artworks by female artists across various media from the permanent collection of El Museo del Barrio. The exhibition highlights the institution’s collection with a particular focus on the female artists and QUEENIE takes its title from a sculpture by Alessandra Expósito. The exhibition brings together works which prompt a multifarious dialogue around society and gender through the artists’ varying perspectives and experiences. As part of the exhibition, HEHG has invited four NYC-based artists to respond to the exhibition with a new commission that further explores the connections among the collecting process, societal change, and a gendered experience.

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Digital Photography

Sweet Flypaper Gallery
Hunter North Building, Floor 11
68th Street and Lexington Avenue
New York, NY

March 27 – April 3
Opening Reception: March 27, 12-2pm

The Sweet Flypaper Gallery is pleased to present its inaugural exhibition: Digital Photography.

Participating Artists: Mika Arava, Solange Buon, Randy Cordoba, Tran Nguyen, Chanel Pegeron, Emilia Pesantes, Masha Puchkoff, Hazel Rivera, Sabrina Sakai, Nikki Ho Ching Wong, and Shotaro Yagura

The Sweet Flypaper Gallery is named in memory of Roy DeCarava (1919-2009) whose collaboration with poet Langston Hughes, published in 1955, was titled The Sweet Flypaper of Life and is considered by many as one of the most influential photography books of the 20th century. Together with Mark Feldstein (1937-2001) he started the photography program in the department of Art at Hunter College in the 1970’s and taught there for 34 years until his death at age 89.

Roy DeCarava was an internationally renowned photographer best known for his black-and-white images of daily life in Harlem and portraits of jazz legends. DeCarava studied painting and architecture at the Cooper Union School of Art and the George Washington Carver Art School before turning to photography in the 1940s. In 1952, he became the first black photographer to win a Guggenheim Fellowship. His work is in the collections of the National Gallery of Art, the National Portrait Gallery, the Smithsonian American Art Museum, The Metropolitan Museum of Art, and the Museum of Modern Art, where he was honored with a one-person exhibition in 1996. In 2006, he received the National Medal of Arts, the highest award the U.S. government gives to an artist. There is vivid testimony to how supportive and sensitive he was with his students and we wish to remember him for his dual role as teacher and artist by naming this gallery the Sweet Flypaper Gallery.

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Please join us for drinks, snacks, Fall 2018 course announcements, and to welcome newly admitted MA students to Hunter!

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Copy, Translate, Repeat: Contemporary Art from the Colección Patricia Phelps de Cisneros

205 Hudson Gallery
205 Hudson Street
New York, NY

Through April 1

Curatorial Talk: Rosario Güiraldes of the Drawing Center

Güiraldes will be discussing her curatorial practice at the Drawing Center and in her past projects, engaging with and expanding on themes and questions brought up by the exhibition on view.

March 29, 6:30-8pm

At a moment of much debate about the status of global contemporary art, this exhibition examines how artworks drawn from the contemporary collection of Patricia Phelps de Cisneros navigate this complex issue by embracing appropriative strategies for making art. The appropriative act enables the artists in this exhibition to confound conventions of time and space and question narratives of history, art, and progress. By repeating and copying art historical and archival sources, literary texts, and objects made far away and long ago, they collapse distance as near and far or “here” and “there.” In one way or another, all these artists are intervening, inserting themselves, repeating some type of source. If they are all devoted to repeating already extant works and images, they are also dedicated to exploring the cracks, the potential veins of growth and expansion, exploration and discovery, that always existed within the “originals.”

Featuring: Jonathas de Andrade, Armando Andrade Tudela, Juan Carlos Araujo, Waltercio Caldas, Mariana Castillo Deball, Elena Damiani, Josefina Guilisasti, Leandro Katz, Jorge Macchi, Leticia Obeid, Dario Robleto, José Antonio Suárez Londoño, Christian Vinck

Curated by Prof. Harper Montgomery with Hunter MA and MFA Students enrolled in the Advanced Curatorial Certificate.

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Fr. Frank P Sabatté: Life Threads

Thomas Hunter Project Space
Thomas Hunter Building
68th Street and Lexington Avenue
New York, NY

Through April 6

The Thomas Hunter Project Space is pleased to present an exhibition of tapestries by visual artist Fr. Frank Sabatté.

“My work is a merger of “random-stitch” and “free-motion” embroidery. Random-stitch embroidery was developed by Chinese embroiderers as a divergence from the traditional methods of embroidery. Free-motion embroidery is used in the garment industry for embellishing clothing. The painstaking process involves layering threads of various colors to determine value and tonal qualities. The end result is a sense of  translucence in the skin tones. An industrial sewing machine is used to layer the threads over a carefully rendered drawing.  There is no computer assistance whatsoever, the sewing machine acts as a “brush” to apply the various colored threads.”

Fr. Sabatté is the Director of Openings Artist Collective and Senior Curator of The Gallery at the Sheen Center for Thought and Culture, both based in New York City. An ordained Priest of the Roman Catholic Church, Sabatté is also the Artist-in-Resident with the Paulist Fathers in New York City. He graduated with a BA in Art from the University of California in Los Angeles, and an MA in Theology from Catholic University, Washington.

 

 

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The School of Survival: Learning with Juan Downey

Curated by Javier Rivero Ramos and Sarah Watson

Bertha and Karl Leubsdorf Gallery
Hunter West Building
132 East 68th Street
New York, NY 10013

Through May 6

The School of Survival: Learning with Juan Downey foregrounds the relationship between Downey’s artistic and pedagogical practices as illustrated in his works from the series Life Cycles and Mi casa en la playa, produced in the early to mid 1970s while Downey was teaching at Hunter College and Pratt Institute. These works address Downey’s concerns and theories around architecture, ecology, cybernetics, and feedback. Downey sought to redefine architecture as the wielding of invisible forces—physical, social, and psychic. In his assignments, he likewise challenged his students to reconsider their potential as producers of social change through the transformation of space.

The School of Survival: Learning with Juan Downey is made possible by the generous support from the David Bershad Family Foundation, the Susan V. Bershad Charitable Fund, Inc., Carol and Arthur Goldberg, and the Leubsdorf Fund.

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Madeline Hollander, Sean Raspet, Sam Lewitt at The Artist’s Institute

132 East 65th Street
New York, NY

Through May 25

Madeline Hollander’s New Max will be performed every Saturday from 2-6pm.

This spring, the Artist’s Institute’s program brings us closer to the surprising, unstable, and powerful capacities of matter. In the physical sciences and economics, we sometimes call this kind of work energetics―the study of the way that energy flows through a system. For the art field, an emphasis on energetics reorients aesthetics to material expression, sometimes a material expression that exceeds that of the artist’s own imagination or will. Through artworks, talks, and other events this spring, the Institute’s fellows are engaging with energy as an animating force. Energy has the capacity to synthesize molecules. Energy heats up a room.

---

Let us hear about your exhibitions, events, and projects. Use #HunterMFA to appear on the MFA community feed.

The MFA/205 Hudson website now features social media posts tagged with #HunterMFA and/or #HunterMFAshows (for student, faculty, staff, and alumni exhibitions and events).

 

 

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Tania Bruguera, Zabar Artist Lecture

Roosevelt House at Hunter College
47-49 East 65th Street
New York, NY

March 21, 7pm

The Hunter College Department of Art and Art History is pleased to announce a public lecture by Tania Bruguera, the Spring 2018 Judith Zabar Visiting Artist.  Free and open to the public.

For over 25 years Tania Bruguera has created socially engaged performances and installations that examine the nature of political power structures and their effect on the lives of their constituencies. Her research focuses on ways in which art can be applied to the everyday political life; on the transformation of social affect into political effectiveness. Her long-term projects are intensive interventions on the institutional structure of collective memory, education, and politics. Her works often expose the social effects of political forces and present global issues of power, migration, censorship, and repression through participatory works that turn “viewers” into “citizens.”

By creating proposals and aesthetic models for others to use and adapt, she defines herself as an initiator rather than an author, and often collaborates with multiple institutions as well as many individuals so that the full realization of her artwork occurs when others adopt and perpetuate it.

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Fr. Frank P Sabatté: Life Threads

Thomas Hunter Project Space
Thomas Hunter Building
68th Street and Lexington Avenue
New York, NY

Through April 6
Opening Reception: March 23, 7-9pm

The Thomas Hunter Project Space is pleased to present an exhibition of tapestries by visual artist Fr. Frank Sabatté.

“My work is a merger of “random-stitch” and “free-motion” embroidery. Random-stitch embroidery was developed by Chinese embroiderers as a divergence from the traditional methods of embroidery. Free-motion embroidery is used in the garment industry for embellishing clothing. The painstaking process involves layering threads of various colors to determine value and tonal qualities. The end result is a sense of  translucence in the skin tones. An industrial sewing machine is used to layer the threads over a carefully rendered drawing.  There is no computer assistance whatsoever, the sewing machine acts as a “brush” to apply the various colored threads.”

Fr. Sabatté is the Director of Openings Artist Collective and Senior Curator of The Gallery at the Sheen Center for Thought and Culture, both based in New York City. An ordained Priest of the Roman Catholic Church, Sabatté is also the Artist-in-Resident with the Paulist Fathers in New York City. He graduated with a BA in Art from the University of California in Los Angeles, and an MA in Theology from Catholic University, Washington.

 

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Copy, Translate, Repeat: Contemporary Art from the Colección Patricia Phelps de Cisneros

205 Hudson Gallery
205 Hudson Street
New York, NY

Through April 1

Student Curators’ Hours: March 24, 1-3pm

At a moment of much debate about the status of global contemporary art, this exhibition examines how artworks drawn from the contemporary collection of Patricia Phelps de Cisneros navigate this complex issue by embracing appropriative strategies for making art. The appropriative act enables the artists in this exhibition to confound conventions of time and space and question narratives of history, art, and progress. By repeating and copying art historical and archival sources, literary texts, and objects made far away and long ago, they collapse distance as near and far or “here” and “there.” In one way or another, all these artists are intervening, inserting themselves, repeating some type of source. If they are all devoted to repeating already extant works and images, they are also dedicated to exploring the cracks, the potential veins of growth and expansion, exploration and discovery, that always existed within the “originals.”

Featuring: Jonathas de Andrade, Armando Andrade Tudela, Juan Carlos Araujo, Waltercio Caldas, Mariana Castillo Deball, Elena Damiani, Josefina Guilisasti, Leandro Katz, Jorge Macchi, Leticia Obeid, Dario Robleto, José Antonio Suárez Londoño, Christian Vinck

Curated by Prof. Harper Montgomery with Hunter MA and MFA Students enrolled in the Advanced Curatorial Certificate.

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Queenie: Selected artworks by female artists from El Museo del Barrio’s permanent collection

Hunter East Harlem Gallery
2180 3rd Avenue at 119th Street
New York, NY

March 21 – June 23
Opening Reception: March 27, 6:30-9:30pm

Tania Bruguera, Margarita Cabrera, Maria Fernanda Cardoso, Melba Carillo, Marta Chilindron, Alessandra Expósito, Iliana Emilia Garcia, Dulce Gomez, Cristina Hernández Botero, Carmen Herrera, Jessica Kairé, Carmen Lomas Garza, Evelyn López de Guzmán, Anna Maria Maiolino, Ana Mendieta, Marina Núñez del Prado, Liliana Porter, Raquel Rabinovich, Scherezade, Nitza Tufiño, among others.

New artwork commissions by Melissa Calderón, Alessandra Expósito, and Glendalys Medina.

QUEENIE features a selection of artworks by female artists across various media from the permanent collection of El Museo del Barrio. The exhibition highlights the institution’s collection with a particular focus on the female artists and QUEENIE takes its title from a sculpture by Alessandra Expósito. The exhibition brings together works which prompt a multifarious dialogue around society and gender through the artists’ varying perspectives and experiences. As part of the exhibition, HEHG has invited four NYC-based artists to respond to the exhibition with a new commission that further explores the connections among the collecting process, societal change, and a gendered experience.

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Photography Classes Exhibition Series

Sweet Fly Paper Gallery
Hunter North Building, Floor 11
68th Street and Lexington Avenue
New York, NY

March 27 –  May 16
Digital Photography Tuesday March 27 – Tuesday April 3

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The School of Survival: Learning with Juan Downey

Curated by Javier Rivero Ramos and Sarah Watson

Bertha and Karl Leubsdorf Gallery
Hunter West Building
132 East 68th Street
New York, NY 10013

Through May 6

The School of Survival: Learning with Juan Downey foregrounds the relationship between Downey’s artistic and pedagogical practices as illustrated in his works from the series Life Cycles and Mi casa en la playa, produced in the early to mid 1970s while Downey was teaching at Hunter College and Pratt Institute. These works address Downey’s concerns and theories around architecture, ecology, cybernetics, and feedback. Downey sought to redefine architecture as the wielding of invisible forces—physical, social, and psychic. In his assignments, he likewise challenged his students to reconsider their potential as producers of social change through the transformation of space.

The School of Survival: Learning with Juan Downey is made possible by the generous support from the David Bershad Family Foundation, the Susan V. Bershad Charitable Fund, Inc., Carol and Arthur Goldberg, and the Leubsdorf Fund.

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Madeline Hollander, Sean Raspet, Sam Lewitt at The Artist’s Institute

132 East 65th Street
New York, NY

Through May 25

Madeline Hollander’s New Max will be performed every Saturday from 2-6pm.

This spring, the Artist’s Institute’s program brings us closer to the surprising, unstable, and powerful capacities of matter. In the physical sciences and economics, we sometimes call this kind of work energetics―the study of the way that energy flows through a system. For the art field, an emphasis on energetics reorients aesthetics to material expression, sometimes a material expression that exceeds that of the artist’s own imagination or will. Through artworks, talks, and other events this spring, the Institute’s fellows are engaging with energy as an animating force. Energy has the capacity to synthesize molecules. Energy heats up a room.

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Let us hear about your exhibitions, events, and projects. Use #HunterMFA to appear on the MFA community feed.

The MFA/205 Hudson website now features social media posts tagged with #HunterMFA and/or #HunterMFAshows (for student, faculty, staff, and alumni exhibitions and events).

David Humphrey, MFASO Lecture

Hunter MFA, Second Floor Flex Space
205 Hudson Street
New York, NY

March 14, 7pm

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Koren Christofides: Needle and Thread and Paperclay

Thomas Hunter Project Space
Thomas Hunter Building
68th Street and Lexington Avenue
New York, NY

Through March 16

Doll House. There was briefly a maquette for this first sewn soft sculpture. A small puffy cube made from an old nightgown. It grew a tree form and a house on a hill. It looked like a child’s toy – sewn on a plantation in a distant era.
The toy wanted to be bigger. And a silly serpent wiggled along an edge and rose up by a stockinged foot.

This exhibition explores soft sculpture in paperclay, ceramics with textile elements and embroideries that inspired sewing in the round.

Koren Christofides received her BA Art History, BFA Painting and MFA Printmaking from the University of Washington, where she studied with Jacob Lawrence. Her work is informed by world mythologies, fables, proverbs about women and the natural world. She is also the editor of Fables of La Fontaine Illustrated, University of Washington Press, Seattle/ London, 2006.

Visitors will need to get a “guest pass” from the main entrance at Hunter College on the corner of 68th St. and Lexington Ave. You may then use any entrance to reach the Thomas Hunter Project Space, located in the basement of the Thomas Hunter Building (930 Lexington Ave.)

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Jules de Balincourt, Kossak Lecture

Hunter MFA, Room 202
205 Hudson Street
New York, NY

March 19, 7:30pm

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Tania Bruguera, Zabar Artist Lecture

Roosevelt House at Hunter College
47-49 East 65th Street
New York, NY

March 21, 7pm

The Hunter College Department of Art and Art History is pleased to announce a public lecture by Tania Bruguera, the Spring 2018 Judith Zabar Visiting Artist.  Free and open to the public.

For over 25 years Tania Bruguera has created socially engaged performances and installations that examine the nature of political power structures and their effect on the lives of their constituencies. Her research focuses on ways in which art can be applied to the everyday political life; on the transformation of social affect into political effectiveness. Her long-term projects are intensive interventions on the institutional structure of collective memory, education, and politics. Her works often expose the social effects of political forces and present global issues of power, migration, censorship, and repression through participatory works that turn “viewers” into “citizens.”

By creating proposals and aesthetic models for others to use and adapt, she defines herself as an initiator rather than an author, and often collaborates with multiple institutions as well as many individuals so that the full realization of her artwork occurs when others adopt and perpetuate it.

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Copy, Translate, Repeat: Contemporary Art from the Colección Patricia Phelps de Cisneros

205 Hudson Gallery
205 Hudson Street
New York, NY

Through April 1

Student Curators’ Hours: March 17 and 24, 1-3pm

At a moment of much debate about the status of global contemporary art, this exhibition examines how artworks drawn from the contemporary collection of Patricia Phelps de Cisneros navigate this complex issue by embracing appropriative strategies for making art. The appropriative act enables the artists in this exhibition to confound conventions of time and space and question narratives of history, art, and progress. By repeating and copying art historical and archival sources, literary texts, and objects made far away and long ago, they collapse distance as near and far or “here” and “there.” In one way or another, all these artists are intervening, inserting themselves, repeating some type of source. If they are all devoted to repeating already extant works and images, they are also dedicated to exploring the cracks, the potential veins of growth and expansion, exploration and discovery, that always existed within the “originals.”

Featuring: Jonathas de Andrade, Armando Andrade Tudela, Juan Carlos Araujo, Waltercio Caldas, Mariana Castillo Deball, Elena Damiani, Josefina Guilisasti, Leandro Katz, Jorge Macchi, Leticia Obeid, Dario Robleto, José Antonio Suárez Londoño, Christian Vinck

Curated by Prof. Harper Montgomery with Hunter MA and MFA Students enrolled in the Advanced Curatorial Certificate.

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The School of Survival: Learning with Juan Downey

Curated by Javier Rivero Ramos and Sarah Watson

Bertha and Karl Leubsdorf Gallery
Hunter West Building
132 East 68th Street
New York, NY 10013

Through May 6

The School of Survival: Learning with Juan Downey foregrounds the relationship between Downey’s artistic and pedagogical practices as illustrated in his works from the series Life Cycles and Mi casa en la playa, produced in the early to mid 1970s while Downey was teaching at Hunter College and Pratt Institute. These works address Downey’s concerns and theories around architecture, ecology, cybernetics, and feedback. Downey sought to redefine architecture as the wielding of invisible forces—physical, social, and psychic. In his assignments, he likewise challenged his students to reconsider their potential as producers of social change through the transformation of space.

The School of Survival: Learning with Juan Downey is made possible by the generous support from the David Bershad Family Foundation, the Susan V. Bershad Charitable Fund, Inc., Carol and Arthur Goldberg, and the Leubsdorf Fund.

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Madeline Hollander, Sean Raspet, Sam Lewitt at The Artist’s Institute

132 East 65th Street
New York, NY

Through May 25

Madeline Hollander’s New Max will be performed every Saturday from 2-6pm.

This spring, the Artist’s Institute’s program brings us closer to the surprising, unstable, and powerful capacities of matter. In the physical sciences and economics, we sometimes call this kind of work energetics―the study of the way that energy flows through a system. For the art field, an emphasis on energetics reorients aesthetics to material expression, sometimes a material expression that exceeds that of the artist’s own imagination or will. Through artworks, talks, and other events this spring, the Institute’s fellows are engaging with energy as an animating force. Energy has the capacity to synthesize molecules. Energy heats up a room.

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Patricia Treib, Kossak Lecture

Hunter MFA, Room 202
205 Hudson Street
New York, NY

March 12, 7:30pm

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Koren Christofides: Needle and Thread and Paperclay

Thomas Hunter Project Space
Thomas Hunter Building
68th Street and Lexington Avenue
New York, NY

Through March 16

Doll House. There was briefly a maquette for this first sewn soft sculpture. A small puffy cube made from an old nightgown. It grew a tree form and a house on a hill. It looked like a child’s toy – sewn on a plantation in a distant era.
The toy wanted to be bigger. And a silly serpent wiggled along an edge and rose up by a stockinged foot.

This exhibition explores soft sculpture in paperclay, ceramics with textile elements and embroideries that inspired sewing in the round.

Koren Christofides received her BA Art History, BFA Painting and MFA Printmaking from the University of Washington, where she studied with Jacob Lawrence. Her work is informed by world mythologies, fables, proverbs about women and the natural world. She is also the editor of Fables of La Fontaine Illustrated, University of Washington Press, Seattle/ London, 2006.

Visitors will need to get a “guest pass” from the main entrance at Hunter College on the corner of 68th St. and Lexington Ave. You may then use any entrance to reach the Thomas Hunter Project Space, located in the basement of the Thomas Hunter Building (930 Lexington Ave.)

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Copy, Translate, Repeat: Contemporary Art from the Colección Patricia Phelps de Cisneros

205 Hudson Gallery
205 Hudson Street
New York, NY

February 8 – April 1
Opening Reception: Febraury 8, 6-8pm

At a moment of much debate about the status of global contemporary art, this exhibition examines how artworks drawn from the contemporary collection of Patricia Phelps de Cisneros navigate this complex issue by embracing appropriative strategies for making art. The appropriative act enables the artists in this exhibition to confound conventions of time and space and question narratives of history, art, and progress. By repeating and copying art historical and archival sources, literary texts, and objects made far away and long ago, they collapse distance as near and far or “here” and “there.” In one way or another, all these artists are intervening, inserting themselves, repeating some type of source. If they are all devoted to repeating already extant works and images, they are also dedicated to exploring the cracks, the potential veins of growth and expansion, exploration and discovery, that always existed within the “originals.”

Featuring: Jonathas de Andrade, Armando Andrade Tudela, Juan Carlos Araujo, Waltercio Caldas, Mariana Castillo Deball, Elena Damiani, Josefina Guilisasti, Leandro Katz, Jorge Macchi, Leticia Obeid, Dario Robleto, José Antonio Suárez Londoño, Christian Vinck

Curated by Prof. Harper Montgomery with Hunter MA and MFA Students enrolled in the Advanced Curatorial Certificate.

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The School of Survival: Learning with Juan Downey

Curated by Javier Rivero Ramos and Sarah Watson

Bertha and Karl Leubsdorf Gallery
Hunter West Building
132 East 68th Street
New York, NY 10013

Through May 6

The School of Survival: Learning with Juan Downey foregrounds the relationship between Downey’s artistic and pedagogical practices as illustrated in his works from the series Life Cycles and Mi casa en la playa, produced in the early to mid 1970s while Downey was teaching at Hunter College and Pratt Institute. These works address Downey’s concerns and theories around architecture, ecology, cybernetics, and feedback. Downey sought to redefine architecture as the wielding of invisible forces—physical, social, and psychic. In his assignments, he likewise challenged his students to reconsider their potential as producers of social change through the transformation of space.

The School of Survival: Learning with Juan Downey is made possible by the generous support from the David Bershad Family Foundation, the Susan V. Bershad Charitable Fund, Inc., Carol and Arthur Goldberg, and the Leubsdorf Fund.

---

Madeline Hollander, Sean Raspet, Sam Lewitt at The Artist’s Institute

132 East 65th Street
New York, NY

Through May 25

Madeline Hollander’s New Max will be performed every Saturday from 2-6pm.

This spring, the Artist’s Institute’s program brings us closer to the surprising, unstable, and powerful capacities of matter. In the physical sciences and economics, we sometimes call this kind of work energetics―the study of the way that energy flows through a system. For the art field, an emphasis on energetics reorients aesthetics to material expression, sometimes a material expression that exceeds that of the artist’s own imagination or will. Through artworks, talks, and other events this spring, the Institute’s fellows are engaging with energy as an animating force. Energy has the capacity to synthesize molecules. Energy heats up a room.

Keliy Anderson-Staley, Lecture

Hunter MFA, Second Floor Flex Space
205 Hudson Street
New York, NY

February 27, 7pm

Sponsored by the Crossway Foundation

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Barb Smith, MFASO Lecture

Hunter MFA, Second Floor Flex Space
205 Hudson Street
New York, NY

February 28, 7pm

 

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Koren Christofides: Needle and Thread and Paperclay

Thomas Hunter Project Space
Thomas Hunter Building
68th Street and Lexington Avenue
New York, NY

Through March 16
Opening Reception: March 2, 6-8pm

Doll House. There was briefly a maquette for this first sewn soft sculpture. A small puffy cube made from an old nightgown. It grew a tree form and a house on a hill. It looked like a child’s toy – sewn on a plantation in a distant era.
The toy wanted to be bigger. And a silly serpent wiggled along an edge and rose up by a stockinged foot.

This exhibition explores soft sculpture in paperclay, ceramics with textile elements and embroideries that inspired sewing in the round.

Koren Christofides received her BA Art History, BFA Painting and MFA Printmaking from the University of Washington, where she studied with Jacob Lawrence. Her work is informed by world mythologies, fables, proverbs about women and the natural world. She is also the editor of Fables of La Fontaine Illustrated, University of Washington Press, Seattle/ London, 2006.

Visitors will need to get a “guest pass” from the main entrance at Hunter College on the corner of 68th St. and Lexington Ave. You may then use any entrance to reach the Thomas Hunter Project Space, located in the basement of the Thomas Hunter Building (930 Lexington Ave.)

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Action at Distance: On the Elusive Quality of Artworks in the Age of Simultaneity

A Discussion with Professor Elie During, Paris Nanterre University / Institut Universitaire de France / École des Beaux-Arts de Paris

Respondent, Professor David Joselit, CUNY Graduate Center

Moderated by Professor Jérôme Game, Hunter College—CUNY & Columbia University

Hunter College, Room 1527
695 Park Avenue
New York, NY

March 5, 7pm

The aesthetics of contemporary art have long been governed by what may be called a performative paradigm, valuing the immediacy of co-presence, the effectiveness of action by contact, or the spectator’s embodied engagement in various forms. Even the element of remote action introduced by certain installation practices—in the wake of land art or media art—can be viewed as a complication rather than a departure from this general orientation. There is always the possibility of incorporating a measure of separation within embodied communication (Art by Telephone), a measure of delay within simultaneity (as Dan Graham taught us, among others), just as niches of void and silence can be carved out in the midst of a buzzing world. But what if distant simultaneity is considered from the outset as the obverse of co-presence, rather than an extension of its natural scope or a loosening of its grip? What if to be simultaneous with the event of art implies the interruption or severance of all proximal communication in favour of a rigorous discipline of action at a distance?

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Copy, Translate, Repeat: Contemporary Art from the Colección Patricia Phelps de Cisneros

205 Hudson Gallery
205 Hudson Street
New York, NY

February 8 – April 1
Opening Reception: Febraury 8, 6-8pm

At a moment of much debate about the status of global contemporary art, this exhibition examines how artworks drawn from the contemporary collection of Patricia Phelps de Cisneros navigate this complex issue by embracing appropriative strategies for making art. The appropriative act enables the artists in this exhibition to confound conventions of time and space and question narratives of history, art, and progress. By repeating and copying art historical and archival sources, literary texts, and objects made far away and long ago, they collapse distance as near and far or “here” and “there.” In one way or another, all these artists are intervening, inserting themselves, repeating some type of source. If they are all devoted to repeating already extant works and images, they are also dedicated to exploring the cracks, the potential veins of growth and expansion, exploration and discovery, that always existed within the “originals.”

Featuring: Jonathas de Andrade, Armando Andrade Tudela, Juan Carlos Araujo, Waltercio Caldas, Mariana Castillo Deball, Elena Damiani, Josefina Guilisasti, Leandro Katz, Jorge Macchi, Leticia Obeid, Dario Robleto, José Antonio Suárez Londoño, Christian Vinck

Curated by Prof. Harper Montgomery with Hunter MA and MFA Students enrolled in the Advanced Curatorial Certificate.

---

Madeline Hollander, Sean Raspet, Sam Lewitt at The Artist’s Institute

132 East 65th Street
New York, NY

Through May 25

Madeline Hollander’s New Max will be performed every Saturday from 2-6pm.

This spring, the Artist’s Institute’s program brings us closer to the surprising, unstable, and powerful capacities of matter. In the physical sciences and economics, we sometimes call this kind of work energetics―the study of the way that energy flows through a system. For the art field, an emphasis on energetics reorients aesthetics to material expression, sometimes a material expression that exceeds that of the artist’s own imagination or will. Through artworks, talks, and other events this spring, the Institute’s fellows are engaging with energy as an animating force. Energy has the capacity to synthesize molecules. Energy heats up a room.

Tamar Ettun, MFASO Lecture

Hunter MFA, Second Floor Flex Space
205 Hudson Street
New York, NY

February 21, 7pm

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Amy Butowicz: A Room to Hoist

Thomas Hunter Project Space
Thomas Hunter Building
930 Lexington Avenue
New York, NY

February 5 – 23
Opening Reception: February 9, 6-9pm

The Hunter College Project Space is pleased to present an installation of sculpture by Amy Butowicz. A Room to Hoist brings together a collection of anthropomorphized objects forming assorted bodies from ceramic, found objects, and manipulated canvas. Through the creation of these objects Butowicz engages in the acts of dressing and decorating. As these pieces are treated with glaze, stain, paint, and wallpaper, her work poses questions of revealing and concealment to both contrast and beautify their original form. By decorating decrepit objects, Butowicz contemplates bodily degeneration and the human impulse to conceal the abject.

Visitors will need to get a “guest pass” from the main entrance at Hunter College on the corner of 68th St. and Lexington Ave. You may then use any entrance to reach the Thomas Hunter Project Space, located in the basement of the Thomas Hunter Building (930 Lexington Ave.)

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Koren Christofides: Needle and Thread and Paperclay

Thomas Hunter Project Space
Thomas Hunter Building
68th Street and Lexington Avenue
New York, NY

February 26 – March 16
Opening Reception: March 2, 6-8pm

Doll House. There was briefly a maquette for this first sewn soft sculpture. A small puffy cube made from an old nightgown. It grew a tree form and a house on a hill. It looked like a child’s toy – sewn on a plantation in a distant era.
The toy wanted to be bigger. And a silly serpent wiggled along an edge and rose up by a stockinged foot.

This exhibition explores soft sculpture in paperclay, ceramics with textile elements and embroideries that inspired sewing in the round.

Koren Christofides received her BA Art History, BFA Painting and MFA Printmaking from the University of Washington, where she studied with Jacob Lawrence. Her work is informed by world mythologies, fables, proverbs about women and the natural world. She is also the editor of Fables of La Fontaine Illustrated, University of Washington Press, Seattle/ London, 2006.

Visitors will need to get a “guest pass” from the main entrance at Hunter College on the corner of 68th St. and Lexington Ave. You may then use any entrance to reach the Thomas Hunter Project Space, located in the basement of the Thomas Hunter Building (930 Lexington Ave.)

---

Action at Distance: On the Elusive Quality of Artworks in the Age of Simultaneity

A Discussion with Professor Elie During, Paris Nanterre University / Institut Universitaire de France / École des Beaux-Arts de Paris

Respondent, Professor David Joselit, CUNY Graduate Center

Moderated by Professor Jérôme Game, Hunter College—CUNY & Columbia University

Hunter College, Room 1527
695 Park Avenue
New York, NY

March 5, 7pm

The aesthetics of contemporary art have long been governed by what may be called a performative paradigm, valuing the immediacy of co-presence, the effectiveness of action by contact, or the spectator’s embodied engagement in various forms. Even the element of remote action introduced by certain installation practices—in the wake of land art or media art—can be viewed as a complication rather than a departure from this general orientation. There is always the possibility of incorporating a measure of separation within embodied communication (Art by Telephone), a measure of delay within simultaneity (as Dan Graham taught us, among others), just as niches of void and silence can be carved out in the midst of a buzzing world. But what if distant simultaneity is considered from the outset as the obverse of co-presence, rather than an extension of its natural scope or a loosening of its grip? What if to be simultaneous with the event of art implies the interruption or severance of all proximal communication in favour of a rigorous discipline of action at a distance?

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Copy, Translate, Repeat: Contemporary Art from the Colección Patricia Phelps de Cisneros

205 Hudson Gallery
205 Hudson Street
New York, NY

February 8 – April 1
Opening Reception: Febraury 8, 6-8pm

At a moment of much debate about the status of global contemporary art, this exhibition examines how artworks drawn from the contemporary collection of Patricia Phelps de Cisneros navigate this complex issue by embracing appropriative strategies for making art. The appropriative act enables the artists in this exhibition to confound conventions of time and space and question narratives of history, art, and progress. By repeating and copying art historical and archival sources, literary texts, and objects made far away and long ago, they collapse distance as near and far or “here” and “there.” In one way or another, all these artists are intervening, inserting themselves, repeating some type of source. If they are all devoted to repeating already extant works and images, they are also dedicated to exploring the cracks, the potential veins of growth and expansion, exploration and discovery, that always existed within the “originals.”

Featuring: Jonathas de Andrade, Armando Andrade Tudela, Juan Carlos Araujo, Waltercio Caldas, Mariana Castillo Deball, Elena Damiani, Josefina Guilisasti, Leandro Katz, Jorge Macchi, Leticia Obeid, Dario Robleto, José Antonio Suárez Londoño, Christian Vinck

Curated by Prof. Harper Montgomery with Hunter MA and MFA Students enrolled in the Advanced Curatorial Certificate.

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Madeline Hollander, Sean Raspet, Sam Lewitt at The Artist’s Institute

132 East 65th Street
New York, NY

Through May 25

Madeline Hollander’s New Max will be performed every Saturday from 2-6pm.

This spring, the Artist’s Institute’s program brings us closer to the surprising, unstable, and powerful capacities of matter. In the physical sciences and economics, we sometimes call this kind of work energetics―the study of the way that energy flows through a system. For the art field, an emphasis on energetics reorients aesthetics to material expression, sometimes a material expression that exceeds that of the artist’s own imagination or will. Through artworks, talks, and other events this spring, the Institute’s fellows are engaging with energy as an animating force. Energy has the capacity to synthesize molecules. Energy heats up a room.

Madeline Hollander, Sean Raspet, Sam Lewitt at The Artist’s Institute

132 East 65th Street
New York, NY

Through May 25
Opening Reception: February 13, 6-8pm

Madeline Hollander’s New Max will be performed every Saturday from 2-6pm.

This spring, the Artist’s Institute’s program brings us closer to the surprising, unstable, and powerful capacities of matter. In the physical sciences and economics, we sometimes call this kind of work energetics―the study of the way that energy flows through a system. For the art field, an emphasis on energetics reorients aesthetics to material expression, sometimes a material expression that exceeds that of the artist’s own imagination or will. Through artworks, talks, and other events this spring, the Institute’s fellows are engaging with energy as an animating force. Energy has the capacity to synthesize molecules. Energy heats up a room.

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Tamar Ettun, MFASO Lecture

Hunter MFA, Second Floor Flex Space
205 Hudson Street
New York, NY

February 20, 7pm

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Amy Butowicz: A Room to Hoist

Thomas Hunter Project Space
Thomas Hunter Building
930 Lexington Avenue
New York, NY

February 5 – 23
Opening Reception: February 9, 6-9pm

The Hunter College Project Space is pleased to present an installation of sculpture by Amy Butowicz. A Room to Hoist brings together a collection of anthropomorphized objects forming assorted bodies from ceramic, found objects, and manipulated canvas. Through the creation of these objects Butowicz engages in the acts of dressing and decorating. As these pieces are treated with glaze, stain, paint, and wallpaper, her work poses questions of revealing and concealment to both contrast and beautify their original form. By decorating decrepit objects, Butowicz contemplates bodily degeneration and the human impulse to conceal the abject.

Visitors will need to get a “guest pass” from the main entrance at Hunter College on the corner of 68th St. and Lexington Ave. You may then use any entrance to reach the Thomas Hunter Project Space, located in the basement of the Thomas Hunter Building (930 Lexington Ave.)

---

Action at Distance: On the Elusive Quality of Artworks in the Age of Simultaneity

A Discussion with Professor Elie During, Paris Nanterre University / Institut Universitaire de France / École des Beaux-Arts de Paris

Respondent, Professor David Joselit, CUNY Graduate Center

Moderated by Professor Jérôme Game, Hunter College—CUNY & Columbia University

Hunter College, Room 1527
695 Park Avenue
New York, NY

March 5, 7pm

The aesthetics of contemporary art have long been governed by what may be called a performative paradigm, valuing the immediacy of co-presence, the effectiveness of action by contact, or the spectator’s embodied engagement in various forms. Even the element of remote action introduced by certain installation practices—in the wake of land art or media art—can be viewed as a complication rather than a departure from this general orientation. There is always the possibility of incorporating a measure of separation within embodied communication (Art by Telephone), a measure of delay within simultaneity (as Dan Graham taught us, among others), just as niches of void and silence can be carved out in the midst of a buzzing world. But what if distant simultaneity is considered from the outset as the obverse of co-presence, rather than an extension of its natural scope or a loosening of its grip? What if to be simultaneous with the event of art implies the interruption or severance of all proximal communication in favour of a rigorous discipline of action at a distance?

---

Copy, Translate, Repeat: Contemporary Art from the Colección Patricia Phelps de Cisneros

205 Hudson Gallery
205 Hudson Street
New York, NY

February 8 – April 1
Opening Reception: Febraury 8, 6-8pm

At a moment of much debate about the status of global contemporary art, this exhibition examines how artworks drawn from the contemporary collection of Patricia Phelps de Cisneros navigate this complex issue by embracing appropriative strategies for making art. The appropriative act enables the artists in this exhibition to confound conventions of time and space and question narratives of history, art, and progress. By repeating and copying art historical and archival sources, literary texts, and objects made far away and long ago, they collapse distance as near and far or “here” and “there.” In one way or another, all these artists are intervening, inserting themselves, repeating some type of source. If they are all devoted to repeating already extant works and images, they are also dedicated to exploring the cracks, the potential veins of growth and expansion, exploration and discovery, that always existed within the “originals.”

Featuring: Jonathas de Andrade, Armando Andrade Tudela, Juan Carlos Araujo, Waltercio Caldas, Mariana Castillo Deball, Elena Damiani, Josefina Guilisasti, Leandro Katz, Jorge Macchi, Leticia Obeid, Dario Robleto, José Antonio Suárez Londoño, Christian Vinck

Curated by Prof. Harper Montgomery with Hunter MA and MFA Students enrolled in the Advanced Curatorial Certificate.

Copy, Translate, Repeat: Contemporary Art from the Colección Patricia Phelps de Cisneros

205 Hudson Gallery
205 Hudson Street
New York, NY

February 8 – April 1
Opening Reception: Febraury 8, 6-8pm

At a moment of much debate about the status of global contemporary art, this exhibition examines how artworks drawn from the contemporary collection of Patricia Phelps de Cisneros navigate this complex issue by embracing appropriative strategies for making art. The appropriative act enables the artists in this exhibition to confound conventions of time and space and question narratives of history, art, and progress. By repeating and copying art historical and archival sources, literary texts, and objects made far away and long ago, they collapse distance as near and far or “here” and “there.” In one way or another, all these artists are intervening, inserting themselves, repeating some type of source. If they are all devoted to repeating already extant works and images, they are also dedicated to exploring the cracks, the potential veins of growth and expansion, exploration and discovery, that always existed within the “originals.”

Featuring: Jonathas de Andrade, Armando Andrade Tudela, Juan Carlos Araujo, Waltercio Caldas, Mariana Castillo Deball, Elena Damiani, Josefina Guilisasti, Leandro Katz, Jorge Macchi, Leticia Obeid, Dario Robleto, José Antonio Suárez Londoño, Christian Vinck

Curated by Prof. Harper Montgomery with Hunter MA and MFA Students enrolled in the Advanced Curatorial Certificate.

 

 

Caroline Wells Chandler, MFASO Lecture

Hunter MFA, Second Floor Flex Space
205 Hudson Street
New York, NY

February 9, 7pm

 

 

Amy Butowicz: A Room to Hoist

Thomas Hunter Project Space
Thomas Hunter Building
930 Lexington Avenue
New York, NY

February 5 – 23
Opening Reception: February 9, 6-9pm

The Hunter College Project Space is pleased to present an installation of sculpture by Amy Butowicz. A Room to Hoist brings together a collection of anthropomorphized objects forming assorted bodies from ceramic, found objects, and manipulated canvas. Through the creation of these objects Butowicz engages in the acts of dressing and decorating. As these pieces are treated with glaze, stain, paint, and wallpaper, her work poses questions of revealing and concealment to both contrast and beautify their original form. By decorating decrepit objects, Butowicz contemplates bodily degeneration and the human impulse to conceal the abject.

Visitors will need to get a “guest pass” from the main entrance at Hunter College on the corner of 68th St. and Lexington Ave. You may then use any entrance to reach the Thomas Hunter Project Space, located in the basement of the Thomas Hunter Building (930 Lexington Ave.)