keliy

Keliy Anderson-Staley, Lecture

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

February 27, 7pm

Sponsored by the Crossway Foundation


barb

 

Barb Smith, MFASO Lecture

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

February 28, 7pm

 


thp

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 HouseThere 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.)


kossak


During_Action At Distance image

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?


hudsongalleryCopy, 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.


hollander-drawing

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.

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

w

Connecting to %s