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.


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.



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

hudsongalleryCopy, 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.


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.




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.


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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