Georgia Sagri, MFASO Lecture – October 9, 7pm


Georgia Sagri, MFASO Lecture

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

October 9, 7pm

Georgia Sagri, (*1979, Athens, GR) lives in Athens and New York. She holds a cello
diploma, a BA from the School of Fine Arts, Athens and an MFA from Columbia
University, NYC. From 2016 until 2019 she was the Visiting Professor of
Performance at Zhdk, Zurich, Art and Media Department in Switzerland. She was
recently appointed to create and run the first and new Performance studio at the
School of Fine Arts in Athens.

At the center of Sagri’s practice lies the exploration of performance as an ever-
evolving field within the social and visual life, interconnected, though distinct, from
the dialectics of representation in theatre, music and dance. In addition to
performance works her artistic output comprises writing, sculpture, video, installation
and drawing. Most of her work is influenced from the ongoing engagement in political
movements and struggles, on the issues of autonomy, empowerment and self-

She was participant-artist at documenta 14 in Athens and Kassel with the pubic
performance and sculptural manifestation Dynamis. Her first institutional solo show,
curated by Adam Szymczyk, ran under the title Mona Lisa Effect at Kunsthalle Basel
over the spring of 2014. Her first monograph catalogue was published by Sternberg
Press under the title Georgia Sagri Georgia Sagri and I following her two oeuvre solo
exhibitions Georgia Sagri Georgia Sagri at Kunstverein Braunschweig and Georgia
Sagri and I at Portikus curated by Christina Lehnert.

Her work has been included in group exhibitions i.a.: The Eccentrics (2016)
Sculpture Center, NY, curated by Ruba Katrib; Secret Surface Where Meaning
Materializes (2016), KW Institute for Contemporary Art, Berlin, curated by Ellen
Blumenstein; Bread and Roses (2016) Museum of Modern Art Warsaw, curated by
Łukasz Ronduda and Natalia Sielewicz; What People Do for Money (2016) Manifesta
11, The European Biennial of Contemporary Art, Zurich, Switzerland, curated by
Christian Jankowsky and the 14th Istanbul Biennial (2015), curated by Carolyn
Christov-Bakargiev. Her work has been presented at the Biennale de Lyon (2013),
ProBio, Expo 1: New York, MoMA PS1, NYC (2013) and the Whitney Biennial,
Whitney Museum of American Art, NYC (2011).

Her work has been shown internationally in public institutions including the Museum
of Modern Art, NYC, the Museum of Modern Art, Warsaw, KW, Berlin, Arnolfini,
Bristol, the Museum of Contemporary Art, Thessaloniki, Deste Foundation, Athens
(1st Prize for the performance In the Shop Window, 2001) and in private galleries
including Anthony Reynolds, London; Melas/Papadopoulos, Athens; Lars Friedrich,
Berlin; Team, NYC; Murray Guy, NYC; Real Fine Arts, NYC; Andrew Roth, NYC;
Circus, Berlin; Terri and Donna, Miami and Central Fine, Miami.

In 2009 Sagri founded the audio-only magazine FORTÉ (
and SALOON, an ongoing nomadic curatorial project.

Robert Morris: Para-architectural projects at The Leubsdorf Gallery – Opening Reception October 10, 7-9pm

Section of a Walled Courtyard800

Robert Morris: Para-architectural projects

Bertha and Karl Leubsdorf Gallery
132 E. 68th Street
New York, NY

October 10 – December 1
Opening Reception: October 10, 7-9pm

Hunter College Art Galleries are pleased to announce Robert Morris: Para-architectural projects at Hunter’s Bertha and Karl Leubsdorf Gallery. Robert Morris, who died in November 2018, was an alumnus of Hunter College, and a member of the faculty for over 40 years. Hunter’s exhibition focuses on a series of large-scale drawings made by the artist in 1971, many of which were first shown in Morris’s infamous Tate Gallery exhibition of the same year. The Tate’s catalogue describes that exhibition as “a sequence of structures which, although they resemble in their uncompromised simplicity Morris’ earlier sculptures, invite physical participation of the public.” The interaction that Morris encouraged, however, ultimately resulted in visitor injuries as well as damage to the structures, leading to the closure of the exhibition only four days after it opened. In 2009, in collaboration with the artist, the Tate Modern reconceived the 1971 exhibition: this reinstallation, Bodyspacemotionthings, included newly designed versions of the participatory structures, but none of the drawings.

Image: Robert Morris. Section of a Walled Courtyard, 1971. Ink on paper,42 x 84 in.(107 x 213cm). Courtesy of Hunter College, The City University of New York. © 2019 The Estate of Robert Morris / Artists Rights Society (ARS), New York. Photo: Stan Narten.

Field trip to Henry with Nancy Shaver – October 14 – Part of Maneuver at The Artist’s Institute


Field trip to Henry with Nancy Shaver

October 14In conjunction with Lynne’s Cooke’s exhibition Maneuver at the Artist’s Institute this fall, we’ve invited artist Nancy Shaver to organize a few events inspired by Anni Albers’ life and work. The first is a visit to Henry, the store that Shaver has owned and operated for the past twenty years in Hudson, New York. On Monday, October 14th, Shaver and her business partner Robin Greeson will host us at Henry for a talk about the shop in relation to Albers’ thinking. Round-trip transportation is provided at cost, for $40; we will depart from New York at 9:30am and return by 6:30pm. Due to space constraints, this event is RSVP, on a first-come, first-serve basis. To attend or for further information, please e-mail

part of Maneuver

The Artist’s Institute
132 E. 65th Street
New York, NY
September 18 – December 14

Opening Reception: September 18, 6-8pm

curated by Lynne Cooke

Allen Ruppersberg, Zabar Visiting Artist Lecture – October 23, 7pm


Ruppersberg Portrait by Augusta Wood_2011_300dpi_BW.jpeg

Allen Ruppersberg, Zabar Visiting Artist Lecture

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

October 23, 7pm

Since the late 1960s, with works included in such seminal exhibitions of Conceptual Art as Live in Your Head/When Attitudes Become Form at the Kunsthalle Bern in Switzerland and Seth Siegelaub’s infamous One Month in New York, Allen Ruppersberg has been among the most visually inventive and intellectually inquisitive artists to emerge from the movement. Over his long career, his work has explored the slippages of language, the weight and unreliability of memory, and the strangeness of photograph and the mechanically reproduced image. From his early Picture of Dorian Gray, which presents Oscar Wilde’s story of painting, artistic influence, and life and death copied out in long hand across 20 six-foot square canvases, to The Singing Posters: Allen Ginsberg’s Howl, the beat poet’s groundbreaking poem spelled out phonetically and printed in block letters across over 200 vibrantly colored commercial advertising posters, interspersed with advertisements for fairs and festivals and concerts, his work has intertwined reading and looking, and probed ideas of authorship and voice. Ruppersberg’s ongoing examinations of image, language, and memory are most often pursued through the materials of American vernacular culture: commercial advertising posters, old magazines, album covers, found films, and postcards drawn from a storehouse of materials he has collected over decades.

Allen Ruppersberg currently lives and works in New York and Santa Monica, California. Recent solo exhibitions include Walker Art Center, Minneapolis (2018); traveling to Hammer Museum, Los Angeles in 2019; Air de Paris, Paris (2016); Plug In Institue of Contemporary Art, Winnipeg, Canada (2016); Skirball Culture Center, Los Angeles (2015); Greene Naftali, New York (2014); MFC-Michèle Didier, Paris (2014); Greengrassi, London (2014); Wiels, Brussels (2014); and The Art Institute of Chicago (2012). His work is in the collections of numerous museums internationally, including the Solomon R. Guggenheim Museum, the Metropolitan Museum of Art, New York; the Museum of Modern Art, and the Whitney Museum of American Art, in New York.


In November 2007, Hunter College received a generous commitment to establish the Judith Zabar Visiting Artist Program Fund. The Fund has allowed Hunter to bring a series of internationally recognized artists to campus to work directly with students in the MFA program, in master classes, critical seminars, and private tutorials, providing students with the unique opportunity to interact with top practitioners in the field. Zabar Visiting Artists also present public lectures where they discuss their work, engage in conversation with members of Hunter’s faculty, and with Hunter’s broader student community and the general public. Past Zabar artists have included: Vito Acconci, Janine Antoni, Julie Ault, Robert Barry, Dawoud Bey, Tania Bruguera, Mel Chin, Peter Doig, Nicole Eisenman, Rochelle Feinstein, Charles Gaines, Alfredo Jaar, Joan Jonas, Martin Kersels, Jeff Koons, Glenn Ligon, Sharon Lockhart, Robert Longo, Inigo Manglano-Ovalle, Christian Marclay, Kerry James Marshall, Tracey Moffatt, Matt Mullican, Wangechi Mutu, Gabriel Orozco, Laura Owens, Trevor Paglen, Elizabeth Peyton, Paul Pfeiffer, William Pope L., Walid Ra’ad, Yvonne Rainer, Doris Salcedo, Shahzia Sikander, Michael Smith, Frances Stark, Fred Tomaselli, Nari Ward, Carrie Mae Weems, and Stanley Whitney.