Gallery Cubed presents NEA: Network of Extraordinary Artists: Tutu Gallery (April Zhu) x Xingze Li – Through December 28

Gallery Cubed presents NEA: Network of Extraordinary Artists: Tutu Gallery (April Zhu) x Xingze Li

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

Through December 28

GALLERY CUBED (GC) is a portable pop-up, a 4 x 8 foot gallery in a box. The franchise kit includes hidden electrical power, easily replaceable parts, and manageable, stackable, flat-pack, space-saving, interlocking panels that are easy to assemble. Anyone can put together the pieces to make a sturdy, load-bearing exhibition space appear out of thin air. GC’s mission is to empower communities and artists through the transformative power of a sustainable art experience. More art for more people for less money.

Inside of the walls of GALLERY CUBED, Nathan Rayman presents his curatorial project, NEA: Network of Extraordinary Artists. The NEA supports international artists applying for the O-1 US Visa or Green Card by offering them opportunities to fulfill specific requirements—exhibitions, publications, panel participation, etc.—that prove their “extraordinariness” to immigration authorities. Like HEHG’s exhibition, The Extraordinary, the NEA is populated through an open call put out by GALLERY CUBED and selected by a jury of established arts workers.

The NEA will present a series of six solo exhibitions beginning on October 16, 2019 and rotating through March, 2020. The NEA began in 2019 and serves as an inclusive, generative network at a time when the US’s original NEA (the National Endowment for the Arts) is at risk of being dismantled and money is more often channelled through the secondary art market. In this environment of dwindling support and funding for art production, the NEA calls into question the metrics used to obtain the status of an “extraordinary” or “successful” artist. How is this lofty goal made even more difficult for non-residents? How can we re-imagine existing structures so that they might yield a more inclusive dividend of success rather than creating competition, scarcity, and rejection?

Polly Apfelbaum, Zabar Visiting Artist Lecture – Roosevelt House, December 11, 7pm


Polly Apfelbaum, Zabar Visiting Artist Lecture

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

December 11, 7pm

The Department of Art and Art History at Hunter College is pleased to announce a public lecture by Zabar Visiting Artist Polly Apfelbaum, Wednesday, December 11, at 7pm at Hunter’s Roosevelt House Auditorium, 47-49 East 65th Street in Manhattan.

Polly Apfelbaum is best known for her “fallen paintings”: large, colorful, floor-bound works composed of hundreds of petals of brilliantly dyed fabric. She has exhibited steadily since her first one-person exhibition in New York in 1986, exploring the boundaries between high art and handicraft, in particular the varieties of quilting and weaving that modern art dismissed as decorative, as craft, or as women’s work. Her most recent works, woven rugs and printed wallpapers, move color and pattern across the floor and onto the wall. They evoke both a history of modern color painting and mid-century interior design, and the handmade work of older craft traditions.

Polly Apfelbaum is represented by Galerie Nächst St. Stephen in Vienna and Frith Street Gallery in London, and her work was the subject of a major mid-career survey that opened in 2003 at the Institute for Contemporary Art in Philadelphia, and traveled to the Kemper Museum in Kansas City and the Contemporary Art Center in Cincinnati. She has received numerous grants and awards, including the Rome Prize, a Guggenheim Fellowship, an Academy Award from the American Academy of Arts and Letters, a Richard Diebenkorn Fellowship, a Joan Mitchell Fellowship, an Artist’s Fellowship from the New York Foundation for the Arts, an Anonymous Was a Women Award, and a Pollock-Krasner Foundation grant. Her work is included in the collections of The Museum of Modern of Art, New York; The Whitney Museum of Art of American Art, New York; Brooklyn Museum of Art, New York, The Los Angeles County Museum of Art, Los Angeles, and other museums nationally and internationally.

About the Judith Zabar Visiting Artists Program
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, Allen Ruppersberg, Doris Salcedo, Shahzia Sikander, Michael Smith, Frances Stark, Fred Tomaselli, Nari Ward, Carrie Mae Weems, and Stanley Whitney.

Inflatable Deities perform Mourning of the Living Past – December 15, 4pm

Inflatable Deities perform Mourning of the Living Past
part of MFA Thesis Exhibition Part II:  ̶l̶a̶s̶s̶i̶e̶z̶ ̶f̶a̶i̶r̶e̶ ̶e̶t̶ ̶l̶a̶s̶s̶i̶e̶z̶ ̶p̶a̶s̶s̶e̶r̶

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

December 15, 4pm

curated by Nicole Kaack
Inflatable Deities (Jessica Mensch & Emily Pelstring) will perform Mourning of the Living Past – a 25min. multimedia piece that includes a live soundtrack, dance numbers, costume changes and analog special effects.
Synopsis: It is the year 4999. Two Scientists have been sent through time and space to the year 5999 to gather research data on the evolution of a brain-eating virus. They discover that the virus has evolved to take on an anthropomorphic form. This manifestation of the Virus has integrated itself into the economic system, in which flesh functions as the new currency. The Scientists follow the virus and discover how Flesh is collected and traded. They report on their mission through a machine that translates their speech into image.