The Warmth of Other Suns: A Discussion on Representations and Perceptions of Migration in Art


The Warmth of Other Suns
A Discussion on Representations and Perceptions of Migration in Art

Hunter MFA Studios
205 Hudson Street
New York, NY

Please enter through the 205 Hudson Street Gallery entrance on Canal Street

May 23, 7pm

With Dr. Dorothy Kosinski, Vradenburg Director & CEO, The Phillips Collection
Massimiliano Gioni, Edlis Neeson Artistic Director, the New Museum
and artists Nari Ward and Aliza Nisenbaum
Moderated by Natalie Bell, Associate Curator, the New Museum

The discussion will center around themes in The Phillips Collection’s upcoming exhibition The Warmth of Other Suns: Stories of Global Displacement, curated by Massimiliano Gioni and Natalie Bell, featuring over 75 international artists whose work poses urgent questions around perceptions of migration and the current global refugee crisis. Opens June 22.

BFA Thesis Exhibition: The End – Opening Reception May 15, 6-8pm

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BFA Thesis Exhibition: The End

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

May 15 – June 16
Opening reception: May 15, 6–8pm

The Hunter College BFA Program and the Hunter College Art Galleries are pleased to present the Spring 2019 BFA Thesis Exhibition, The End, at the Bertha and Karl Leubsdorf Gallery, May 15 through June 16, 2019. The exhibition will feature works by Tyler Brown, Clara Cruz, Madeleine Putnam, Jes Sweat, Nicki Wong, and Chunghee Yun. The opening reception will be held on Wednesday, May 15, 6–8pm, during which there will be a durational performance by Nicki Wong. The gallery is free and open to the public Wednesday through Sunday, 1–6pm.

Image: Jes Sweat, LYCA, 2019. Stop motion animation.

Tauba Auerbach at The Artist’s Institute – Through June 1

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Tauba Auerbach

The Artist’s Institute
132 E. 65th Street
New York, NY

April 12 – June 1
Opening Reception: April 12, 6-8pm

Tauba Auerbach wants to know how matter and energy flow; how rhythms and patterns emerge from and structure these flows; and how electromagnetic flows in the body and brain amount to life and consciousness. To investigate these things, she pours through scientific journals, attends philosophical conferences, and studies YouTube videos on anatomy, magnetism, and molecular biology. But Auerbach is equally engaged by heterodox theories and indigenous wisdom—panpsychism, traditional medicinal practices, ancient string games—viewing the path of knowledge as a spiral that always doubles back to confirm and revive neglected or rejected perspectives. She approaches all these subjects as an artist, embracing art’s subjectivity and taking bias as a data point in her investigation of the world.

Auerbach’s exploration of fluid dynamics is evident in her Extended Object paintings (2018– ), which freeze a field of cascading droplets that appear to vibrate, swirl, and eddy, though they are motionless. Her Ligature Drawings (2017– ) elaborate on the connections between flow patterns and traditions of ornament, following a pulsing line through improvisational—at times sonically amplified and performed—calligraphy. “I don’t want to just draw the rhythm,” she says; “I want to be the rhythm, to sense the rhythms I already am.”

Auerbach’s latest works—her first kinetic sculptures—push this idea further. Rather than picturing the rhythms of fluids and forms, the sculptures are themselves dynamic, allowing a set of key gestures to unfold over time. A soap film fills the central opening of a mechanism referencing Auerbach’s fascination with fascia (the meshwork of connective tissue that surrounds muscles, organs, glands, and blood vessels) and the interstitium (the newly discovered structure of fluid-filled compartments that extends throughout the body and constitutes one of its largest organs). Another pair of sculptures exhibits different types of spin: exploring the dynamism of asymmetry and symmetry, AC and DC currents. A YouTube video library offers an array of approaches to capturing or modeling the microscopic forms and movements at the heart of Auerbach’s current curiosity.