Zabar Lecture: JENNIFER PACKER on April 13

JUDITH ZABAR VISITING ARTIST
Lecture in-person and online
Wednesday, April 13, 2022 7pm

ROOSEVELT HOUSE PUBLIC POLICY INSTITUTE
AT HUNTER COLLEGE
47-49 EAST 65TH STREET
NEW YORK, NY 10065

 

Jennifer Packer is an American artist, living and working in New York City. She is a recipient of the 2020 Rome Prize of the American Academy, and the 2020 Hermitage Greenfield Prize. Packer creates portraits, interior scenes, and still lifes that suggest a casual intimacy. She views her works as the result of an authentic encounter and exchange. The models for her portraits—commonly friends or family members—are relaxed and seemingly unaware of the artist’s or viewer’s gaze. Packer’s paintings are rendered in loose line and brush stroke using a limited color palette, often to the extent that her subject merges with or retreats into the background. Suggesting an emotional and psychological depth, her work is enigmatic, avoiding a straightforward reading. “I think about images that resist, that attempt to retain their secrets or maintain their composure, that put you to work,” she explains. “I hope to make works that suggest how dynamic and complex our lives and relationships really are.” Born in 1984 in Philadelphia, Jennifer Packer received her BFA from the Tyler University School of Art at Temple University in 2007, and her MFA from the Yale University School of Art in 2012. She was the 2012-2013 Artist-in-Residence at the Studio Museum in Harlem, and a Visual Arts Fellow at the Fine Arts Work Center in Provincetown, MA, from 2014-2016. Her most recent solo show, Tenderheaded, was exhibited at the Renaissance Society, Chicago in fall 2017 before travelling to the Rose Museum at Brandeis University in March 2018. Packer currently teaches as an Assistant Professor in the Painting Department at RISD. Her exhibition, The Eye Is Not Satisfied With Seeing is the largest survey of Packer’s practice to date. It originated at the Serpentine Gallery in London, and can be seen at The Whitney Museum of American Art until April 17th 2022.

 

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, Polly Apfelbaum, Julie Ault, Robert Barry, Dawoud Bey, Tania Bruguera, Patty Chang, Mel Chin, Peter Doig, Charles Gaines, Alfredo Jaar, Emily Jacir, Joan Jonas, Jeff Koons, David Lamelas, Glenn Ligon, Sharon Lockhart, Marie Losier, Inigo Manglano-Ovalle, Christian Marclay, Kerry James Marshall, Tracey Moffatt, Wangechi Mutu, My Barbarian, Gabriel Orozco, Laura Owens, Sondra Perry, Elizabeth Peyton, Paul Pfeiffer, William Pope L., Walid Ra’ad, Yvonne Rainer, Doris Salcedo, Shahzia Sikander, Cauleen Smith, Frances Stark, Fred Tomaselli, Nari Ward, Carrie Mae Weems, and Stanley Whitney.

 

Online Sound Bath by KACH Studio: Sonic RETRIEVAL / April 3, 4–5 PM

KACH Studio: Sonic RETRIEVAL
Online Sound Bath by Kenyatta A.C. Hinkle

Sunday, April 3, 4–5 PM

Register here to view the live stream at Leubsdorf Gallery
Register here for the Zoom link

Leubsdorf Gallery will be open for visitors to The Black Index, 11am–4pm, and for Sound Bath attendees only, 4–5pm.
Bertha & Karl Leubsdorf Gallery
132 E 68th St New York
Enter from the south side of 68th Street between Park and Lexington Avenues

This event will take place on Zoom during the last hour of The Black Index on view at the Leubsdorf Gallery at Hunter College. HCAG will also live-stream the sound bath in the Leubsdorf Gallery for those who would like to gather together to experience the sound bath in the gallery. Space is limited for the gallery’s live stream, so please register in advance.

KACH Studio: Sonic Retrieval will offer a sound bath that focuses on grieving in the midst of the pandemic in relation to the traveling exhibition The Black Index’s final journey to Hunter College. Kenyatta A.C. Hinkle’s work on view in the exhibition, The Evanesced: The Untouchables, features 100 un-portraits of disappeared Black femmes created in 2020 during the height of the COVID-19 pandemic. She will be offering a ritual not only to close the exhibition but also to create a sonic space for processing grief. Hinkle will be using a Dark Water and Dusk Gong as well as crystal singing bowls, tuning forks, rattles, and various instruments to offer a virtual experience. Those who want to contemplate the impact of Black death historically and presently can participate via cultivating deep listening as a form of witnessing and inner retrieval.

About Kenyatta A.C. Hinkle (Olomidara Yaya)
Award-winning interdisciplinary visual artist and writer Kenyatta A.C. Hinkle, trained Reiki Master and Sound Practitioner, offers unique sonic healing experiences in relation to art exhibitions and museum programming. Using scientific theories concerning the benefits of sound healing to enhance theta state, neuroplasticity, and heal trauma, Hinkle incorporates sound therapy into unique sound installations, group sound bath sessions, and 1:1 healing sessions for artists, arts administrators, and art lovers. Based upon the premise of retrieval that Hinkle has explored for the past ten years within her multi-disciplinary practice, Hinkle aims to provide shamanic journeying to help museum and gallery visitors to experience sonic transformation and healing that is not only activated within the visual realm but activates extrasensory perception to confront and examine the ghosts of history and our shared present individually and collectively. Hinkle is highly sought after to speak about her work at various universities and institutions nationally and internationally and has created a following via the brand of being a Ghost Lady, working with the ghosts of history and ideas that haunt her. Using these explorations in her visual art practice with much success, participants will be interested in how she approaches a new field of sonics within her practice and how it accentuates this next journey in her established career.

KACH Studio creates unique artwork and performances that chart the intersections of art and healing. KACH Studio features award-winning artworks, signature sound baths, and performances that focus on retrieval. KACH Studio seeks to provide Empowerment for SEEKERS to retrieve through sonics and art. KACH Studio is a BIPOC-artist-as-healer-led initiative established in 2012 that interrogates history and trauma to facilitate healing through visual restorative justice and sonics. KACH Studio creates unique handmade collages, fine art, and signature sound baths that interrogate our relationships to healing within the Historical Present and the ramifications of colonialism. Through the creation of visual restorative justice, the artwork acts as a testimony, and the sound/healing work is the aftercare of the testimony. Each participant, art collector, or client plays a powerful role in addressing the effect of history on us as individuals and within the collective. To own artwork or attend a performance, one is also taking action to heal their own relationship to our collective past. KACH Studio is interested in decolonization and healing from individual and collective trauma, and we work with people who range from being art collectors, students, museum-goers, gallery-goers, creatives, artists, and everyday civilians.

Global Abolition and Visual Art: A conversation with Ruth Wilson Gilmore and Shellyne Rodriguez: March 31

Thursday, March 31, 2022 1–2 PM EST

This event will be held on Zoom and include live captioning (CART).
REGISTER HERE

Global Abolition and Visual Art: A conversation with Ruth Wilson Gilmore and Shellyne Rodriguez is organized in concert with the exhibitions The Black Index, curated by Bridget R. Cooks (on view at the Leubsdorf Gallery, Feb. 1–April 3, 2022) and No Tears: In Conversation with Horace Pippin (previously on view at The Artist Institute, Nov. 11–Dec. 18, 2021). Following the conversation Brittany Webb, Evelyn and Will Kaplan Curator of Twentieth-Century Art and the John Rhoden Collection at the Pennsylvania Academy of Fine Arts, will join Ruth Wilson Gilmore and Shellyne Rodriguez for a moderated Q & A.

This program is funded in part by Humanities New York with support from the National Endowment for the Humanities.

SPEAKER BIOS:

Ruth Wilson Gilmore is Director of the Center for Place, Culture, and Politics, and teaches in Earth and Environmental Sciences, American Studies, and Environmental Psychology at the Graduate Center, CUNY. Author of the award-winning Golden Gulag: Prisons, Surplus, Crisis, and Opposition in Globalizing California (UC Press), her forthcoming books include Change Everything (Haymarket); Abolition Geography: Essays Toward Liberation (Verso); and (co-edited with Paul Gilroy) Stuart Hall: Selected Writings on Race and Difference (Duke). The documentary Racial Capitalism with Ruth Wilson Gilmore features her internationalist political work. She has co-founded many grassroots organizations including California Prison Moratorium Project, Critical Resistance, and the Central California Environmental Justice Network. Gilmore has lectured in Africa, Asia, Europe, and North America. Recent honors include co-recipient (with Angela Y. Davis and Mike Davis) of the 2020 Lannan Foundation Cultural Freedom Prize.

Shellyne Rodriguez is an artist, educator, writer, and community organizer based in the Bronx. Her practice utilizes text, drawing, painting, collage, and sculpture to depict spaces and subjects engaged in strategies of survival against erasure and subjugation.

Brittany Webb is the inaugural Evelyn and Will Kaplan Curator of Twentieth-Century Art and the John Rhoden Collection at the Pennsylvania Academy of Fine Arts (PAFA). Webb’s recent exhibitions include the co-curated show Taking Space: Contemporary Women Artists and the Politics of Scale (November 2020–September 5, 2021). Webb is also organizing a major retrospective exhibition and catalogue of the work of the African American sculptor John Rhoden (1916-2001) and stewards a collection of nearly 300 sculptures by Rhoden, leading PAFA’s ongoing effort to place his artworks into the permanent collections of museums around the world. Prior to joining PAFA, Webb was a member of the curatorial staff of the African American Museum in Philadelphia. Dr. Webb holds a Ph.D. in Anthropology from Temple University and a B.A. in Political Science from the University of Southern California.

Images below from left to right:

Titus Kaphar. The Jerome Project (Asphalt and Chalk) XI, 2015. Chalk on asphalt paper. 48 ¼ x 36 13/16 inches. Bowdoin College Museum of Art, Brunswick, Maine, Museum Purchase, Barbara Cooney Porter Fund. ©Titus Kaphar.

Horace Pippin. John Brown Going to His Hanging, 1942. Oil on canvas. 24 1/8 x 30 1/4 inches. Pennsylvania Academy of the Fine Arts, John Lambert Fund, 1943.

 

Spring 2022 Foundation To-Life, Inc. Arthur and Carol Kaufman Goldberg Visiting Curator Lecture: March 28, 7-9 PM

Spring 2022 Foundation To-Life, Inc. Arthur and Carol Kaufman Goldberg Visiting Curator Lecture

Monday, March 28, 7-9 PM
Roosevelt House at Hunter College

47-49 E 65th St, New York, NY 10065

REGISTER HERE FOR IN-PERSON ATTENDANCE

This event is free, open to the public, and live captioning (CART) and ASL interpretation will be provided. This event will also be live-streamed on Zoom. RSVP HERE FOR ZOOM LINK

Please note: all in-person attendees must provide proof of COVID-19 vaccination through CUNY’s Cleared4 access form online in advance of the event.

Hunter College is pleased to announcement that Bridget R. Cooks, Associate Professor of Art History and African American Studies at the University of California, Irvine and curator of The Black Index (on view at Hunter’s Leubsdorf Gallery, February 1–April 3, 2022), is the Spring 2022 Foundation To-Life, Inc. Arthur and Carol Kaufman Goldberg Visiting Curator. Please join us Monday, March 28th for a public lecture by Dr. Cooks. This event will take place in-person at Roosevelt House and will also be live-streamed.

Bridget R. Cooks is Associate Professor of Art History and African American Studies at the University of California, Irvine. Her research focuses on African American artists, Black visual culture, and museum criticism. Cooks has worked in museum education and has curated several exhibitions including, Grafton Tyler Brown: Exploring California (2018), Pasadena Museum of California Art, Ernie Barnes: A Retrospective at the California African American Museum (2019), CAAM, and the nationally touring exhibition The Black Index (2021–2022).

She is author of the book Exhibiting Blackness: African Americans and the American Art Museum (University of Massachusetts Press, 2011). Her writing can be found in dozens of art exhibition catalogues as well as academic publications such as the journals Afterall, Afterimage, American Studies, Aperture, and American Quarterly.

 

The Black Index: February 1 – April 3 / Leubsdorf Gallery

Hunter College Art Galleries, Leubsdorf Gallery
February 1 – April 3, 2022

Dennis Delgado
Alicia Henry
Kenyatta A.C. Hinkle
Titus Kaphar
Whitfield Lovell
Lava Thomas

Curated by Bridget R. Cooks, Ph.D., Associate Professor, Department of African American Studies and the Department of Art History, University of California, Irvine.

Exhibition and tour organized by Sarah Watson, Chief Curator, Hunter College Art Galleries, New York in collaboration with the University Art Galleries at UC Irvine, Palo Alto Art Center, and Art Galleries at Black Studies, University of Texas at Austin.

For more information about The Black Index programming and exhibition tour visit: https://www.theblackindex.art/

 

ABOUT THE EXHIBITION

The Hunter College Art Galleries are pleased to announce the traveling group exhibition The Black Index featuring the work of Dennis Delgado, Alicia Henry, Kenyatta A.C. Hinkle, Titus Kaphar, Whitfield Lovell, and Lava Thomas. The artists included in The Black Index build upon the tradition of Black self-representation as an antidote to colonialist images. Using drawing, performance, printmaking, sculpture, and digital technology to transform the recorded image, these artists question our reliance on photography as a privileged source for documentary objectivity and understanding. Their works offer an alternative practice—a Black index—that still serves as a finding aid for information about Black subjects, but also challenges viewers’ desire for classification.

The works in The Black Index make viewers aware of their own expectations of Black figuration by interrupting traditional epistemologies of portraiture through unexpected and unconventional depictions. These works image the Black body through a conceptual lens that acknowledges the legacy of Black containment that is always present in viewing strategies. The approaches used by Delgado, Henry, Hinkle, Kaphar, Lovell, and Thomas suggest understandings of Blackness and the racial terms of our neo-liberal condition that counter legal and popular interpretations and, in turn, offer a paradigmatic shift within Black visual culture.

This exhibition is dedicated to David C. Driskell.

 

Bertha & Karl Leubsdorf Gallery
132 E 68th St
New York 

 

David Lamelas / Virtual Book Launch December 8 at noon

Image caption: Detail from The Violent Tapes of 1975, 1975. Series of 10 black-and-white photographs on paper, 9 x 12 inches (22.86 x 30.48 cm) each.

Virtual Book Launch for Life as Activity: David Lamelas

Wednesday, December 8, 2021

12pm ET on zoom

On occasion of the exhibition Life as Activity: David Lamelas, currently on view at the Hunter College Art Galleries’ Leubsdorf Gallery, a publication has been produced that includes texts on the artist by Professor Harper Montgomery and students in Hunter’s graduate programs in Art History and Studio Art. Essays focus on twelve works by Lamelas and include previously unpublished materials from the artist’s papers. Co-published by the Hunter College Art Galleries and Hirmer Verlag, the book is distributed by the University of Chicago Press and available for purchase here.

Join us on zoom to celebrate the book with conversations between David Lamelas and contributing authors of the publication.

 

Artist Lina Puerta & curator Klaudia Ofwona Draber in Conversation December 8

Artist Lina Puerta & curator Klaudia Ofwona Draber in Conversation

Hunter East Harlem Gallery
2180 3rd Avenue, NY, NY

On Wednesday, December 8th, Lina and Klaudia will discuss the exhibition currently on view: Lina Puerta: Migration, Nature, and the Feminine which is a survey exhibition of the artist’s work spanning the last eighteen years and created mostly during her time as an East Harlem resident. The artworks in the exhibition showcase Puerta’s use of imagery rooted in her Colombian upbringing and Latinx experience. Examining the relationship between nature and the human-made, and engaging themes of xenophobia, hyper-consumerism, food justice, and ancestral knowledge, Puerta creates mixed-media sculptures, installations, collages, handmade-paper paintings and wall hangings by combining a wide range of materials: from artificial plants, paper pulp, to found personal and recycled objects.

Dust Specks on the Sea opens November 18 at SFAI

Dust Specks on the Sea
Contemporary Sculpture from the French Caribbean & Haiti

SFAI – Walter and McBean Galleries
On View: November 18, 2021 – February 19, 2022
Opening Reception: Thursday, November 18th, 2021, 4 – 7pm

 

Exhibiting artists:
Mathieu Kleyebe Abonnenc, Raphaël Barontini, Sylvia Berté, Julie Bessard, Hervé Beuze, Jean-François Boclé, Alex Burke, Vladimir Cybil Charlier, Gaëlle Choisne, Ronald Cyrille, Jean-Ulrick Désert, Kenny Dunkan, Edouard Duval-Carrié, Adler Guerrier, Jean-Marc Hunt, Nathalie Leroy-Fiévée, Audry Liseron-Monfils, Louisa Marajo, Ricardo Ozier-Lafontaine, Jérémie Paul, Marielle Plaisir, Michelle Lisa Polissaint & Najja Moon, Tabita Rezaire, Yoan Sorin, Jude Papaloko Thegenus, Kira Tippenhauer

San Francisco Art Institute and Hunter East Harlem Gallery are pleased to present the exhibition, Dust Specks on the Sea: Contemporary Sculpture from the French Caribbean & Haiti opening on November 18 at San Francisco Art Institute’s Walter and McBean Galleries.

Dust Specks on the Sea focuses on sculptural works by over a dozen contemporary artists from Guadeloupe, Martinique, French Guiana, and Haiti and addresses the various positionings of the postcolonial condition in this region. The exhibition’s title—Dust Specks on the Sea—is derived from a quote by former French President Charles de Gaulle, describing his view of the French Caribbean islands from an airplane in 1964. De Gaulle’s description speaks to the almost otherworldly mystery of an aerial view of the Caribbean archipelago, while at the same time calling into question a deep-seated hierarchical perspective stemming from France’s history as a powerful colonizing force in the Caribbean. In 1902 the eruption of the volcano Mount Pelée on the island of Martinique, destroyed the town of Saint-Pierre, killing approximately 30,000 people in a matter of minutes. Poignant photographic images of the “worst volcanic disaster of the early 20th century” show the volcano’s dusty plume looming above the sparkling waters of the Caribbean; these visual documents allude to the complex and loaded sentiments of de Gaulle’s quote—the duality of perspective. The French Caribbean cannot be defined solely by its beauty nor by its historical trauma; through this exhibition, we aim to contribute to a contemporary, multi-layered understanding of this region.

The exhibition was generated by Hunter East Harlem Gallery at Hunter College in NYC, an institution dedicated to creating projects that build on the complicated circumstances of being a human in today’s world and bolstering the voices of creative people and thinkers. Through presenting a sculpture-based exhibition in a distinctive way—in many cases, the artworks will physically interact with one another, we hope to build a visual dialogue about how artwork can be one of the most powerful tools for personal and political expression. 

ZABAR VISITING ARTIST LECTURE David Lamelas

Wednesday, November 10, 2021

Flex Space / 205 Hudson

7:00pm – 9:00pm

David Lamelas (b. 1946) first studied art at the Academia de Bellas Artes in Buenos Aires, Argentina and began to exhibit his work in the lively gallery scene there in 1963. Making sculptural installations that explored minimal forms, the materials of industry and mass media, and pop, Lamelas was at the center of the experimental avant-gardism encouraged by the critic and curator Jorge Romero Brest at the Instituto Torcuato Di Tella during much of the 1960s. After winning the prize for sculpture at the 1967 São Paulo Biennial, Lamelas traveled to Europe to represent Argentina in the 1968 Venice Biennial. Having won a scholarship from the British government to study art in London, Lamelas moved to London the same year, where he attended Saint Martin’s School of Art. In 1969 and 1970, Lamelas was invited to participate in groundbreaking exhibitions of conceptual art organized by Anny De Decker for Prospect and by Michel Claura and Seth Siegelaub in Paris. In 1969, Lamelas began to use film to explore relationships of time and space and themes of narrative and character development. A trip in 1974 to Los Angeles inspired Lamelas to investigate glamour, dramatic narrative, television, and to make works that highlighted the proximity of reality and fiction. In 1976, Lamelas moved to Los Angeles and during the mid- and late-1970s his work took the form of video and television projects investigating how stereotype and myth fashion reality in the United States. Collaborations with Hildegarde Duane during this period produced interrogations of gender and racial and ethnic stereotypes and videos that brought to light the entertainment quality of the news. Film and digital video have continued to be a focus of Lamelas’s work, along with his consistent engagement with sculptural projects. In 1997, after Lamelas and other progenitors of conceptualism appeared in the exhibition 1965–1975: Reconsidering the Object of Art at the Museum of Contemporary Art, Los Angeles, he was the subject of the retrospective, David Lamelas: A New Refutation of Time at the Kunstinstituut Melly (formerly known as the Witte de With Center for Contemporary Art). In 2006, David Lamelas, Extranjero, Foreigner, Étranger, Ausländer took place at the Museo Tamayo and Malba (Museo de Arte Latinoamericano de Buenos Aires); and in 2017 and 2018, respectively, he was the subject of one-person shows at Malba and the University Art Museum, California State University (supported by the Getty Foundation), and at the Broad Museum of Michigan State University in 2018. He continues to make work that questions boundaries and disrupts art historians’ attempts to map conventional categories onto his unclassifiable and provocative practice.

more info

 

FALL 2021 THESIS EXHIBITIONS

This fall the Hunter College MFA Program in Studio Art will be presenting four Thesis Exhibitions featuring the work of twenty-one artists. The exhibitions will take place in the 205 Hudson Gallery from 10am – 6pm on the dates of each exhibition. Vaccination is mandatory for all visitors, and you must show proof of vaccination upon entry to the gallery.

Thesis Part I
October 29 – November 8
Danielle Roberts, Opal Ong, Ana Villagomez, Jeremy Lawson, Victor Perez

Thesis Part II
November 14 – 23
Lily Randall, Chris Berntsen, Miguel Martinez, Sofia Collins, Lauren Clark, Carrie Rudd

Thesis Part III
December 2 – 12
Camille Breslin, Whitney Harris, Brian Madonna, Mercedes Llanos, Anna Sofie Jespersen, Xiong Wei

Thesis Part IV
December 17 – January 3
Dante Cannatella, Sydney Shavers, Areum Yang, Jake Reed, Nicholas Norris

more info

 

 

Life as Activity: David Lamelas

Life as Activity: David Lamelas

Curated by Harper Montgomery, Professor of Modern and Contemporary Latin American Art with Sarah Watson, Chief Curator, and Re’al Christian, Lazarus Graduate Curatorial Fellow, and with MA and MFA students enrolled in the curatorial practicum seminar: The Transgressive Itineraries of Conceptualism.

Hunter College Art Galleries
Bertha and Karl Leubsdorf Gallery
132 East 68th Street, New York, NY

November 3 – December 18, 2021
Gallery Hours: Tuesday-Saturday, 11-5 pm

The Hunter College Art Galleries are pleased to present Life as Activity: David Lamelas, an exhibition marking the artist’s first solo show in New York in more than a decade. For over half a century, Lamelas (born 1946, Buenos Aires) has made work that pushes the boundaries of contemporary art by defying conventions of artistic media. Although he is globally recognized as a ground-breaking figure of conceptual art, his explorations with the spatial qualities of film and the signifiers of identity have not been adequately investigated. Life as Activity focuses on Lamelas’s experimentation with film and his examination of identity and narrative fiction in light of his ongoing insistence that his artistic practice has always, in one way or another, been grounded in his sense of himself as a sculptor.

The exhibition brings together sculpture, film, and photography made across many decades and locations to center this aspect of Lamelas’s artistic practice. These works include two key sculptural installations he made in Buenos Aires in 1966 and 1967, Situación de cuatro placas de aluminio (Four Changeable Plaques), a moveable configuration of aluminum sheets, and Limit of a Projection, a spotlight in a dark room; a series of ten photographs shot in London that pose as film stills for a non-existent movie, The Violent Tapes of 1975; and two films, The Desert People, a pseudo-documentary about a road trip to a Native American reservation which was shot in Los Angeles in 1974 and The Invention of Dr. Morel, a film based on the Argentine writer Adolfo Bioy Casares’s novel The Invention of Morel (1940), which was filmed in Potsdam, Germany in 2000. Both films will be screened on an ongoing basis at set times, which will be available on the Leubsdorf Gallery website: leubsdorfgallery.org. Showcasing the ways in which Lamelas makes us aware of how the stories we tell ourselves are shaped by encounters with space and time, all of these works invite us to participate in scenarios in which container, contained, observer, and observed become blurred.

 

On occasion of the exhibition, a publication has been produced that includes texts on Lamelas by Professor Harper Montgomery and students in Hunter’s graduate programs in Art History and Studio Art. Essays focus on twelve works by Lamelas and include previously unpublished materials from the artist’s papers. Published in collaboration with Hirmer Verlag, the book is distributed by the University of Chicago Press and available for purchase here.

Both the book and the exhibition have been developed in close collaboration with David Lamelas, who worked with students via Zoom on both projects during the course of the pandemic, from spring of 2020 through the fall of 2021.

Life as Activity: David Lamelas results from an Artist Seminar Initiative grant awarded by the Institute for Studies on Latin American Art (ISLAA), which advances scholarship and public engagement with art from Latin America. It was organized under the auspices of ISLAA’s Artist Seminar Initiative, an educational and curatorial program that fosters intimate exchanges between students and living Latin American and Latinx artists.

Additional support for Life as Activity: David Lamelas is made possible by Joan Lazarus, Gagosian Gallery and the James Howell Foundation in support of the Advanced Certificate in Curatorial Studies, and by the galleries’ sustaining supporters the David Bershad Family Foundation, the Susan V. Bershad Charitable Fund, Inc., Carol and Arthur Goldberg, the Anna-Maria and Stephen Kellen Foundation, and the Leubsdorf Fund.

 

David Lamelas first studied art at the Academia de Bellas Artes in Buenos Aires, Argentina and began to exhibit his work in the lively gallery scene there in 1963. Making sculptural installations that explored minimal forms, the materials of industry and mass media, and pop, Lamelas was at the center of the experimental avant-gardism encouraged by the critic and curator Jorge Romero Brest at the Instituto Torcuato Di Tella during much of the 1960s. After winning the prize for sculpture at the 1967 São Paulo Biennial, Lamelas traveled to Europe to represent Argentina in the 1968 Venice Biennial. Having won a scholarship from the British government to study art in London, Lamelas moved to London the same year, where he attended Saint Martin’s School of Art. In 1969 and 1970, Lamelas was invited to participate in groundbreaking exhibitions of conceptual art organized by Anny De Decker for Prospect and by Michel Claura and Seth Siegelaub in Paris. In 1969, Lamelas began to use film to explore relationships of time and space and themes of narrative and character development. A trip in 1974 to Los Angeles inspired Lamelas to investigate glamour, dramatic narrative, television, and to make works that highlighted the proximity of reality and fiction. In 1976, Lamelas moved to Los Angeles and during the mid- and late-1970s his work took the form of video and television projects investigating how stereotype and myth fashion reality in the United States. Collaborations with Hildegarde Duane during this period produced interrogations of gender and racial and ethnic stereotypes and videos that brought to light the entertainment quality of the news. Film and digital video have continued to be a focus of Lamelas’s work, along with his consistent engagement with sculptural projects. In 1997, after Lamelas and other progenitors of conceptualism appeared in the exhibition 1965–1975: Reconsidering the Object of Art at the Museum of Contemporary Art, Los Angeles, he was the subject of the retrospective, David Lamelas: A New Refutation of Time at the Kunstinstituut Melly (formerly known as the Witte de With Center for Contemporary Art). In 2006, David Lamelas, Extranjero, Foreigner, Étranger, Ausländer took place at the Museo Tamayo and Malba (Museo de Arte Latinoamericano de Buenos Aires); and in 2017 and 2018, respectively, he was the subject of one-person shows at Malba and the University Art Museum, California State University (supported by the Getty Foundation), and at the Broad Museum of Michigan State University in 2018. He continues to make work that questions boundaries and disrupts art historians’ attempts to map conventional categories onto his unclassifiable and provocative practice.

Curating and Conserving New Media Work, October 20

Curating and Conserving New Media Work
A discussion with Sara Tucker and Timothy Murray
Wednesday, October 20, 2021
12–1:15 pm on Zoom

RSVP

This event is organized in concert with the exhibition Constance DeJong: A survey exhibition of the artist’s work (August 24–October 9, 2021), which includes the collaborative multimedia project Fantastic Prayers, created by DeJong, the artist Tony Oursler, and the composer Stephen Vitiello. In 1995, Fantastic Prayers was developed as an interactive website, becoming the first of Dia’s Artist Web Projects and in 2000, it was realized as a CD-ROM. Using Fantastic Prayers as our entry point, the discussion will reflect on how CD-ROM became a popular medium for artists in the late 1990s/early 2000s and how conservators and curators are bringing this now obsolete medium back to life for means of research and exhibition.

This event is co-hosted by Sarah Watson, Chief Curator of Hunter College Art Galleries, and Sigourney Schultz, Lazarus Graduate Curatorial Fellow.

Image caption: The Place Where Lost Things Go (detail), image from Fantastic Prayers (1995/2000).

 

Lina Puerta: Migration, Nature, and the Feminine opens October 13

Lina Puerta: Migration, Nature, and the Feminine
Curated by Klaudia Ofwona Draber with associate curator Sofia Ramirez of KODA

Organized by KODA and Hunter East Harlem Gallery

October 13, 2021 – January 2022

Lina Puerta: Migration, Nature, and the Feminine is a survey exhibition of the artist’s work spanning the last eighteen years and created mostly during her time as an East Harlem resident. The artworks in the exhibition showcase Puerta’s use of imagery rooted in her Colombian upbringing and Latinx experience. Examining the relationship between nature and the human-made, and engaging themes of xenophobia, hyper-consumerism, food justice, and ancestral knowledge, Puerta creates mixed-media sculptures, installations, collages, handmade-paper paintings and wall hangings by combining a wide range of materials: from artificial plants, paper pulp, to found personal and recycled objects. The use of body adornments such as sequins, fabric, lace, and jewelry reference the body, and conjure emotions of joy and celebration.

Puerta’s sculptures contain anatomical and botanical elements. These delicate hybrids are rich compositions rendered in a complex layering of materials and techniques. Otherworldly landscapes, referencing the interior of the body, are contained in suitcases, and bell jars, or become their own ecosystems. Her artworks play out as simultaneously mysterious, spiritual, and magical. Vulvas, breasts, and uteri forms evoke psychological states grounded in pre-Columbian fertility deities, and are presented arrested of taboos or hypersexualization.

Puerta’s most recent works on paper and fabric emerge from her process of connecting to the knowledge of Indigenous peoples. The artworks are inspired by patterns created through weaving practices of Kamëntsá and Inga communities of Colombia related to food and cultivated nature passed down across generations of women. Puerta’s use of colonial traditions like quilting and embroidery pay tribute to the women who practiced this craft as an escape from social isolation and as a way to seek mutual aid. By integrating these two aspects of her Mestiza ancestry, Puerta seeks to uplift undervalued knowledge and recuperate alternative ways of living that propose a more sustainable and biodiverse future.

Puerta (born in NJ and raised in Colombia) lives and works in New York City and exhibiting her survey show at Hunter East Harlem Gallery—in the heart of El Barrio—is significant to Puerta as she resided in the community for over 15 years.

Lina Puerta: Migration, Nature, and the Feminine is curated by Klaudia Ofwona Draber with associate curator Sofia Ramirez. The exhibition is organized by KODA and Arden Sherman at Hunter East Harlem Gallery. Support for this exhibition is provided by KODA and Hunter College Department of Art and Art History.