Assemblage Journal, Issue 1: Fall 2020
Assemblage Journal, Issue 1: Fall 2020
Last spring, the MFA Thesis Exhibitions for 19 graduating students were disrupted by the COVID-19 pandemic. This fall we are presenting their work in four exhibitions at 205 Hudson Street, and Hauser & Wirth will host an online exhibition featuring the 19 artists beginning November 10.
The exhibitions at 205 Hudson Street are open by appointment only:
September 20—October 3
Miguel Payano, Matt Jones, Tom Morrill, Andrew Foster, Noah Stitt
Johanna Strobel, Adam Shaw, Maya Yadid, Olivia Divecchia
Sam Sherman, Kyoko Hamaguchi, Grant Wells, Nurya Chana, Alex Bustamante
Save the Last Dance
November 28–December 12
Amra Causevic, Taylor Laufersweiler, Kristina Schmidt, Eric Lotzer, Kathleen Granados
IF YOU HAVE NOT PICKED UP your ART SUPPLY KIT/KITS. We are providing one LAST & FINAL OPPORTUNITY TO PICKUP your KIT/S.
Please email Elizabeth Lewin <firstname.lastname@example.org> directly stating the class/classes you are taking and your preferred pickup date (September 30th or October 1st).
68th Street – West Lobby (Entrance Leubsdorf Gallery)
September 30th, 11am-2pm
October 1st, 11am-2pm
Note: This is your last chance to pickup/receive your kit/s
Bertha and Karl Leubsdorf Gallery
The Hunter College Art Galleries have initiated an online project in concert with our postponed spring 2020 exhibition Constance DeJong (now rescheduled for fall 2020). This project coincides with DeJong’s final semester teaching in Hunter’s MFA Studio Art program.
Time-based and multi-platform, DeJong’s work has circulated widely and with admiration in literary and performance circles since the late 1970s, influencing both her contemporaries and students. Constance DeJong: Digital Constellations brings together the voices of many artists and writers, mostly Hunter College Studio Art MFA alumni, who have worked closely with DeJong over the last two decades. New submissions will be posted each week.
Constance DeJong: Digital Constellations is organized by Sarah Watson, Jocelyn Spaar, and Liz Naiden, with Lazarus Graduate Fellow Matthew Weiderspon.
Gabriela Vainsencher, MFA 2016
Here It Comes, 2014
HD video with sound
Hunter East Harlem Gallery
(Viewable from 119th Street Windows)
2180 3rd Avenue at 119th Street
New York, NY
August 15, 2020 – January 31, 2021
Sense Us 2020 is a mixed-media installation of images and text on flattened shipping boxes by artist Nicky Enright. It is a public response to the questions around race on the current 2020 U.S. Census. Created to mimic the aesthetic of protest signs on cardboard and with a symbolically limited palette of black, white, and brown, the installation points to America’s pervasive fixation on race/ethnicity criteria and status checkboxes.
Through the dynamic installation of Sense Us 2020, Enright strives to understand the connections among the race/ethnicity boxes on the census and other boxes of this historical moment: from the casket boxes of recurrent racist violence, to election-year ballot boxes and quarantine and intubation boxes; from mass incarceration, to town “squares” and monument pedestal boxes; from Zoom/Skype boxes, Amazon boxes, and cash vaults to riot-police kettling, a state-of-the-art form of containment.
Hunter East Harlem Gallery is currently closed due to the COVID-19 Pandemic but the Hallway Gallery can be seen through the windows on 119th Street.
August 20, 2pm
Exhibition through September 20
Join MCA Denver for a free, virtual conversation between exhibiting artist Nari Ward and Sir David Adjaye OBE, the architect who designed MCA Denver. Ward’s work often engages directly with the site in which it is installed, generating an intimate response to the architecture and opening up conversations between the art and its setting. Adjaye, an acclaimed architect who has designed several museums since completing MCA Denver in 2007, creates spaces uniquely suited for the scale and impact of contemporary art. We look forward to a lively conversation between these two world-renowned creators and innovators.
Morgan Lehman Gallery
Through September 5
What do we say about artwork that offers an opportunity for contemplation and aesthetics? What relevance does it have in this moment? An artist’s DNA is set, accordingly, how do we work through this moment in history? Maybe some days we do not paint at all and other days we turn off our newsfeed long enough to create an abstract image.
Color carries emotion; nature inspires; memory guides our hands; beauty is persuasive.
20% of proceeds from sales will be contributed to the American Civil Liberties Union
-Andrea Belag, artist and guest curator
DC Moore Gallery
535 West 22nd Street
New York, NY
Through October 3
Valerie Jaudon: Prepositions showcases recent paintings that continue Jaudon’s longstanding examination, begun in the mid-1970s, of the bounded yet infinitely expandable world of the finely wrought, intricate, and maze-like abstract image.
Exhibition catalogue with essay by Raphael Rubinstein available.
Image: Cantabile, 2019. Oil on linen, 81 x 81 inches
Socrates Sculpture Park
32-01 Vernon Boulevard
Long Island City, NY
Through March 14
Paul Ramírez Jonas’ ‘Eternal Flame’ is a monument in the form of a communal grill and imagines cooking culture as both a symbolic and real eternal flame – there is always a lit cooking fire somewhere on this globe. The work honors the role of cuisine and cooking in cultural cohesion and expression among communities and identities, even when individuals and families relocate locally, nationally or internationally.
‘Eternal Flame’ is designed to recognize the importance of dialogue and exchange.
During this new time of social distancing the grill will not be available for public use, but instead bring people together philosophically and culturally through the common experience of cooking and eating. With this in mind, a series of videos will be released with local and distant chefs invited by the artist to address the meaning of the eternal flame while preparing recipes and relating stories on each dish’s significance. Ramírez Jonas imagines cooking culture as a symbolic eternal flame, enduring in communities for generations, over vast distances.
June 27, 2020
SOME HAVE BEEN INCLINED to view the recent removal of Civil War monuments as a turn away from the past. To many of us, however, it is a prompt not for less but rather for more history—which is to say more clear-eyed, more unflinching, more detailed historical inquiry—that would help us better understand the circumstances under which those markers were erected in the first place, often decades after the war’s end.
This is just one of many stories comprising that history, one that I think should be better known.
“More Than Ever” collects projects and portfolios made by the Hunter BFA Spring 2020 graduates, during a time of quarantine at the epicenter of a pandemic.
They were making ambitious installations, often in collaboration and conversation with one another, and excitedly preparing for the group show that would open at the Leubsdorf Gallery at Hunter’s uptown campus. Then it all changed. A tight-knit group who shared studios was torn apart. A class built on intimacy with materials, space, time, and presence became remote. At times, the problems felt insurmountable. But they did what artists do: found ways to work, ways to communicate, ways to make things, for themselves, for each other. The BFAs’ continued creativity provided a network of lifelines during this catastrophic rupture. Their art was made against the odds and is a testament to the strength and ingenuity of this talented group of young New Yorkers.
AVALON THORNTON KENNY
ISABELLE DAHAB FERNANDEZ
NAILAH “BILLIE” FULLER
Book Design by Isabelle Fernandez in collaboration with the Hunter College Spring 2020 BFAs
As a result of the shuttered doors of our galleries, Hunter East Harlem Gallery is bolstering digital outreach and remote networking during the quarantine period of the Coronavirus pandemic. Due to an influx of requests from our network: we have decided to focus on our specific arts community: Uptown artists (Upper Manhattan and the Bronx), Socially Engaged artists and Hunter College MFAs.
From April 20th onwards, HEHG will be conducting digital studio visits with artists in our community as a gesture of service and as a networking tool during this isolating time. We have invited very special guest curators to join us during these meetings.
We are viewing these visits as mutual networking opportunities — where we can introduce the talented artists of our community to amazing curators, and to the initiatives of HEHG.
If you are an Uptown artist (living or working in Upper Manhattan and/or the Bronx), a Socially Engaged artist, or a current Hunter College MFA student and you are interested in participating in a virtual studio visit, please email us at email@example.com with a link to your website and tell us (in less than 250 words) why this program appeals to you (capacity is limited).
Some of the curators who are donating their time include:
The MFA Student Organization (MFASO) of the Hunter MFA Studio Art Program is raising money to support Hunter MFA students who are suffering major financial losses as a result of closures and lost income from Covid-19. Our intention is to collectively raise funds to provide emergency resources to those who need it as our government is doing little to protect our well-being, employment insurance is massively overwhelmed, and stimulus package checks are now expected to reach constituents in August. Hunter College is a public institution – our 108 students are made up of working artists, low-income students with little or no support, artists who support families, and international students who have traveled across the globe for this education at great financial cost. We work in industries or services that have been highly impacted by Covid-19 or are often in precarious employment with little to no protections or stability.
We seek to provide support for our fellow artists and MFA candidates whose livelihoods are being affected by this pandemic. Whether it’s from cancelled gigs, lost jobs, or a lack of business due to coronavirus scares, we hope to orchestrate an egalitarian approach to crowdsourcing for the artists in our program who need support. If you are financially able, please consider donating the money that you would have spent on tickets to live performances, exhibitions, movie theaters, or other cultural events to artist organizations, arts nonprofits, and artists like us, trying to make it through this together.
We know that many are not able to give financially at this time; please consider sharing if you are unable to give. Thank you!
Hunter East Harlem Gallery
2180 3rd Avenue at 119th Street
New York, NY
Although the gallery is closed indefinitely, this show is viewable from the 119th Street windows.
Curated by Kristen Clevenson, M.A. candidate, Art History, Hunter College
Featuring artists: A.K. Burns, Vitoria Hadba, Coralina Rodriguez Meyer, and Alison Kizu-Blair
As dozens of women began to step forward during the historic 2017 “Me Too” movement, they sought justice against those who had abused their bodies; justice after the fact. Still today, women are not offered the knowledge, research, or means to protect and control ourselves from abuses of power and the exploitation of our physical being. For centuries politicians and marketing teams have used women’s bodies to establish social norms, professional hierarchies, and health and beauty standards. These status quos, advertisements, research studies, and policies put women at risk of toxic practices and, in some cases, of literally ingesting toxins. For example, before 1906 manufacturers were not required to disclose “poisonous or deleterious” substances in medicine;1 it was not until 1938 that the FDA began regulating ingredients in cosmetics;2 and today there is still no policy requiring research of contents of tampons or menstrual products.3 Her Right to Know presents archival documents and marketing material alongside contemporary artworks that aim to open up a dialogue about women’s bodies and health, and the social injustices that have been placed on women dating back to the 18th century and continue into present day.
Exploring women’s relationships to medicine, cosmetics, health, and control, contemporary artists A.K. Burns, Vitoria Hadba, Coralina Rodriguez Meyer, and Alison Kizu-Blair illuminate and explode many of the constructs and associations of the female body. Burns presents an IUD Anti-Fertility Necklace to “ward off capitalist reproductive politics.”4 Hadba’s sculptures depict menstruation products as simultaneously violent – their shape mimics bullets – and valuable, as they “ameliorate the discomforts of women’s physiology.” Meyer manipulates imagery of fallopian tubes and uterus into scales of justice, highlighting the authority of the judicial system in highly personal decisions regarding a woman’s reproductive rights in Cunt Quilt (Choice). In her work IUD / IED, which is an IUD scaled to fit the Statue of Liberty’s uterus, Meyer further draws attention to the female body as a place for political discourse. Kizu-Blair’s snarky makeup tutorial HAG to SWAG walks the line between the attractive and the repulsive, questioning notions of beauty and performances of femininity. Displayed alongside archival material from the nineteenth and twentieth centuries, the artworks draw out problems and connections across centuries of women’s health.
1 New York Historical Society, “Female Remedies,” November 2, 2018 – May 27, 2019, https://www.nyhistory.org/exhibi tions/female-remedies.
2 Priyanka Narayan, “The cosmetics industry has avoided strict regulation for over a century. Now rising health concerns has FDA inquiring,” CNBC, August 2, 2018, https://www.cnbc.com/2018/08/01/fda-begins-first-inquiry-of-lightly-regulated-cosmetics-industry.html.
3 Jamie Kohen, “The History of the Regulation of Menstrual Tampons” LEDA at Harvard Law School, April 6, 2001, https://dash.harvard.edu/bitstream/handle/1/8852185/Kohen.html?sequence=2. New York representatives have pushed to pass the Menstrual Products Right to Know Act for years, but have been unsuccessful.
4 A.K.Burns, “IUD Anti-Fertility Necklace,” https://akburns.net/ephemera/iud-anti-fertility-necklace/.