Category: Uncategorized

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?

BFA Degree Show: Extra Virgin

Leubsdorf Gallery
132 East 68th Street
New York, NY

Through January 5

Featuring: Isaac Dunne, Susan Flores, Sarah McKendry, Peter Kihoon Park, and Sze Wing Shum

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
part of MFA Thesis Exhibition Part II:  ̶l̶a̶s̶s̶i̶e̶z̶ ̶f̶a̶i̶r̶e̶ ̶e̶t̶ ̶l̶a̶s̶s̶i̶e̶z̶ ̶p̶a̶s̶s̶e̶r̶

Remembering Robert Morris
part of Robert Morris: Para-architectural projects

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

December 5, 6:45-8:45pm

Roundtable and screening of Robert Morris’s 1971 film Neo Classic

Robert Morris (1931 –2018) was a long-time Hunter College studio faculty member and an alumnus of the college. Celebrating Morris’s work and his legacy at Hunter, this event will include a presentation on Hunter’s current exhibition Robert Morris: Para-architectural projects (on view at the Leubsdorf Gallery until Dec. 1, 2019), by exhibition curator Sarah Watson; a screening of Morris’s 1971 film Neo-Classic; a roundtable conversation led by faculty and alumni discussing Morris’s influence on the department; and a reception.

The event is free and open to the public.

El Salón
part of The Extraordinary

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

December 6, 7-9pm

Loie Hollowell, MFASO Lecture

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

December 4, 7pm

Loie Hollowell’s (b. 1983, Woodland, California) paintings, originating in autobiography, explore themes of sexuality, often through abstractions of the human body and an emphasis on female forms. With strong colors, varied texture, and the symmetry of sacred geometry, her works evoke bodily landscapes and allude to iconography such as the almond-shaped mandorlas found in medieval religious painting.

Hollowell has been the subject of numerous one-artist exhibitions and has been featured in over twenty group exhibitions, including After Effect, held at Ballroom Marfa, Texas (2016), and Georgia O’Keeffe and Contemporary Art, which opened in May 2018 at Crystal Bridges Museum of American Art, Bentonville, Arkansas, and traveled to the New Britain Museum of Art, New Britain, Connecticut, in 2019.

Maneuver

Gallery Cubed presents NEA: Network of Extraordinary Artists:
Yen Yen Chou

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

November 13 – December 4

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?

Speculative Architecture and the Commons
part of Robert Morris: Para-architectural projects

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

November 23, 2-6pm

Essye Klempner, For The Birds

Thomas Hunter Project Space
930 Lexington Avenue
New York, NY

Through November 23

For the Birds is a presentation of ceramics and works on paper by Essye Klempner, Hunter College’s 2018 Artist-in-Resident.

Last summer, Klempner placed ceramic bird baths with nude figures bathing throughout New York’s private and community gardens. Referencing silent films such as “Ecstasy” with Hedy Lamarr, Klempner relies less on verbal language, and predominantly on the gesture of the actor. Using the minimal visual information provided from grainy film, Klempner completes the figure missing from the still shots. Other figures are acquired from photographs, such as a friend playing chess, or through observation of a lover bathing after a long work week.

Another body of work to be presented is sunprints, a camera-less photographic process by which Anna Atkins helped develop to identify plant life. Klempner considers the making of the work as being closer to the traditions of still life and en plein air painting, as the works are made outdoors with natural sunlight. She draws from the local-scale of material gathered through her walks in the city: fallen leaves from trees, weeds like Queen Anne’s Lace, and keys or coins collected in her pockets. Plexiglass is then used to firmly press the objects for closer contact with the light-sensitive paper, which is also included in the final viewing of the print with scattered mushroom spores.

These entities welcome us to the world growing in microbiomes of the urban condition.

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.

Tschabalala Self, MFASO Lecture

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

November 13, 7-9pm