News and Events

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.

Malin Abrahamsson: Spaceholders – Through May 18


Malin Abrahamsson: Spaceholders

Thomas Hunter Project Space
930 Lexington Avenue
New York, NY

Through May 18
Opening Reception: April 25, 5-7pm

Thomas Hunter Project Space is pleased to present SPACEHOLDERS, a solo exhibition by Malin Abrahamsson:

“At the heart of my practice lies an interest in transformation: the process through which a thing, place, state, or being changes into something entirely new. The organic world is defined by such metamorphosis, but profound existential change is no less vital to human life. Driven by intuition and experimentation, my current work in Spaceholders conceptually revolves around the idea, shape, and purpose of the vessel. The small-scale mixed-media objects are wonky and impractical containers for everything that is important. Drawn to ceramics for its transformative qualities, I love listening in on the ceaseless chatter between color, contrast, texture, and form.”

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.