News and Events

Linda Goode Bryant in conversation with Thomas (T.) Lax

Linda Bryant at the Project EATS farm on Randall’s Island for Hauser & Wirth.

Linda Goode Bryant, founder of Just Above Midtown and Project EATS in conversation with Thomas (T.) Lax, co-organizing curator of Just Above Midtown: Changing Spaces at the Museum of Modern Art Foundation To-Life Arthur and Carol Kaufman Goldberg Curatorial Lecture

Wednesday, February 8 at 7pm
Roosevelt House
47-49 East 65th Street, New York, NY

 

Linda Goode Bryant’s decades of art-based activism began with her founding of Just Above Midtown gallery (JAM), a self-described laboratory that foregrounded the work of African American artists. After closing JAM, Goode Bryant dedicated herself to filmmaking. Over her nearly 50-year career, Goode Bryant continues to advocate for a connection to “our innate ability to use what we have to create what we need.” Most recently, Goode Bryant has founded Project EATS, a “living installation” of neighborhood-based, small-plot, high-yield farms that use art, urban agriculture, partnerships, and social enterprise to sustainably grow and equitably distribute fresh, local, organically grown food in communities across New York City.

 

Thomas (T.) Jean Lax is a curator, writer, and scholar specializing in Black art and performance. At the Museum of Modern Art, they co-organized the exhibition Just Above Midtown: 1974 to the Present (2022) with Lilia Rocio Taboada in collaboration with JAM’s founder Linda Goode Bryant. In 2019, they worked with colleagues across MoMA on a major rehang of its collection and co-organized the exhibition Judson Dance Theater: The Work is Never Done (2018) with Ana Janevski and Martha Joseph. Their other collaboratively-organized exhibitions include the Projects Series for emerging artists; Unfinished Conversations, inspired by the cultural theorist Stuart Hall; the contemporary art quintennial, Greater New York; and commissions with artists including Neïl Beloufa, Maria Hassabi, and Steffani Jemison. Previously, they worked at The Studio Museum in Harlem for seven years, where they organized When the Stars Begin to Fall: Imagination and the American South and participated in the landmark “f show” contemporary art series.

 

Goode Bryant photo: Oresti Tsonopoulos

Thomas (T.) Jean Lax © 2021 The Museum of Modern Art, New York. Photo: Peter Ross

 

The Foundation To-Life, Inc. Arthur and Carol Kaufman Goldberg Curatorial Lectures bring curators of international stature to the Hunter campus to engage with students in the MA program in Art History and the MFA program in Studio Art, and with the broader Hunter community. Previous Goldberg Curators have included Ann Goldstein, Hamza Walker, Fabrice Stroun, Valerie Cassel Oliver, Omar Kholeif, Pablo Helguera, Lynne Cooke, and Koyo Kouoh.

 

 

William (Bill) Agee / September 26, 1936-December 24, 2022

The Department of Art and Art History mourns the loss of our friend and colleague, Bill Agee.  Bill taught at Hunter for nearly a quarter-century, from 1990, when he was hired as a full professor in Modern American Art, until his retirement in 2014.  He was named the Evelyn Kranes Kossak Chair in Art History in 2004. 

By the time Bill came to Hunter he had already had at least two full careers.  Just out of the program in Art History at Yale, he worked for the Smithsonian’s Archives of American Art, directing research on the New Deal and the arts.  He joined the Whitney Museum of American Art as Associate Curator in 1966, where he organized one-person exhibitions of Donald Judd and Conrad Marca-Relli, and curated the lauded and controversial exhibition The 1930s: Painting and Sculpture in America.  He served briefly as Associate Curator of Painting and Sculpture at the Museum of Modern Art before being appointed as Director of Exhibitions and Collections at the Pasadena Art Museum in1971.  Just 34 at the time he elevated to the full directorship at Pasadena, he was one of the youngest museum leaders in the United States.  After Pasadena, Bill would go on to serve as Director of the Museum of Fine Arts, Houston, from 1974 to 1982. 

After stepping down from the MFA Houston, Bill worked as an independent curator, organizing monographic exhibitions and publishing on key figures of American Modernism, including Ralston Crawford, Stuart Davis, Arthur Dove, Sam Francis, Stanton Macdonald-Wright, Kenneth Noland, and Morgan Russell. He also turned his lens on less familiar artists.  While at Hunter, Bill helped to organize two important traveling exhibitions of American art for the Addison Gallery at Phillips Academy in Andover, MA, where he had gone to high school and where he discovered his calling: Coming of Age: American Art, 1850s to 1950s (2006) and American Vanguards: Graham, Davis, Gorky, de Kooning, and Their Circle, 1927-1942 (2011).  After he retirement, he published the survey Modern Art in America 1908-68 (2016), which the Wall Street Journal called “that rarity of rarities, an opinionated but not eccentric scholarly history by a veteran museum curator whose every page crackles with original thinking and bears the stamp of a preternaturally sharp eye.”   ―The Wall Street Journal

Bill Agee brought that sharp eye and his original thinking to Hunter, and helped to shape the vision and careers of a generation of Hunter Art History students.  His long curatorial experience and the insights he gained by working with closely with works of art fed his teaching, and his approach helped to center the idea of exhibition-making as a crucial aspect of art historical research. It is part of Bill’s legacy that curatorial practice remains integral to the teaching of Art History at Hunter.  Among the exhibitions Bill realized here at Hunter with his students were Ray Parker: A Retrospective Exhibition (1990); Fairfield Porter: Paintings (1992); Paths of Abstraction: Painting in New York 1944-1981 (1994); and Tony Smith’s Tau (2004).

He will be missed.

MFA THESIS EXHIBITIONS FALL 2022

 

 

The Hunter College MFA Program in Studio Art will be presenting two Thesis Exhibitions this fall at the 205 Hudson Gallery, featuring eleven MFA candidates.

Join us this Thursday evening to celebrate the opening of Part I:

Part I: November 10 – 23

Double Dip

Opening Reception: Thursday, November 10, 6 – 9pm

Shauna Steinbach

Nick Fusaro

Jin Jeong

Xinan Helen Ran

Claire Bendiner

 

 

 

 

 

HMIA Presents PEGGY AHWESH / November 2

HMIA Presents PEGGY AHWESH
Join the Hunter Moving Image Alliance for a conversation with the artist and filmmaker Peggy Ahwesh WEDNESDAY November 2nd, 7:00PM.
Join the Conversation in the zoom link below: https://huntercollege.zoom.us/j/89209315878?pwd=N1pIM3pCSDQ1a1FuUFBHb0l3MXIzdz09
Join us for the in-person screening of films by Peggy Ahwesh on TUESDAY OCT 25th, 5PM
205 Hudson 2nd Floor Flex Space.
Links of works are available through email. Check your email box from HMIA.

Fault Lines: Photography, Memory, and Fragility / October 22

 

Saturday October 22nd, 1-5pm, followed by a reception

Roosevelt House Public Policy Institute at Hunter College
47-49 East 65th Street
New York, NY

Please RSVP to the event here.

 

Dawoud Bey, Fifth Avenue and East 125th Street, 2015, from Harlem Redux. Courtesy, Sean Kelly Gallery

 

About this event

The recuperation of marginalized and fractured histories through photography prompts us to re-interrogate the image and understand its narrative power. This conversation invites artists, curators, and scholars whose recent projects have demonstrated how photography can contribute to the excavation of forgotten histories and shed light on current issues of global migration and displacement. Our discussion pursues many venues, ranging from the scholarly reappraisal of an important history of Black photography through the Kamoinge Workshop, to contemporary curatorial practices that are investigating artists’ involvement with environmental fragility, to the spatial exploration of histories of migration and mourning in the African diaspora, to artworks that provoke us to make connections between memory and sociopolitical histories. The conversation is prompted by a recent Hunter College publication on Harlem’s 125th Street, which has studied photography as a form of belonging to place. We are aiming to foster a debate over the powerful significance of photography to memorialize histories that are brittle and sustain ongoing narratives that explain our relationship to place.

Organized by Antonella Pelizzari, Professor, Department of Art and Art History, Hunter College

 

Hunter MFA & BFA Open Studios / October 15

 

205 Hudson Street
New York, NY
October 15, 3 – 9pm

 

More than 120 studios will be open, showcasing the work of MFA & BFA students.

Be sure to see the exhibition in the ground floor gallery featuring current students. 
All works for sale, and proceeds will benefit our student organizations.

In accordance with CUNY policy, all guests must show valid proof of vaccination upon entry. 
Minimum requirement is two does of Moderna or Pfizer; or one dose of J&J. Masking is encouraged.
No pets allowed unless they are ADA service animals.
Doors will close at 8:30pm. All visitors must vacate the building by 9pm.

 
 
Hunter College MFA & BFA Studios / 205 Hudson Street (Entrance on Canal Street) / New York City

Guadalupe Maravilla / Zabar Visiting Artist October 19

Guadalupe Maravilla is a transdisciplinary visual artist, choreographer, and healer. At the age of eight, Maravilla was part of the first wave of unaccompanied, undocumented children to arrive at the United States border in the 1980s as a result of the Salvadoran Civil War. In 2016, Maravilla became a U.S. citizen and in 2016 he adopted the name Guadalupe Maravilla in solidarity with his undocumented father, who uses Maravilla as his last name. As an acknowledgment to his past, Maravilla grounds his practice in the historical and contemporary contexts belonging to the undocumented and cancer communities.

Maravilla currently lives in Brooklyn, New York. His work is in the permanent collections of the Museum of Modern Art, The Guggenheim Museum, the Whitney Museum of American Art, Museo Nacional Centro de Arte Reina Sofía, Madrid; and the Institute of Contemporary Art, Miami. Additionally, Maravilla has performed and presented his work at the Whitney Museum of American Art, MoMA, Metropolitan Museum of Art, Institute of Contemporary Art Miami, Queens Museum, Bronx Museum of the Arts and many more.

Awards and fellowships include; The 2021 Joan Mitchell Fellowship, LatinX Fellowship 2021, Lise Wilhelmsen Art award 2021, Guggenheim Foundation Fellowship 2019, Soros Fellowship: Art Migration and Public Space 2019, Map fund 2019, Creative Capital Grant 2016, Franklin Furnace 2018, Joan Mitchell Emerging Artist Grant 2016, Art Matters Fellowship 2017, Virginia Museum of Fine Arts Fellowship 2018. Residencies include; LMCC Workspace, SOMA, Skowhegan School of Painting and Sculpture and Drawing Center Open Sessions.

_______________

Guadalupe Maravilla es artista visual transdisciplinario, coreógrafo, y sanador. A los ocho años, Maravilla fue parte de la primera ola de niños indocumentados que llegaron a la frontera de los Estados Unidos en los 1980 ‘s, en consecuencia de la Guerra Civil de El Salvador. En 2016, Maravilla se hizo ciudadano Estadounidense y en 2016 adoptó el nombre Guadalupe Maravilla en solidaridad con su padre indocumentado, que usa el nombre Maravilla como apellido. Como reconocimiento a su pasado, Maravilla basa su práctica en los contextos históricos y contemporáneos de la comunidad indocumentada y la comunidad de cáncer.

Maravilla en la actualidad vive en Brooklyn, Nueva York. Sus obras están en las colecciones permanentes del Museum of Modern Art, The Guggenheim Museum, el Whitney Museum of American Art, el Museo Nacional Centro de Arte Reina Sofía, Madrid; y el Institute of Contemporary Art, Miami. Adicionalmente, Maravilla ha hecho performances y ha presentado obras en el Whitney Museum of American Art, MoMA, Metropolitan Museum of Art, Institute of Contemporary Art Miami, Queens Museum, Bronx Museum of the Arts, y muchos más.

Premios y becas incluyen; El 2021 Joan Mitchell Fellowship, LatinX Fellowship 2021, Lise Wilhelmsen Art award 2021, Guggenheim Foundation Fellowship 2019, Soros Fellowship: Art Migration and Public Space 2019, Map fund 2019, Creative Capital Grant 2016, y Franklin Furnace 2018. Residencias incluyen LMCC Workspace, SOMA, Skowhegan School of Painting and Sculpture y Drawing Center Open Sessions.

Photographic Portrait by: Emmanuel Sanchez Monsalve

Isaac Diggs & Edward Hillel: Time in Harlem opens September 14

September 14, 2022 – February 2023

Hunter East Harlem Gallery
2180 3rd Ave at 119th St.
New York, NY

“Two men with a camera, thoughtfully observing the visual cacophony of one major thoroughfare and the complicated interplay of its history, its present, and the certainty of change, have laid the groundwork for a dialogue and a vision that reaches farther than human eyes can see.” ~- Vicki Goldberg, 125th: Time in Harlem by Isaac Diggs & Edward Hillel (IDEH, 2014).

From 2008-2011, Isaac Diggs & Edward Hillel made photographs of one of the most iconic streets in New York City: 125th Street. Working collaboratively on film with a 4×5 field camera, the two artists meticulously captured the street during a tumultuous time in NYC after the financial crisis. The images document Harlem when the neighborhood was being sanctioned for rezoning by Mayor Mike Bloomberg and swallowed up by the ever-expanding Columbia University campus, forever changing this “main street” in profound and long lasting ways. The exhibition at Hunter East Harlem Gallery features a selection of the duo’s large-format photographs from their comprehensive 2014 publication, 125th: Time in Harlem. The exhibition re-contextualizes the book into the three-dimensional space of a gallery, showcasing a wall mural comprised of the entirety of their book in sequence as well as archives from the project itself. Through intentional and considered image-making, the duo confronts the audience with the challenges of urban flux, gentrification, the loss of cultural memory, the production of space and the preservation of community.
 

The exhibition coincides with the release of Hunter East Harlem Gallery’s publication, 125th Street: Photography in Harlem (Hirmer Verlag, 2022), which features many of Diggs & Hillel’s images as well as dozens of other artists who have documented the historic thoroughfare.
 

This exhibition is curated by Arden Sherman. Generous support has been provided by the Hunter College Department of Art and Art History, the Anna-Maria and Stephen Kellen Foundation, and the Hunter College Advanced Certificate in Curatorial Studies Program.

Book Launch Party: September 14, 6-9PM

 
125th Street: Photography in Harlem
Edited by Antonella Pelizzari and Arden Sherman
Published by Hirmer Verlag 

Book Launch Party
Hunter East Harlem Gallery
2180 3rd Ave at 119th St.
New York, NY
September 14, 2022, 6-9PM

Featuring: Berenice Abbott, Khalik Allah, Alice Attie, Dawoud Bey, Kwame Brathwaite, Isaac Diggs & Edward Hillel, Lola Flash, Hiram Maristany, Ozier Muhammad, Katsu Naito, Marilyn Nance, Ruben Natal-San Miguel, Lorraine O’Grady, Gordon Parks, Pope.L, Jamel Shabazz, Coreen Simpson, Beuford Smith, Ming Smith, Morgan and Marvin Smith, Shawn Walker, Hai Zhang and more!

Harlem’s 125th Street is a marker of twentieth-century urban experience, a thoroughfare that encapsulates powerful stories of business and consumption, real estate and gentrification, glamour and entertainment, and political uprising. This book explores the constant mutation of this street life through the works of a large roster of photographers and performance artists.

125th Street: Photography in Harlem includes investigations on twenty-four featured artists, four historic landmarks, and two comprehensive timelines.
Contributions by Hunter College MFA and MA, Art History students and recent graduates, and foreword by LeRonn P. Brooks.

This publication was made possible through support by the Crossway Foundation and the Hunter College Advanced Certificate in Curatorial Studies Program. 

2021-22 Department Awards and Prizes

Leeman-Boksenbaum MFA Thesis Prize-Spring 2022
Christina Barrera  /  Amy Bravo  /  Elmer Guevara  /  Pol Morton 

In support of a graduating printmaker the EFA ROBERT BLACKBURN PRINTMAKING WORKSHOP awards a full year membership to Christina Barrera
 
Jason Birmingham, Departmental Honors, BFA Studio Art
 
Viv Bourgeois, Somerville Art Prize, BA Studio Art
 
D’Arcy Blake, Shuster Award for Outstanding Master’s Thesis-2022, for “The Portrait and the Pedagogical Object: Art, Advertising, and Commerce in the works of Marcel Broodthaers, 1968-1971.”  Research for this thesis was funded in part by the Renate, Hans, and Maria Hofmann Trust
 
Kristen Clevenson, The Feminist Institute Research Award-Fall 2021, in support of her thesis “An Early and Feminist History of the Paula Cooper Gallery”
 
Maria José Garcia Estevez is the winner of the 2021-22 Eva Hesse Prize for Excellence at Hunter College
 
Joselyn Garcia, Nancy Ashton Memorial Prize, BA Art History
 
Joselyn Garcia, Departmental Honors, Art History
 
Elizabeth Janoff, The Feminist Institute Research Award-Spring 2022, in support of her thesis “Time, Text, and Image in Bernadette Mayer’s Memory”
 
Amber Sibley, Departmental Honors, Studio Art
 
Tatianna Spotorno, Somerville Art Prize, double major BA Studio Art and Art History
 
Areum Yang, Leeman-Boksenbaum Endowment Skowhegan School of Painting & Sculpture summer fellowship

Arrivals 2022-2023

The Department of Art and Art History is pleased to announce the appointments of Dr. Uchenna Itam as Assistant Professor of Art History and Dave McKenzie as Distinguished Lecturer of Studio Art. Dr. Itam is a specialist in modern and contemporary art of the African Diaspora. Dave McKenzie is an internationally recognized artist who works in video, sculpture, performance, and installation.

Dr. Itam comes to Hunter from a position as Predoctoral Fellow for Excellence through Diversity with the University of Pennsylvania’s Office of the Vice Provost for Faculty. Her research project, titled Feeling Visible, examines how politics of identity and issues of representation are negotiated through multisensorial aesthetics in the installation art practices of Janine Antoni, Félix González-Torres, Nadine Robinson, and Wangechi Mutu at the turn of the twenty-first century. Dr. Itam completed the Ph.D. in Art History at The University of Texas at Austin (2021); she holds an M.A. in the Humanities from the University of Chicago (2004) and a B.A. in the History of Art from the University of Pennsylvania (2003).

Dr. Itam has also worked as a curator for over two decades, most recently as Curator of the Henry Luce Foundation African American Collecting Initiative at the Archives of American Art, Smithsonian Institution. She is also a founding member of the collective INGZ, which has presented exhibitions with artists LaToya Ruby Frazier, TJ Dedeaux-Norris, and Mimi Cherono Ng’ok among others.

Dave McKenzie uses video, sculpture, performance, and installation to explore how public space and the private self are simultaneously alienated, connected, and restricted. At the heart of this practice lies a desire for interactions that lay bare the complications of social rules and obligations with which we navigate personal relationships.
 

Born in Kingston, Jamaica in 1977, McKenzie received a B.F.A. in printmaking from the University of the Arts, Philadelphia, and attended the Skowhegan School of Painting and Sculpture in 2000. He currently lives and works in Brooklyn, New York.

Departures 2021-22

Two longtime members of the Studio Art faculty retired in 2021-22, Tom Weaver, after 32 years, and Brian Wood, after 20.  They have each helped to shape the department and the program in Studio Art, and they will be missed.

 

Thomas Weaver received his BA from the University of California Santa Cruz in 1972, and moved to London to pursue graduate studies in sculpture at the St. Martin’s School of Art.  After two years in England, he returned to New York, where he received his MFA from Hunter College in 1982.  Tom began teaching at Hunter as an adjunct while still a student, and taught sculpture at Hunter as a Visiting Professor and painting at Parsons until 1990, when he joined Hunter’s fulltime faculty. He worked in large scale sculpture and site installations into the early 2000s, and his shaped and constructed paintings in that period reflect a similar interest in built space, perspective, and architectural light. In the new millennium he concentrated on painting, and his work became increasingly referential and figurative; the critic Fredric Koeppel described them as “dream-like and fragmentary narratives of American domestic life.” Over his long career, Tom has had one-person exhibitions at the Walsh Art Gallery at Fairfield University (CT), the Marsh Art Gallery at the University of Richmond (VA), and Condeso/Lawler Gallery and the Church of Saint Paul the Apostle in New York, among other venues.

Tom served as chair of the Department of Art and Art History from 2006 to 2012, and subsequently helped to build and run the BFA program, and to guide its students.  He was an important voice in the MFA program for both students and colleagues, and a strong advocate for our curriculum on all levels.  We will miss his wisdom, his judiciousness, and his deep institutional memory. 

 

Brian Wood was born and raised on a farm on the prairies of northern Saskatchewan, Canada, where his imagination was formed by the unforgiving environment and the cyclical rhythms of agriculture. He received his BA from the University of Saskatchewan in 1969, where he studied literature, physics, and mathematics. He moved to New York City shortly thereafter, and, in 1975, completed his MA at Hunter College in painting and film, working with filmmaker Hollis Frampton. He was part of the film crew of Michael Snow’s Rameau’s Nephew while at Hunter and screened his own early films at Film Forum in 1975. He began making large-scale photo constructions in the late 1970s and in 1979 the Museum of Modern Art curators John Szarkowski and Susan Kismaric began collecting his photo constructions and his later ink/photo paintings for MoMA’s permanent collection. They immediately placed Brian’s work in MoMA’s public galleries, where his works were on view for most of the next two decades, and also showed other of his works in many of the museum’s exhibitions and publications. Brian went on to exhibit internationally in many galleries and museums.

Brian was a Senior Critic in Photography at Yale from 1992-2002 and returned to Hunter as Professor of Photography in 2002. Over his twenty years at Hunter, Brian served multiple terms on the departmental P&B and as area head for Photography, guiding the area’s curriculum and developing its labs and workspaces. He was a committed teacher and mentor, and an important advocate for Photography at Hunter, not only within the department, but also to the administration.  

While the program in Photography at Hunter is centered on the wet darkroom and the techniques of analogue photography, Brian’s own work has always ranged far from the photograph. For some decades he has worked primarily in painting and drawing, works that have been exhibited in New York at Jeannie Freilich Gallery, Zurcher Gallery, Novella Gallery, Arts + Leisure Gallery, the Church of Saint Paul the Apostle, the American Academy of Arts & Letters, and numerous other venues. Brian’s art is represented in the permanent collections of museums worldwide, including the Museum of Modern Art, the Metropolitan Museum of Art, the Brooklyn Museum, the L. A. County Museum of Art, the National Gallery of Canada, the Ludwig Museum in Cologne, the Museum of Contemporary Art in Montreal, and the National Gallery in DC. His many awards include the Guggenheim Foundation Fellowship, the NEA Fellowship, the NYFA Artist Fellowship, an American Academy of Arts & Letters Award, and in 2019 Brian was a Rome Prize finalist in painting. Brian’s last semester teaching was Fall 2021, and he has worked these past months to prepare for upcoming exhibitions.

 

Spring 2022 BFA Degree Exhibition: Open Tabs May 12–June 4, 2022

 

Spring 2022 BFA Degree Exhibition: Open Tab
May 12–June 4, 2022

Opening Reception: Thursday May 12, 5–7 PM

Bertha and Karl Leubsdorf Gallery
132 E 68th St, NY NY 10065
Tues–Sat, 11AM–5 PM

The Hunter College BFA Program and the Hunter College Art Galleries are pleased to present the Spring 2022 BFA Degree Exhibition, Open Tabs at the Bertha and Karl Leubsdorf Gallery, May 12, 2022 through June 4, 2022. The exhibition will feature works by Arife Ateş, Jason Birmingham, Gloria Cárcamo, Katelin Montgomery, Piero Penizzotto, Alex Rader, Genesis Salinas, and Josie Tolliver Shaw. The gallery is free and open to the public Tuesday through Saturday, 11 am–5 pm.

Ademola Olugebefola in conversation with Howard Singerman May 4

 

 

 

Ademola Olugebefola in conversation with Howard Singerman

Hunter East Harlem Gallery
2180 3rd Avenue
New York, NY
May 4, 6:30 – 8pm

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

May 4, 6:30-8pm

Join artist Ademola Olugebefola and art historian Howard Singerman on Wednesday, May 4, 2022 in conversation around the current exhibition, Ademola Olugebefola: Afrofuturist. Ademola Olugebefola is an educator, activist, and multi-talented artist. The versatility of his practice encompasses graphic design, illustration, theater set design, printmaking, oil painting, drawing, sculpture, and murals, among other artistic forms. Howard Singerman is the Phyllis and Joseph Caroff Chair of the Department of Art and Art History at Hunter College.  He was co-curator of the exhibition Acts of Art and Rebuttal in 1971 at Hunter’s Leubsdorf Gallery in 2018, and continues to research and write on Acts of Art Gallery, founded in Greenwich Village in 1969 to show the work of Black artists.

https://www.huntereastharlemgallery.org/program-content/ade-howard-talk