News and Events

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


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.





Wednesday, October 13, at 7pm

The artist Patty Chang will be giving an in-person lecture at 205 Hudson on Wednesday, October 13, at 7pm. The seating capacity is limited due COVID restrictions, and all attendees must show proof of vaccination. The lecture will also be happening on Zoom for remote audiences (link to TBA).

Patty Chang is a Los Angeles based artist and educator who uses performance, video, installation and narrative forms when considering identity, gender, transnationalism, colonial legacies, the environment, large-scale infrastructural projects and impacted subjectivities. Her museum exhibition and book The Wandering Lake investigates the landscapes impacted by large scale human-engineered water projects such as the Soviet mission to irrigate the waters from the Aral Sea, as well as the longest aqueduct in the world, the North to South Water Diversion Project in China. Her most recent multichannel video project Milk Debt combines the act of lactation with people’s unspoken fears. Her work has been exhibited nationwide and internationally at such institutions as the Museum of Modern Art, New York; Guggenheim Museum, New York; New Museum, New York; M+ Museum, Hong Kong; BAK, Basis voor actuele Kunst, Utrecht; Hammer Museum, Los Angeles; Chinese Arts Centre, Manchester, England; the Museum of Contemporary Art, Chicago; San Francisco Museum of Modern Art; Times Museum in Guangzhou, China; and Moderna Museet in Stockholm, Sweden. She has received a United States Artist Fellowship, a Rockefeller Foundation Grant, a Creative Capital Fellowship, a Guna S. Mundheim Fellowship in the Visual Arts at the American Academy in Berlin, a John Simon Guggenheim Memorial Foundation Fellowship, and an Anonymous Was a Woman Grant. She teaches at the University of Southern California in Los Angeles, CA.

photo by David Kelley