6:00 Session I;
Introduction Cynthia Hahn, Prof Hunter Cuny
Jen vander Els “The Chicana Mural Movement: A Reclamation of Mesoamerican Iconography.”
Lauren Gonzalez “Making and Taking: Evaluating the Ethnographic Gaze in Graciela Iturbide’s Los que viven en la arena”
Liz Janoff “Time, Text, and Image in Bernadette Mayer’s Memory”
Each session will be followed by discussion and a short break
7:00 Session II
moderator Kristen Racaniello GC Cuny
Dasha Badikova “Tractatus de herbis, Botanical Guide to the Universe (A Case Study for Morgan MS M.873)”
Sarah Ganzel “The Lives and Afterlives of the Arenberg Gospels: Materializing Medieval Oaths”
Danny Berman “Seeing Christ Face-to-Face: Vision, Presence, and Spiritual Journey to God in a Fourteenth-Century French Book of Hours”
8:00 Session III
Charles Morrow “Simone Martini’s St. Louis Altarpiece: Materiality, Franciscan Propaganda, and Sacral Angevin Dynastic Object”
Marie Catalano “Impressions of an Urban Vision: Art Across the Park (1980 and 1982)”
Karina Grady “To Love, and To Be Loved: The Art and Relationships of Gwen John (1876-1939)”
Bertha & Karl Leubsdorf Gallery
Hunter College West Building Lobby
132 E. 68th Street
NY, NY 10065
Gallery entrance is on the south side of 68th St. between Lexington and Park Aves.
In concert with the exhibition C. C. Wang: Lines of Abstraction the Hunter College Art Galleries in collaboration with the Weisman Museum of Art at the University of Minnesota and Hirmer Publishers have produced the first retrospective monograph on the renowned artist, collector, and connoisseur C. C. Wang. To celebrate the launch of C. C. Wang: Lines of Abstraction the Hunter College Art Galleries have organized an afternoon of conversations hosted by the publication editors Hunter College Professor Wen-shing Chou and University of Minnesota Twin Cities Professor Daniel M. Greenberg with Arnold Chang, scholar, artist, and former student of C. C. Wang; Joseph Scheier-Dolberg, Oscar Tang and Agnes Hsu-Tang Associate Curator of Chinese Paintings at the MET; Elizabeth Hammer, Executive Director of the Hammond Museum and Japanese Stroll Garden; Lesley Ma, Ming Chu Hsu and Daniel Xu Associate Curator of Asian Art in the Department of Modern and Contemporary Art at the MET; Margaret Liu Clinton, Hunter College MA Art History candidate;and Jordan Homstad, University of Minnesota undergraduate alumni.
Support for this publication is provided by the Wolf Kahn Foundation and Emily Mason and Alice Trumbull Mason Foundation on behalf of artists Emily Mason and Wolf Kahn.
For nearly 30 years, Kate Fowle has developed an international practice as a curator, writer, educator, and director. Currently she is the curatorial senior director at Hauser & Wirth, after being director of MoMA PS1 from 2019–2022. Prior to this she was the inaugural chief curator and artistic director at Garage Museum of Contemporary Art in Moscow, Russia, as well as the director-at-large of Independent Curators International (ICI) in New York, where she was the executive director from 2009–13. Previously, Fowle was the inaugural international curator at the Ullens Center for Contemporary Art in Beijing, China, after co-founding the Master’s Program in Curatorial Practice for California College of the Arts in San Francisco in 2002, for which she was the Chair until 2007. Before moving to the United States, she was co-founder of Smith + Fowle in London from 1996–2002 and curator at the Towner Art Gallery and Museum in Eastbourne, East Sussex from 1994-1996. Initially, Fowle was trained as an artist from 1989-1993.
Her recent curatorial projects include solo exhibitions and commissions with David Adjaye, Rasheed Araeen, John Baldessari, Sammy Baloji, Louise Bourgeois, Marcel Broodthaers, Urs Fischer, Rashid Johnson, Irina Korina, Daniel Lind Ramos, Robert Longo, Anri Sala, Taryn Simon, Juergen Teller, and Rirkrit Tirivanija, as well as co-curating the 2021 Greater New York exhibition at MoMA PS1 and The Paradoxes of Internationalism at the Museo Tamayo in Mexico City. She has written extensively on Ilya Kabakov, Sterling Ruby, Taryn Simon, and Qiu Zhijie among others, and published numerous articles on curating and exhibition histories. Fowle has written three books: Exhibit Russia: The New International Decade 1986-1996 (2016); Rashid Johnson: Within Our Gates (2016); and Proof: Francisco Goya, Sergei Eisenstein, Robert Longo (2017).
C. C. Wang: Lines of Abstraction was developed through a two-semester curatorial seminar at Hunter College led by Professor Wen-shing Chou with M.A. Art History students Thais Bignardi-Engstrom, Carolyn Bishop, Rawls Bolton, Jeremy Gloster, Sophie Kaufman, Emerald Lucas, Lindsey Poremba, and Mia Ye.
Organized by the Center for Puerto Rican Studies and Hunter East Harlem Gallery
2180 3rd Avenue
New York, NY
Ida y Vuelta: Experiencias de la migración en el arte puertorriqueño contemporáneo is an expansive exhibition of 19 Puerto Rican artists whose works express their varied interpretations of the experience of migration—often formulated from direct experience—whether they refer to their own emigration or to the process of adapting to a new environment.
We will celebrate the grand opening of this exhibition on Thursday, March 30th, with a reception open to the public. Guest curator Laura Bravo, Ph.D and several exhibition artists will be present.
Featured artists include:
Abdiel Segarra Ríos, Adál Maldonado, Anabel Vázquez Rodríguez, Anaida Hernández, Antonio Martorell, Brenda Cruz, Carlos Ruiz Valarino, Edra Soto, John Betancourt, José Ortiz Pagán, Máximo Colón, Marta Mabel Pérez, Mónica Félix, Nayda Collazo Llorens, Norma Vila Rivero, Osvaldo Budet Meléndez, Pedro Vélez, Quintín Rivera Toro, Víctor Vázquez
Curated by Laura Bravo, PhD., with Assistant Curator Donald Escudero.
Flex Space, Hunter College MFA Building
205 Hudson Street at Canal
Thursday, March 23, 2023, 6-8pm
In celebration of their exhibition Isaac Diggs & Edward Hillel: Time in Harlem, the artists will be in conversation with Kunbi Oni, Collection Specialist in the department of Drawings and Prints at MOMA, on Thursday, March 23, 6-8pm, to discuss the rewards and challenges of revisiting past work, designing and publishing photo books, and long term artistic collaboration. Available for sale will be 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.
Join the Hunter College Art Galleries during Asia Week NY for a morning tour and reception of C. C. Wang: Lines of Abstraction. Led by exhibition co-curator Daniel M. Greenberg, this walkthrough will introduce viewers to the life and art of C.C. Wang (1907-2003). Born to a family of scholar-officials at the twilight of the Qing dynasty, Wang mastered the traditional ink and brush techniques in Republican Shanghai and immigrated to New York City in 1949. Although he is well known for his discerning connoisseurial eye and world class collection of classical Chinese art, Wang’s own artistic practice has long been overlooked. In this walkthrough, we will explore how Wang built upon both his deep knowledge of Chinese painting and the artistic climate in postwar New York to create distinctly cross-cultural works of modern American art.
Curated by Wen-shing Chou and Daniel M. Greenberg with Hans Hofmann Graduate Curatorial Fellow Margaret Liu Clinton.
C. C. Wang: Lines of Abstraction was developed through a two-semester curatorial seminar at Hunter College led by Professor Wen-shing Chou with M.A. Art History students Thais Bignardi-Engstrom, Carolyn Bishop, Rawls Bolton, Jeremy Gloster, Sophie Kaufman, Emerald Lucas, Lindsey Poremba, and Mia Ye.
C. C. Wang: Lines of Abstraction is made possible by the generous support of the James Howell Foundation, the Leubsdorf Fund, the Wolf Kahn Foundation and Emily Mason and Alice Trumbull Mason Foundation on behalf of artists Emily Mason and Wolf Kahn, and the Renate, Hans, and Maria Hofmann Trust.
MFA & BFA Open Studios
March 4, 5 – 9pm
205 Hudson Street, NYC 10013 (Entrance on Canal Street)
More than 120 studios will be open, showcasing the work of current MFA & BFA students. There will be a fundraising exhibition featuring student work, with all proceeds benefiting the MFA & BFA programs.
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.
February 2–April 29, 2023
Gallery Hours: Tuesday-Saturday, 12–5 pm
Opening Reception: February 2, 7–9 pm
Bertha and Karl Leubsdorf Gallery
132 East 68th Street
New York, NY 10065
Entrance between Lexington and Park Avenues
Born to a family of scholar-officials at the twilight of the Qing dynasty, C. C. Wang (Wang Chi-ch’ien 王己千, 1907–2003) mastered the traditional ink and brush techniques in Republican Shanghai and immigrated to New York City in 1949. There he sought to preserve the tradition of classical Chinese painting through engagement with new ideas, materials, and forms. Drawing inspiration from past masters in the history of Chinese painting, as well as New York’s artistic climate in the wake of World War II, Wang advanced breakthrough transformations in ink painting.
C. C. Wang is best known as a preeminent twentieth-century connoisseur and collector of pre-modern Chinese art, a reputation that often overshadows his own art. Held twenty years after the artist’s death, C. C. Wang: Lines of Abstraction recenters Wang’s extraordinary career on his own artistic practice to reveal an original quest for tradition and innovation in the global twentieth century. Spanning seven decades, the exhibition focuses on the artist’s distinctive synthesis of Chinese ink painting and American postwar abstraction.
In concert with the exhibition, the Hunter College Art Galleries are producing a comprehensive catalogue published in collaboration with the Weisman Museum of Art at the University of Minnesota and Hirmer Publishers. This book is the first retrospective monograph on the renowned artist, collector, and connoisseur C. C. Wang (1907–2003) and features texts by scholars Wen-shing Chou, Daniel M. Greenberg, Joseph Scheier-Dolberg, and Arnold Chang with additional contributions by Hunter College Graduate Art History candidates and an undergraduate student from the University of Minnesota. Support for this publication is provided by the Wolf Kahn Foundation and Emily Mason and Alice Trumbull Mason Foundation on behalf of artists Emily Mason and Wolf Kahn.
Curated by Wen-shing Chou and Daniel M. Greenberg with Hans Hofmann Graduate Curatorial Fellow Margaret Liu Clinton.
C. C. Wang: Lines of Abstraction was developed through a two-semester curatorial seminar at Hunter College led by Professor Wen-shing Chou with M.A. Art History students Thais Bignardi-Engstrom, Carolyn Bishop, Rawls Bolton, Jeremy Gloster, Sophie Kaufman, Emerald Lucas, Lindsey Poremba, and Mia Ye.
C. C. Wang: Lines of Abstraction is made possible by the generous support of the James Howell Foundation, the Leubsdorf Fund, the Wolf Kahn Foundation and Emily Mason and Alice Trumbull Mason Foundation on behalf of artists Emily Mason and Wolf Kahn, and the Renate, Hans, and Maria Hofmann Trust.
Please find the full press kit here. For further press inquiries please contact Sarah Watson, Chief Curator, at swat@hunter.cuny.edu.
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.
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.
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).
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:
