November 19
7pm: Lecture + Dinner
8-9pm: Closing Reception

205 Hudson Gallery
205 Hudson Street (at Canal St.)
New York, NY 10013

Join us on November 19 for the Arthur & Carol Kaufman Goldberg Lecture with Lindsey White, followed by a Closing Reception for Last Art School. This event will cap off the exhibition’s run with an evening of conversation and celebration. Dinner and drinks will be served.

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.

ABOUT THE EXHIBITION

The Hunter College Art Galleries presents Last Art School, a project by Lindsey White, an exhibition and programming series curated by Lindsey White, the Fall 2025 Arthur & Carol Kaufman Goldberg Visiting Curator and Artist in Residence. Last Art School offers a platform for investigating and documenting the current crisis moment within higher arts education. As educators, researchers, and students across the United States have been silenced, reprimanded, fired, and even deported, this project emphasizes the power of personal networks and structures of connectivity, calling upon socio-cultural histories of activism and mutual aid in a search for community empowerment and fellowship.

In Hunter College’s 205 Hudson Gallery, White creates a theatrical environment for the presentation of her own artworks, alongside those of her peers. The works draw from the artists' prismatic experiences within institutions of higher learning as both students and faculty. While many explicitly engage the complex dynamics of art school as subject, others more irreverently and obliquely contend with hierarchy, transformation, utopia, and the classroom.

Participating artists and collections: Mario Ayala, Alex Bradley Cohen, Dewey Crumpler, Henry Fey, Nicole Hayden, Whitney Hubbs, Alicia McCarthy, Sandra Ono, Ralph Pugay, Jon Rubin, Maryam Yousif, Rhoda Kellogg Children’s Art Collection, and the San Francisco Art Institute Legacy Foundation and Archive. 

In addition to artworks by White’s friends and colleagues, Last Art School features a collection of finger paintings from the Rhoda Kellogg Children’s Art Collection and materials from the San Francisco Art Institute Legacy Foundation and Archive (SFAI LF+A). A pioneer in the field of child art, Rhoda Kellogg believed in the fundamental role visual language plays in the emergence of consciousness and proposed that the aim of art education should be independent and spontaneous. Archival documents and images from the SFAI LF+A serve as a case study on how creative communities can collaborate, resist, and take action in unstable political and economic moments. One of the oldest fine art schools in the country, SFAI closed its doors in 2022 after 151 years.

The lower gallery of 205 Hudson hosts a community gathering space modeled after a cozy local restaurant. An integral part of White’s residency is dynamic collaborations with student fellows and the development of free public programming, including lectures, screenings, conversations, performances, and other unusual and unexpected events. This space has been made available to the MFA and MA community for class meetings, events, and hangouts. White serves lunch one day a week for Hunter students, faculty, and staff throughout the run of the exhibition.

Last Art School also contains a recording studio and interview archive. In response to the active erasure of records and archives by the United States government, White is conducting interviews with arts educators in and around the New York City area to document the complex and critical moment facing higher education. Gallery visitors will have the chance to hear these interviews in the space. 

Lindsey White is an artist and curator in San Francisco who left academia in 2023. She is the 2025 Arthur & Carol Kaufman Goldberg Visiting Curator and Artist in Residence at the Hunter College Art Galleries. This exhibition model establishes a platform for long-term visiting artist engagement and represents the start of an experimental collaboration between the galleries and the MFA Studio Art program. 

________________________
Last Art School is made possible by The Foundation To-Life, Inc. and the Bertha and Karl Leubsdorf Fund. The exhibition is curated by Lindsey White and organized by Katie Hood Morgan, Chief Curator and Deputy Director, Hunter College Art Galleries, with Phi Nguyen, Tara Ohanian, Aleeq Kroshian, and Amy Tidwell, and student curatorial fellows Andee Berberich and Rebecca Miralrio. Special thanks for fabrication support from Caitlyn Galloway, Nicole Hayden, Don Miller, Hunter College Art Galleries, and Cushion Works. Additional thank yous to Terry Swords and New York Jukebox, Jennifer DiGioia, Brian Belott, Aaron Rodriguez, Susan Schroder, Gary Ellis, Becky Alexander, Jeff Gunderson, and Jordan Stein.

ABOUT THE HUNTER COLLEGE ART GALLERIES

Part of the college’s Department of Art and Art History, the Hunter College Art Galleries have contributed to New York City’s vital cultural landscape since their inception over a quarter of a century ago. The galleries provide a space for critical engagement with art and pedagogy, bringing together historical scholarship, contemporary artistic practice, and experimental methodology. The 205 Hudson Gallery on the department’s MFA Studio Art Campus in Tribeca is dedicated to presenting exhibitions and programming that engage issues critical to contemporary art and artists. In Spring semesters, the gallery also hosts a series of MFA thesis exhibitions. Located on Hunter’s main campus at 68th Street and Lexington Avenue, the Bertha and Karl Leubsdorf Gallery presents research-driven historical exhibitions that provide new scholarship on important and often under-represented artists and art movements. The Hunter East Harlem Gallery, located in the Silberman School of Social Work at 119th Street and 3rd Avenue, is dedicated to collaborative social practice and art and artists engaged with issues relevant to the East Harlem community and to the city more broadly.

huntercollegeartgalleries.org

PRESS INQUIRIES
E-mail Aleeq Kroshian, aleeq.kroshian@hunter.cuny.edu

November 15, 1-3pm
205 Hudson Gallery
205 Hudson Street (at Canal St.)

Let us know you’re coming: RSVP HERE

Black Lunch Table & keondra bills freemyn
Pollinator & Caroline Woolard
New Crits & Ajay Kurian
Tiger Balm/Unity Newspaper & Maggie Wong
This is a Performance School & DonChristian Jones

Presentations & discussions from artist-founded organizations actively leading alternative educational models today. Please join us! Free & Open to the Public

ABOUT THE PRESENTERS

Black Lunch Table & Keondra Bills Freemyn is a writer, memory worker, and archivist in the Black tradition currently serving as Co-Executive Director, Archives + Strategy at Black Lunch Table, a radical archiving project centering Black visual artists. Originally from South Central LA, Keondra is a former US diplomat and has worked with the Library of Congress, Smithsonian, New York Public Library and DC Public Library on oral history, digital transcription, and metadata projects centering marginalized communities. She is founder of the digital archival discovery initiative Black Women Writers Project and former coordinator of Project STAND, an independent archival consortium focused on the ethical documentation of student movements. A dedicated digital humanist, Keondra is a 2024 Curationist.org Critics of Color fellow and a 2022-2023 African American Digital & Experimental Humanities Scholar. Keondra earned a Bachelor's degree in Marketing from Fordham University, a Master of Public Administration from Columbia University, and a Master of Library and Information Science in Archives and Digital Curation from University of Maryland. Keondra completed a Graduate Certificate in Museum Studies at Harvard University and is a Society of American Archivists Digital Archives Specialist. 

Caroline Woolard is a founding co-organizer of Art.coop and Head of Strategy at Pollinator.coop. She is the Area Head of Foundations in the Department of Art and Design at Montclair State University and the co-author of two major reports: Solidarity Not Charity (Grantmakers in the Arts, 2021) and Spirits and Logistics (Center for Cultural Innovation, 2022) and three books: Making and Being (Pioneer Works, 2019), a book for educators about interdisciplinary collaboration, co-authored with Susan Jahoda; Art, Engagement, Economy (onomatopee, 2020) a book about managing socially-engaged and public art projects; and TRADE SCHOOL: 2009-2019, a book about peer learning that Woolard catalyzed in thirty cities internationally over a decade. Woolard’s artwork has been featured twice on New York Close Up (2014, 2016), a digital film series produced by Art21 and broadcast on PBS. 

NewCrits & Ajay Kurian is an artist, educator, and writer. Kurian employs a fluid, multimedia vocabulary which aims to articulate the social and environmental conditions that govern both our worldly and transcendental faiths. His work often tries to bridge the gap between the local and the cosmic. He is the founder of NewCrits, a global platform for virtual studio mentorship for artists of all backgrounds and experience. He's shown internationally including the Fridericianum, Kassel; The Whitney Museum of American Art, New York; The Aishti Foundation, Lebanon, and many more. Kurian lives in Brooklyn, New York. He holds a BA from Columbia University in Visual Arts and Art History. NewCrits is a global virtual platform rooted in aesthetic education committed to fostering critical care, rigorous inquiry, and artist-to-artist dialogue. We offer mentorship, courses, and conversations that challenge the assumptions of traditional art institutions, while honoring the intensity of their best methods. Our offerings are designed for artists at any stage, especially those seeking meaningful critique rooted in trust, discernment, and deep attention.

Tiger Balm & Maggie Wong is a visual artist and educator whose work encompasses installations, collaborations, publications, and educational projects focused on reconstituting political inheritance. Her practice examines our understanding of politics, kinship, and interdependence through archives, autoethnography, and social networks. Maggie is from Oakland, CA and now based in Boston, MA, and has presented work across the U.S. at well-resourced museums and scrappy DIY artist-run spaces and published in equally disparate imprints. She is a lecturer at Brandeis University and the Gallery Coordinator at Wagner Foundation. Central to her exploration is Unity Newspaper, which examines collective caregiving through the historical lens of the League of Revolutionary Struggle, a multiracial activist organization founded in 1978. By combining archival excerpts and oral histories from League members and their descendants, the newspaper prompts reflections on the connections between past struggles, evergreen solidarities, and social change through intergenerational exchange.
Complementing this is Tiger Balm, a collaboration between Maggie Wong and Hương Ngô, a series of artist-to-artist intergenerational interviews between Asian and Pacific Islander diaspora artists working in the U.S. These conversations connect artists at different career stages, aiming to create a collection of cultural, historical, and political knowledge. Together, these projects highlight Wong's commitment to forging dialogue and interventions into shared histories as a pedagogical practice that runs outside of and in parallel to laboring within institutions.

This is a Performance School is a program focused on developing new approaches to performance pedagogy through horizontal learning and practice. It offers an opportunity to cultivate skills as a performer or facilitator and build community through workshops, discussions, and performance opportunities. The school emphasizes releasing fear, encouraging agency, and exploring performance art as a way to discover one's truest self, using movement, theater, sound, and space as mediums. The program is facilitated by Monica Mirabile, Colin Self, Halo Perez and DonChristian Jones.
DonChristian Jones is an artist, musician, and director whose work spans painting, music, performance, and installations. Rooted in themes of collective memory, place-making, and imagined futurities, his practice often transforms alternative and public spaces into immersive, collaborative environments. Jones’ early years creating murals inside Rikers Island and other carceral institutions ground his work in both aesthetic experimentation and civic urgency. In 2020, he founded Public Assistants Inc.—a mutual aid network and community design studio that reimagines sites for care and as creative infrastructure.
Jones has presented work and performed at institutions including the Whitney Museum of American Art, MoMA PS1, Rauschenberg Residency on Captiva, as well as Hauser & Wirth, The Shed, and The Rhodes House. In 2024 to 2025, DonChristian became the inaugural Adobe Creative Resident at The Museum of Modern Art in New York.

November 12, 6pm
205 Hudson Gallery
205 Hudson Street (at Canal St.)
New York, NY 10013

This screening features Latin American artists working in video during the run of Artes Visuales, from 1973 to 1981, highlighting the avant garde tendencies the magazine sought to foreground.

From its first issue, Artes Visuales championed the popular arts in its pages, making space for vernacular photography and film to be appreciated alongside the traditional fine artforms of painting and sculpture. As video art rose to prominence in the 1970s with the accessibility of the Super 8 camera, the magazine documented the emergence of this experimental new media. Issue 17, from the spring of 1978, is devoted entirely to video art and places artists from Latin America, the United States, and Europe in conversation about the conceptual and practical capabilities of the moving image as medium.

This film screening is organized in conjunction with the curatorial practica seminar related to Artes Visuales. Curated by Harper Montgomery, Susan and David Bershad Associate Professor of Art History and Director of the Hunter College Art Galleries, with MA and MFA students enrolled in the Advanced Curatorial Certificate Seminar and curatorial student fellows: Reuben Gordon, Lisa Mason, and Grace Sanabria. This exhibition is organized in collaboration with the Institute for Studies on Latin American Art (ISLAA).   

This exhibition is made possible by The Leonard A. Lauder Exhibition and Catalogue Fund and the Institute for Studies on Latin American Art (ISLAA). The exhibition's catalogue has been supported by a grant from the Wolf Kahn Foundation and the Emily Mason and Alice Trumbull Mason Foundation on behalf of artists Emily Mason and Wolf Kahn.

November 11, 7pm
205 Hudson Gallery
205 Hudson Street (at Canal St.)

An experimental lecture you didn't realize you needed!

Jonnie Prey is co-founder of Cathode Cinema, an online streaming channel and live events archive network. In 2022 he was a grant recipient of The Mike Kelly Foundation and has been active in performance, video and visual arts. He currently lives in a mannequins dream. 

With his latest project, Fugue Spa, he intends to break the confines of academic spaces to host a varied series of lectures with a revolving roster of hosts. The aim is to provide a space that can incubate new and/or unconventional ideas and observations. Subversive immersion is the key. ANY ONE CAN GIVE A LECTURE! 

November 6, 7pm
205 Hudson Gallery
205 Hudson Street (at Canal St.)

Join us for a chat with writer & editor Lauren O’Neill-Butler about her new book, The War of Art: A History of Artists' Protest in America, which investigates crucial political additions to art history. Lauren will be in conversation with artist Carrie Moyer, who is featured in the book.

More about the book: 

The War of Art tells a history of artist-led activism and the global political and aesthetic debates of the 1960s to the present. In contrast to the financialized art market and celebrity artists, the book explores the power of collective effort — from protesting to philanthropy, and from wheat pasting to planting a field of wheat.

Lauren O’Neill-Butler charts the post-war development of artists’ protest and connects these struggles to a long tradition of feminism and civil rights activism. The book offers portraits of the key individuals and groups of artists who have campaigned for solidarity, housing, LGBTQ+, HIV/AIDS awareness, and against Indigenous injustice and the exclusion of women in the art world. This includes: the Black Emergency Cultural Coalition (BECC), Women Artists in Revolution (WAR), David Wojnarowicz’s work with ACT UP, Top Value Television (TVTV), Agnes Denes, Edgar Heap of Birds, Dyke Action Machine! (DAM!), fierce pussy, Project Row Houses, and Nan Goldin’s Prescription Addiction Intervention Now (PAIN).

Based upon in-depth oral histories with the key figures in these movements, and illustrated throughout, The War of Art is an essential corrective to the idea that art history excludes politics.

More about Lauren:

Lauren O’Neill-Butler is a writer, editor, and adjunct faculty member at Hunter College. Her books include The War of Art: A History of Artists’ Protest in America (Verso, 2025) and Let's Have a Talk: Conversations with Women on Art and Culture (Karma, 2021). She has written for Aperture, Art Journal, Bookforum, and The New York Times, among many others, and has also contributed essays to many exhibition catalogues. She received a Warhol Foundation Art Writers Grant in 2020 and the Beverley Art Writers Travel Grant in 2023.

More about Carrie:

Carrie Moyer is an artist and Professor at Hunter College whose vibrant paintings and works on paper critically interrogate the formal and conceptual conventions of painting while embracing an approach to abstraction rooted in optical pleasure. Moyer’s playful compositions, layered surfaces, and fluid forms, which freely oscillate between abstraction and representation, speak not only to her commitment to feminist political theory, but also to her deep investment in art history. As she explains, “What is political about my painting is its basis in my own experience. The work engages the history of 20th-century painting from the margins, a position defined by humor, exuberance, and disruption.”

October 23, 7pm
205 Hudson Gallery
205 Hudson Street (at Canal St.)
New York, NY 10013

Artist Brian Belott and educator Jennifer DiGioia will discuss pioneering art theorist Rhoda Kellogg (1898-1987) and the universal stages and techniques of finger painting and graphic expression in very young children. 

Rhoda Kellogg (1898-1987) was a psychologist and early-childhood educator and the director of the Phoebe A. Hearst Preschool Learning Center (which was a part of the Golden Gate Kindergarten Association, in San Francisco) for nearly three decades. Over the course of her lifetime, Kellogg amassed a collection of more than two million drawings by children between the ages of two and eight. Kellogg gained global recognition for her groundbreaking studies in children’s art. 

In her books, What Children Scribble and Why (1955), “The Psychology of Children’s Art (1967), and Analyzing Children’s Art (1969), Kellogg explained and documented her theories. She showed that children from all cultures follow a similar graphic evolution in their drawings, starting from scribbles and progressing through certain basic forms. She also believed that children’s art could offer insights into their mental development and educational progress. These theories laid the foundation for the educational program still used at the Hearst Preschool Learning Center today.

Brian Belott: Brian Belott has been widely shown for two decades internationally and has work in many prominent public and private collections. Throughout his career, Belott has playfully situated dissimilar objects, ideas and found oddities alongside one another in order to see what they might create. Box fans and cotton balls; collections of children’s books; found calculators bejewelled with stones; cats with clocks for eyes: Belott’s dadaist campaign is intent on making ordinary things as weird as they can be and, in doing so, create a new kind of (wholly illogical) logic. Belott’s artistic practice spans paintings, assemblage, music, performance, video, and a wholly separate project focusing on children's art, supporting the research development and encouragement of children's art through traveling shows and classes for children.

Jennifer DiGioia: This is Jennifer DiGioia’s 35th year in the field of Early Childhood Education. She has served on the boards of several affiliates of the National Association for the Education of Young Children, where she worked to increase awareness of the direct link between teacher retention and high-quality programming. For most of her career, she has been a member of Phoebe A. Hearst Preschool (San Francisco), designed and founded by Rhoda Kellogg. Her passion for Kellogg’s teachings touches every aspect of her community relationships and teaching practices.

As an educator, Jennifer works to build trusting and inclusive environments that enable each child to freely explore and develop their innate creativity at their own pace, free from adult expectations and constructs. Supporting the artistic expression that is part of each child’s biological makeup is a cornerstone of Rhoda Kellogg’s philosophy and one that Jennifer seeks to continually explore.

As a custodian of the Rhoda Kellogg International Child Art Archive, she considers it the greatest privilege to promote RK’s legacy in connection with teachers, students, artists, and families – together, working to foster practices that allow young children the time and space to guide their own creative development; thus, highlighting the integrity of our own biology.

On view: August 27 - November 22, 2025

ABOUT THE EXHIBITION

In Fall 2025, the Hunter College Art Galleries will present Last Art School, an exhibition and programming series curated by Lindsey White, Arthur & Carol Kaufman Goldberg Visiting Curator and Artist in Residence. Last Art School offers a platform for investigating and documenting the current crisis moment within higher arts education. As educators, researchers, and students across the United States have been silenced, reprimanded, fired, and even deported, this project emphasizes the power of personal networks and structures of connectivity, calling upon socio-cultural histories of activism and mutual aid in a search for community empowerment and fellowship.

In Hunter College’s 205 Hudson Gallery, White creates a theatrical environment for the presentation of her own artworks, alongside those of her peers. The works draw from the artists' prismatic experiences within institutions of higher learning as both students and faculty. While many explicitly engage the complex dynamics of art school as subject, others more irreverently and obliquely contend with hierarchy, transformation, utopia, and the classroom.

Participating artists and collections: Mario Ayala, Alex Bradley Cohen, Dewey Crumpler, Henry Fey, Nicole Hayden, Whitney Hubbs, Alicia McCarthy, Sandra Ono, Ralph Pugay, Jon Rubin, Maryam Yousif, Rhoda Kellogg Children’s Art Collection, and the San Francisco Art Institute Legacy Foundation and Archive. 

In addition to artworks by White’s friends and colleagues, Last Art School features a collection of finger paintings from the Rhoda Kellogg Children’s Art Collection and materials from the San Francisco Art Institute Legacy Foundation and Archive (SFAI LF+A). A pioneer in the field of child art, Rhoda Kellogg believed in the fundamental role visual language plays in the emergence of consciousness and proposed that the aim of art education should be independent and spontaneous. Archival documents and images from the SFAI LF+A serve as a case study on how creative communities can collaborate, resist, and take action in unstable political and economic moments. One of the oldest fine art schools in the country, SFAI closed its doors in 2022 after 151 years.

The lower gallery of 205 Hudson will host a community gathering space modeled after a cozy local restaurant. An integral part of White’s residency will be dynamic collaborations with student fellows and the development of free public programming, including lectures, screenings, conversations, performances, and other unusual and unexpected events. This space is also available for the MFA and MA community for class meetings, events, and hangouts. White will serve lunch one day a week for Hunter students, faculty, and staff throughout the run of the exhibition.

Last Art School also contains a recording studio and interview archive. In response to the active erasure of records and archives by the United States government, White will conduct interviews with arts educators in and around the New York City area to document the complex and critical moment facing higher education. Gallery visitors will have the chance to hear these interviews in the space. 

Lindsey White is an artist and curator in San Francisco who left academia in 2023. She is the 2025 Arthur & Carol Kaufman Goldberg Visiting Curator and Artist in Residence at the Hunter College Art Galleries. This exhibition model establishes a platform for long-term visiting artist engagement and represents the start of an experimental collaboration between the galleries and the MFA Studio Art program. 

________________________
Last Art School is made possible by The Foundation To-Life, Inc. and the Bertha and Karl Leubsdorf Fund. The exhibition is curated by Lindsey White and organized by Katie Hood Morgan, Chief Curator and Deputy Director, Hunter College Art Galleries, with Phi Nguyen, Tara Ohanian, Aleeq Kroshian, and Amy Tidwell, and student curatorial fellows Andee Berberich and Rebecca Miralrio. Special thanks for fabrication support from Caitlyn Galloway, Nicole Hayden, Don Miller, Hunter College Art Galleries, and Cushion Works. Additional thank yous to Terry Swords and New York Jukebox, Jennifer DiGioia, Brian Belott, Aaron Rodriguez, Susan Schroder, Gary Ellis, Becky Alexander, Jeff Gunderson, and Jordan Stein.

ABOUT THE HUNTER COLLEGE ART GALLERIES

Part of the college’s Department of Art and Art History, the Hunter College Art Galleries have contributed to New York City’s vital cultural landscape since their inception over a quarter of a century ago. The galleries provide a space for critical engagement with art and pedagogy, bringing together historical scholarship, contemporary artistic practice, and experimental methodology. The 205 Hudson Gallery on the department’s MFA Studio Art Campus in Tribeca is dedicated to presenting exhibitions and programming that engage issues critical to contemporary art and artists. In Spring semesters, the gallery also hosts a series of MFA thesis exhibitions. Located on Hunter’s main campus at 68th Street and Lexington Avenue, the Bertha and Karl Leubsdorf Gallery presents research-driven historical exhibitions that provide new scholarship on important and often under-represented artists and art movements. The Hunter East Harlem Gallery, located in the Silberman School of Social Work at 119th Street and 3rd Avenue, is dedicated to collaborative social practice and art and artists engaged with issues relevant to the East Harlem community and to the city more broadly.

Left image: Photo of Rhoda Kellogg taken by Robert Overstreet
Right image: Image courtesy of the Rhoda Kellogg International Child Art Collection of the Golden Gate Kindergarten Association / Phoebe Hearst Preschool

huntercollegeartgalleries.org

PRESS INQUIRIES
E-mail Aleeq Kroshian, aleeq.kroshian@hunter.cuny.edu

Tuesday, October 21, 7pm
205 Hudson Gallery
205 Hudson Street (at Canal St.)
New York, NY 10013

Last Art School, a project by Lindsey White is thrilled to present a performance by Dynasty Handbag as part of the exhibition programming series taking place within the gallery’s Chat & Chew lounge space.

Dynasty Handbag presents an evening of disreputable performance pieces, disappointing songs, and accurate observational entertainment, designed especially for the Hunter College fiefdom. RJ the Magician will open the evening with an incredible set of illusions.

Jibz Bio

Jibz Cameron is a performance and video artist living in Los Angeles, performing multimedia work as alter ego Dynasty Handbag. Over the last 15 years, Cameron has combined tragedy and comedy, at such institutions as MOCA, PS1, Joe’s Pub, The Kitchen, REDCAT, The Broad Museum, The Hammer Museum, and the New Museum, among others. The New York Times has heralded her as “the funniest and most pitch perfect performance seen in years” and New York Magazine has called her “outrageously smart, grotesque and innovative.”

Jibz is a 2022 Guggenheim fellow, a 2021 United States Artist Award recipient and a 2020 Creative Capital Grant awardee. Her film Weirdo Night, directed by Mariah Garnett is an official 2021 Sundance Film Festival selection. She released her first comedy record, The Bored Identity, on Wacky Wacko records in November 2023. Her latest evening-length performance Titanic Depression was commissioned by Pioneer Works curator David Everitt Howe.

Cameron has written and produced seven evening-length performance pieces and countless short works that have been performed in clubs and venues internationally. She also has produced multiple video works and two albums of original music. Cameron also produces and hosts Weirdo Night!, a monthly experimental comedy and performance event in Los Angeles. She attended the San Francisco Art Institute and has taught as a visiting professor at California Institute of the Arts and Tisch School of the Arts, NYU. She has presented workshops and curated events at institutions including University of Pennsylvania, SFMOMA, The Jewish Museum (New York), Wendy’s Subway (New York), The Broad Museum (Los Angeles), the Hammer Museum (Los Angeles), MOCA (Los Angeles), and The Lab (San Francisco).

RJ Bio

Rajon Lynch AKA RJ THE Magician, is a 25 year old comedy magician from Wisconsin [Home of Harry Houdini]. RJ moved to New York from Wisconsin and was appointed the director of the Houdini Museum of NYC in 2019. He has been featured by the NY Times, Complex, Daily Mail, TED, Smithsonian and most recently in the 2021 History Channel series "History's Greatest Mysteries: The Houdini Diaries" starring alongside magicians Penn & Teller, and actor Lawrence Fishbourne.

RJ currently lives in New York where he performs at nightclubs, comedy shows and colleges across the country. 

On view: August 27 - November 22, 2025

ABOUT THE EXHIBITION

In Fall 2025, the Hunter College Art Galleries will present Last Art School, an exhibition and programming series curated by Lindsey White, Arthur & Carol Kaufman Goldberg Visiting Curator and Artist in Residence. Last Art School offers a platform for investigating and documenting the current crisis moment within higher arts education. As educators, researchers, and students across the United States have been silenced, reprimanded, fired, and even deported, this project emphasizes the power of personal networks and structures of connectivity, calling upon socio-cultural histories of activism and mutual aid in a search for community empowerment and fellowship.

In Hunter College’s 205 Hudson Gallery, White creates a theatrical environment for the presentation of her own artworks, alongside those of her peers. The works draw from the artists' prismatic experiences within institutions of higher learning as both students and faculty. While many explicitly engage the complex dynamics of art school as subject, others more irreverently and obliquely contend with hierarchy, transformation, utopia, and the classroom.

Participating artists and collections: Mario Ayala, Alex Bradley Cohen, Dewey Crumpler, Henry Fey, Nicole Hayden, Whitney Hubbs, Alicia McCarthy, Sandra Ono, Ralph Pugay, Jon Rubin, Maryam Yousif, Rhoda Kellogg Children’s Art Collection, and the San Francisco Art Institute Legacy Foundation and Archive. 

In addition to artworks by White’s friends and colleagues, Last Art School features a collection of finger paintings from the Rhoda Kellogg Children’s Art Collection and materials from the San Francisco Art Institute Legacy Foundation and Archive (SFAI LF+A). A pioneer in the field of child art, Rhoda Kellogg believed in the fundamental role visual language plays in the emergence of consciousness and proposed that the aim of art education should be independent and spontaneous. Archival documents and images from the SFAI LF+A serve as a case study on how creative communities can collaborate, resist, and take action in unstable political and economic moments. One of the oldest fine art schools in the country, SFAI closed its doors in 2022 after 151 years.

The lower gallery of 205 Hudson will host a community gathering space modeled after a cozy local restaurant. An integral part of White’s residency will be dynamic collaborations with student fellows and the development of free public programming, including lectures, screenings, conversations, performances, and other unusual and unexpected events. This space is also available for the MFA and MA community for class meetings, events, and hangouts. White will serve lunch one day a week for Hunter students, faculty, and staff throughout the run of the exhibition.

Last Art School also contains a recording studio and interview archive. In response to the active erasure of records and archives by the United States government, White will conduct interviews with arts educators in and around the New York City area to document the complex and critical moment facing higher education. Gallery visitors will have the chance to hear these interviews in the space. 

Lindsey White is an artist and curator in San Francisco who left academia in 2023. She is the 2025 Arthur & Carol Kaufman Goldberg Visiting Curator and Artist in Residence at the Hunter College Art Galleries. This exhibition model establishes a platform for long-term visiting artist engagement and represents the start of an experimental collaboration between the galleries and the MFA Studio Art program. 

________________________
Last Art School is made possible by The Foundation To-Life, Inc. and the Bertha and Karl Leubsdorf Fund. The exhibition is curated by Lindsey White and organized by Katie Hood Morgan, Chief Curator and Deputy Director, Hunter College Art Galleries, with Phi Nguyen, Tara Ohanian, Aleeq Kroshian, and Amy Tidwell, and student curatorial fellows Andee Berberich and Rebecca Miralrio. Special thanks for fabrication support from Caitlyn Galloway, Nicole Hayden, Don Miller, Hunter College Art Galleries, and Cushion Works. Additional thank yous to Terry Swords and New York Jukebox, Jennifer DiGioia, Brian Belott, Aaron Rodriguez, Susan Schroder, Gary Ellis, Becky Alexander, Jeff Gunderson, and Jordan Stein.

ABOUT THE HUNTER COLLEGE ART GALLERIES

Part of the college’s Department of Art and Art History, the Hunter College Art Galleries have contributed to New York City’s vital cultural landscape since their inception over a quarter of a century ago. The galleries provide a space for critical engagement with art and pedagogy, bringing together historical scholarship, contemporary artistic practice, and experimental methodology. The 205 Hudson Gallery on the department’s MFA Studio Art Campus in Tribeca is dedicated to presenting exhibitions and programming that engage issues critical to contemporary art and artists. In Spring semesters, the gallery also hosts a series of MFA thesis exhibitions. Located on Hunter’s main campus at 68th Street and Lexington Avenue, the Bertha and Karl Leubsdorf Gallery presents research-driven historical exhibitions that provide new scholarship on important and often under-represented artists and art movements. The Hunter East Harlem Gallery, located in the Silberman School of Social Work at 119th Street and 3rd Avenue, is dedicated to collaborative social practice and art and artists engaged with issues relevant to the East Harlem community and to the city more broadly.

huntercollegeartgalleries.org

PRESS INQUIRIES
E-mail Aleeq Kroshian, aleeq.kroshian@hunter.cuny.edu

September 11, 7pm
205 Hudson Gallery
205 Hudson Street (at Canal St.)
New York, NY 10013

Written and directed by Henry Gunderson

Performed by Sophie Becker

Join Jerry Mahoney, ventriloquist dummy and entertainment industry insider with an extraordinary 80+ years in the business, as he guides you on the path to success. With the help of his assistant Sophie Becker, he offers unconventional insights for aspiring talents who want to unlock their full potential and make it in today’s world. Performed by Sophie Becker, written by Henry Gunderson. 

About Sophie Becker:

Based in New York, performer, actor and curator Sophie Becker began incorporating ventriloquism into her practice during the pandemic, her partner being a classic Jerry Mahoney figure, who was originally created by lauded ventriloquist Paul Winchell in the 1930s (and was probably a model for the male figures in Simmons’ images). Mahoney, with his friend Knucklehead Smiff, appeared on various programs such as The Ed Sullivan Show, and he even had his own, The Paul Winchell and Jerry -Mahoney Show. While touring with Bread and Puppet Theater in 2020, Becker began experimenting with ventriloquism and then honed her skills during the lockdown. Mahoney and Becker have presented their Success Seminar in Berlin, Los Angeles, and New York City.

[In a conversation with the artist, she explained, “I thought the perfect thing to learn was ventriloquism, because I can be on stage with people whenever I want to be on stage with them and have multiple characters.” Becker and her Mahoney figure now perform around New York in matching red bow ties and suits, singing together and often lamenting about Jerry’s former fame: “Jerry hates that he used to be famous and that no one cares about him anymore. And he harps on the fact that there was, I call it, the propaganda war on ventriloquism. There were so many ventriloquists and then, all of a sudden, the bubble burst.”]

205 Hudson Gallery
205 Hudson Street (at Canal St.)
New York, NY 10013

On view: August 27 - November 22, 2025

ABOUT THE EXHIBITION

In Fall 2025, the Hunter College Art Galleries will present Last Art School, an exhibition and programming series curated by Lindsey White, Arthur & Carol Kaufman Goldberg Visiting Curator and Artist in Residence. Last Art School offers a platform for investigating and documenting the current crisis moment within higher arts education. As educators, researchers, and students across the United States have been silenced, reprimanded, fired, and even deported, this project emphasizes the power of personal networks and structures of connectivity, calling upon socio-cultural histories of activism and mutual aid in a search for community empowerment and fellowship.

In Hunter College’s 205 Hudson Gallery, White creates a theatrical environment for the presentation of her own artworks, alongside those of her peers. The works draw from the artists' prismatic experiences within institutions of higher learning as both students and faculty. While many explicitly engage the complex dynamics of art school as subject, others more irreverently and obliquely contend with hierarchy, transformation, utopia, and the classroom.

Participating artists and collections: Mario Ayala, Alex Bradley Cohen, Dewey Crumpler, Henry Fey, Nicole Hayden, Whitney Hubbs, Alicia McCarthy, Sandra Ono, Ralph Pugay, Jon Rubin, Maryam Yousif, Rhoda Kellogg Children’s Art Collection, and the San Francisco Art Institute Legacy Foundation and Archive. 

In addition to artworks by White’s friends and colleagues, Last Art School features a collection of finger paintings from the Rhoda Kellogg Children’s Art Collection and materials from the San Francisco Art Institute Legacy Foundation and Archive (SFAI LF+A). A pioneer in the field of child art, Rhoda Kellogg believed in the fundamental role visual language plays in the emergence of consciousness and proposed that the aim of art education should be independent and spontaneous. Archival documents and images from the SFAI LF+A serve as a case study on how creative communities can collaborate, resist, and take action in unstable political and economic moments. One of the oldest fine art schools in the country, SFAI closed its doors in 2022 after 151 years.

The lower gallery of 205 Hudson will host a community gathering space modeled after a cozy local restaurant. An integral part of White’s residency will be dynamic collaborations with student fellows and the development of free public programming, including lectures, screenings, conversations, performances, and other unusual and unexpected events. This space is also available for the MFA and MA community for class meetings, events, and hangouts. White will serve lunch one day a week for Hunter students, faculty, and staff throughout the run of the exhibition.

Last Art School also contains a recording studio and interview archive. In response to the active erasure of records and archives by the United States government, White will conduct interviews with arts educators in and around the New York City area to document the complex and critical moment facing higher education. Gallery visitors will have the chance to hear these interviews in the space. 

Lindsey White is an artist and curator in San Francisco who left academia in 2023. She is the 2025 Arthur & Carol Kaufman Goldberg Visiting Curator and Artist in Residence at the Hunter College Art Galleries. This exhibition model establishes a platform for long-term visiting artist engagement and represents the start of an experimental collaboration between the galleries and the MFA Studio Art program. 

________________________
Last Art School is made possible by The Foundation To-Life, Inc. and the Bertha and Karl Leubsdorf Fund. The exhibition is curated by Lindsey White and organized by Katie Hood Morgan, Chief Curator and Deputy Director, Hunter College Art Galleries, with Phi Nguyen, Tara Ohanian, Aleeq Kroshian, and Amy Tidwell, and student curatorial fellows Andee Berberich and Rebecca Miralrio. Special thanks for fabrication support from Caitlyn Galloway, Nicole Hayden, Don Miller, Hunter College Art Galleries, and Cushion Works. Additional thank yous to Terry Swords and New York Jukebox, Jennifer DiGioia, Brian Belott, Aaron Rodriguez, Susan Schroder, Gary Ellis, Becky Alexander, Jeff Gunderson, and Jordan Stein.

ABOUT THE HUNTER COLLEGE ART GALLERIES

Part of the college’s Department of Art and Art History, the Hunter College Art Galleries have contributed to New York City’s vital cultural landscape since their inception over a quarter of a century ago. The galleries provide a space for critical engagement with art and pedagogy, bringing together historical scholarship, contemporary artistic practice, and experimental methodology. The 205 Hudson Gallery on the department’s MFA Studio Art Campus in Tribeca is dedicated to presenting exhibitions and programming that engage issues critical to contemporary art and artists. In Spring semesters, the gallery also hosts a series of MFA thesis exhibitions. Located on Hunter’s main campus at 68th Street and Lexington Avenue, the Bertha and Karl Leubsdorf Gallery presents research-driven historical exhibitions that provide new scholarship on important and often under-represented artists and art movements. The Hunter East Harlem Gallery, located in the Silberman School of Social Work at 119th Street and 3rd Avenue, is dedicated to collaborative social practice and art and artists engaged with issues relevant to the East Harlem community and to the city more broadly.

huntercollegeartgalleries.org

PRESS INQUIRIES
E-mail Aleeq Kroshian, aleeq.kroshian@hunter.cuny.edu

Wednesday, August 27, 6–9pm

205 Hudson Gallery
205 Hudson Street (at Canal St.)
New York, NY 10013

Exhibition on view: August 27 - November 22, 2025

ABOUT THE EXHIBITION

In Fall 2025, the Hunter College Art Galleries will present Last Art School, an exhibition and programming series curated by Lindsey White, Arthur & Carol Kaufman Goldberg Visiting Curator and Artist in Residence. Last Art School offers a platform for investigating and documenting the current crisis moment within higher arts education. As educators, researchers, and students across the United States have been silenced, reprimanded, fired, and even deported, this project emphasizes the power of personal networks and structures of connectivity, calling upon socio-cultural histories of activism and mutual aid in a search for community empowerment and fellowship.

In Hunter College’s 205 Hudson Gallery, White creates a theatrical environment for the presentation of her own artworks, alongside those of her peers. The works draw from the artists' prismatic experiences within institutions of higher learning as both students and faculty. While many explicitly engage the complex dynamics of art school as subject, others more irreverently and obliquely contend with hierarchy, transformation, utopia, and the classroom.

Participating artists and collections: Mario Ayala, Alex Bradley Cohen, Dewey Crumpler, Henry Fey, Nicole Hayden, Whitney Hubbs, Alicia McCarthy, Sandra Ono, Ralph Pugay, Jon Rubin, Maryam Yousif, Rhoda Kellogg Children’s Art Collection, and the San Francisco Art Institute Legacy Foundation and Archive. 

In addition to artworks by White’s friends and colleagues, Last Art School features a collection of finger paintings from the Rhoda Kellogg Children’s Art Collection and materials from the San Francisco Art Institute Legacy Foundation and Archive (SFAI LF+A). A pioneer in the field of child art, Rhoda Kellogg believed in the fundamental role visual language plays in the emergence of consciousness and proposed that the aim of art education should be independent and spontaneous. Archival documents and images from the SFAI LF+A serve as a case study on how creative communities can collaborate, resist, and take action in unstable political and economic moments. One of the oldest fine art schools in the country, SFAI closed its doors in 2022 after 151 years.

The lower gallery of 205 Hudson will host a community gathering space modeled after a cozy local restaurant. An integral part of White’s residency will be dynamic collaborations with student fellows and the development of free public programming, including lectures, screenings, conversations, performances, and other unusual and unexpected events. This space is also available for the MFA and MA community for class meetings, events, and hangouts. White will serve lunch one day a week for Hunter students, faculty, and staff throughout the run of the exhibition.

Last Art School also contains a recording studio and interview archive. In response to the active erasure of records and archives by the United States government, White will conduct interviews with arts educators in and around the New York City area to document the complex and critical moment facing higher education. Gallery visitors will have the chance to hear these interviews in the space. 

Lindsey White is an artist and curator in San Francisco who left academia in 2023. She is the 2025 Arthur & Carol Kaufman Goldberg Visiting Curator and Artist in Residence at the Hunter College Art Galleries. This exhibition model establishes a platform for long-term visiting artist engagement and represents the start of an experimental collaboration between the galleries and the MFA Studio Art program. 

________________________
Last Art School is made possible by The Foundation To-Life, Inc. and the Bertha and Karl Leubsdorf Fund. The exhibition is curated by Lindsey White and organized by Katie Hood Morgan, Chief Curator and Deputy Director, Hunter College Art Galleries, with Phi Nguyen, Tara Ohanian, Aleeq Kroshian, and Amy Tidwell, and student curatorial fellows Andee Berberich and Rebecca Miralrio. Special thanks for fabrication support from Caitlyn Galloway, Nicole Hayden, Don Miller, Hunter College Art Galleries, and Cushion Works. Additional thank yous to Terry Swords and New York Jukebox, Jennifer DiGioia, Brian Belott, Aaron Rodriguez, Susan Schroder, Gary Ellis, Becky Alexander, Jeff Gunderson, and Jordan Stein.

ABOUT THE HUNTER COLLEGE ART GALLERIES

Part of the college’s Department of Art and Art History, the Hunter College Art Galleries have contributed to New York City’s vital cultural landscape since their inception over a quarter of a century ago. The galleries provide a space for critical engagement with art and pedagogy, bringing together historical scholarship, contemporary artistic practice, and experimental methodology. The 205 Hudson Gallery on the department’s MFA Studio Art Campus in Tribeca is dedicated to presenting exhibitions and programming that engage issues critical to contemporary art and artists. In Spring semesters, the gallery also hosts a series of MFA thesis exhibitions. Located on Hunter’s main campus at 68th Street and Lexington Avenue, the Bertha and Karl Leubsdorf Gallery presents research-driven historical exhibitions that provide new scholarship on important and often under-represented artists and art movements. The Hunter East Harlem Gallery, located in the Silberman School of Social Work at 119th Street and 3rd Avenue, is dedicated to collaborative social practice and art and artists engaged with issues relevant to the East Harlem community and to the city more broadly.

huntercollegeartgalleries.org

PRESS INQUIRIES
E-mail Aleeq Kroshian, aleeq.kroshian@hunter.cuny.edu

Andrea Blum: BIOTA Book Launch
Tuesday, April 29th

6pm: Reception

7pm: Remarks with Andrea Blum and catalogue contributors

Artists Space
11 Cortlandt Alley, New York, NY 10013

RSVP HERE

A 40-year overview of Blum’s career working at the interface of art, architecture and design, leading up to her focus on our engagement with the natural world. 

Featuring texts by Jenny Jaskey, Michael Lobel, Sarah Oppenheimer, Pam Lins, Catherine Grout, and a conversation between Blum and Allan Schwartzman.

We are excited to announce the arrival of the highly anticipated book BIOTA: A discourse between Art and Architecture from the 1970s to the present, co-published by Gregory R. Miller & Co. and Hunter College Art Galleries. BIOTA celebrates the work of artist and Hunter professor emerita Andrea Blum and accompanies her recent exhibition at 205 Hudson Gallery this past Fall. Please join us for a special evening hosted at Artists Space, located at 11 Cortlandt Alley, New York, NY. Books will be available for purchase at the event. 

In the meantime, you may pre-order the book in our bookshop HERE. Online purchases will ship in late April. 

Andrea Blum: BIOTA was on view at 205 Hudson Gallery from September 4 to October 26, 2024, and was curated by Jenny Jaskey and organized by Katie Hood Morgan, Chief Curator and Deputy Director, Hunter College Art Galleries. Graduate curatorial fellows: Haley Kane and Antonia Oliver. The catalogue was designed by Joseph Logan Design and edited by Liz Rae Heise-Glass and Katie Hood Morgan.

This exhibition was made possible by the generous support of the Arthur and Carol Kaufman Goldberg Foundation To-Life Curatorial Workshop Fund, the Anna-Maria and Stephen Kellen Foundation, the Red Painters Fund, Jill Brienza, Agnes Gund, The Katcher Family Foundation Inc., and other private donors. The publication has been supported by the Graham Foundation for Advanced Studies in the Fine Arts, the Estate of Tony Feher, the Judith Whitney Godwin Foundation for the Arts, and a grant from the Wolf Kahn Foundation and the Emily Mason and Alice Trumbull Mason Foundation on behalf of artists Emily Mason and Wolf Kahn.

Artists Space directions and accessibility info is linked HERE and please reach out if we can help with accommodations. Email contact: hcag@hunter.cuny.edu

Book Launch & Conversation with artist Lindsey White
Thursday, February 13, 7pm

2nd Floor Flex Space, 205 Hudson Street (at Canal St.)
New York, NY 10013

A presentation on the state of arts academia from the Bay Area and beyond followed by a discussion with Sara Greenberger Rafferty

On the occasion of the second printing of What? Is? Art?, by Lindsey White and Anonymous, The Hunter College Art Galleries are pleased to present a presentation, conversation, and book launch with San Francisco-based artist and educator Lindsey White. White will be joined in conversation by Sara Greenberger Rafferty, Professor of Art and Ruth Stanton Chair, Hunter College Department of Art and Art History.

What? Is? Art? (Colpa Press, 2024) is a collection of photographs made on the pandemic-empty campus of the San Francisco Art Institute, where White taught for over a decade as an Adjunct, Assistant, and Associate Professor and Photography Department Chair. The final class of SFAI art students graduated in the summer of 2022 and the institution promptly closed. SFAI was one of the last exclusively fine arts schools in the United States, and its closure reflects not only the transitional moment such schools face, but also their fight for survival. What? Is? Art? also includes writings by nine professors who teach in private art schools or public art departments across the country. The texts and images memorialize and contemplate the complexity of arts education in this protracted moment of instability while cementing the importance of building collective support systems within institutions.

About the Artist
Lindsey White is an artist living and working in San Francisco, CA. She has exhibited at venues such as SFMOMA; San Francisco Arts Commission Gallery; Sydhavn Station, Copenhagen; Bolinas Museum, CA; Contemporary Jewish Museum, San Francisco; ACME, Los Angeles; White Columns, New York; The Art Gym at Marylhurst University, Oregon; Boca Raton Museum of Art, FL; Locust Projects, Miami; San Francisco International Airport Museum; and Museum Bärengasse, Zurich. 

White taught in the Photography Department at the San Francisco Art Institute from 2010, serving as Department Chair from 2015 to 2022, before serving as Director of Contemporary Practices at the School of the Art Institute of Chicago in 2023. White was a co-founder of the para-curatorial experiment Will Brown, which realized projects with institutions such as U.C. Berkeley Art Museum and Pacific Film Archive; CCA Wattis Institute for Contemporary Arts, San Francisco; di Rosa, Napa; Ulrich Museum of Art at Wichita State University; and KADIST, San Francisco. White’s projects have been featured in the New York Times, Frieze, Art Forum, The New Yorker, KQED Arts, SF Chronicle, and Contemporary Art Daily. Her book, What? Is?Art? was recently released by Colpa Press.

ROOTS / ROUTES
Wednesday, October 9, 7pm

2nd Floor Flex Space, 205 Hudson Street (at Canal St.)
New York, NY 10013

Join us at 205 Hudson's Flex Space on Wednesday, October 9 at 7pm for a lecture presented in conjunction with current exhibition Andrea Blum: BIOTA. The presentation will cover Blum's works made for public spaces throughout the United States and Europe beginning in the 1970s, as well as more recent works including sculpture, video, and digital images. A conversation with exhibition guest curator Jenny Jaskey and a Q&A will follow the talk.

The lecture will be held in the 2nd floor Flex Space at the Hunter MFA Building (205 Hudson Street), which is accessible by elevator through both the gallery and the main building entrance. Staff will be present to guide visitors. For questions about accessibility, please email hcag@hunter.cuny.edu. A recording of the this event will be available on the exhibition website following the discussion. 

Andrea Blum: BIOTA is on view through October 26, 2024.
205 Hudson Gallery is open Tuesday–Saturday, 12–6pm. All Hunter College Art Galleries events are free and open to the public.

ABOUT THE ARTIST

Andrea Blum (b. 1950, New York) has been engaged in the discourse between art and architecture since the 1970s. She has had solo exhibitions at Kunsthaus Baselland, Switzerland (2021); La Conservera Centro de Arte Contemporaneo, Murcia, Spain (2012); Stroom Den Haag, Netherlands (2004); and Henry Moore Institute, Leeds (1999), among others. Blum has designed numerous public commissions, including for the University of Pennsylvania (2018); Mudam, Luxembourg (2008); and the 51st Venice Biennale, Italy (2005). She was set designer for a Gaetano Donizetti Opera, commissioned by Theatre des Champs-Elysees in Paris (2013), and in 2005 was named Chevalier, Order of Arts and Letters, by the French Minister of Culture. Blum has been awarded a Guggenheim Fellowship, Graham Foundation Fellowship, SJ Weiler Award, Art Matters, NYSCA and NEA Fellowships, and a Design award from the American Institute of Architects. Blum holds an MFA from the Art Institute of Chicago and a BFA from the Boston Museum School of Fine Arts. ​​Blum taught in the Department of Art and Art History at Hunter College for over thirty years and retired in 2023 as Associate Chair of Studio.

______________________________________________________________

This exhibition is made possible by the generous support of the Arthur and Carol Kaufman Goldberg Foundation To-Life Curatorial Workshop Fund, the Anna-Maria and Stephen Kellen Foundation, the Judith Whitney Godwin Foundation for the Arts, the Red Painters Fund, Jill Brienza, Agnes Gund, The Katcher Family Foundation Inc., and other private donors. The publication has been supported by the Graham Foundation for Advanced Studies in the Fine Arts, the Estate of Tony Feher, and a grant from the Wolf Kahn Foundation and the Emily Mason and Alice Trumbull Mason Foundation on behalf of artists Emily Mason and Wolf Kahn.

Distortions Symposium I
September 9, 2023

2nd Floor Flex Space, 205 Hudson Street (at Canal St.)
New York, NY 10013

ABOUT THE EXHIBITION

Moscow Conceptualism began as an alternative underground art world in the late Soviet Union. Its unofficial status shaped its artistic methods and theoretical framework. The exhibition includes original objects, archival materials, and working models of original artworks, alongside new projects created by Moscow Conceptualists in collaboration with art and art history students and faculty at Hunter College. Thus, Distortions is an experiment in intergenerational and cross-cultural collaboration. It aims to transform the gallery into a two-month long forum exploring how existing artworks can be activated to create new living situations, and how documents can be used beyond the preservation of the past. 

Participating artists and art groups:
Yuri Albert (born 1959 in Moscow, lives and works in Cologne)
Collective Actions (active 1976-present)
Gnezdo (active 1974-79)
Sabine Hänsgen (born 1955 in Dusseldorf, lives and works in Bochum, Germany)
Andrei Monastyrski (born 1949 in Pechenga, Russia, lives and works in Moscow),
Victor Skersis (born 1956 in Moscow, lives and works in Bethlehem, PA)
Nadezhda Stolpovskaya (born 1959 in Moscow, lives and works in Cologne, Germany)
SZ Group (active 1980-84, 1989, 1990)
Vadim Zakharov (born 1959 in Dushanbe, Tajikistan, lives and works in Berlin, Germany).

______________________________________________________________

This exhibition and publication were made possible by the generous support of the Wolf Kahn Foundation and Emily Mason and Alice Trumbull Mason Foundation on behalf of artists Emily Mason and Wolf Kahn, Clarissa Bronfman, Andrew and Christine Hall, Linda Macklowe, Katia Ilina, and the Prospect Hill Foundation.

Thursday, March 28
Performance at 7pm
Doors open at 6:30pm

Hunter College MFA Program Flex Space, Room 200
205 Hudson Street
New York, NY 10013

Free and open to the public

_.Scheduled(VariableRatio):secondary-conditioned-immediateReinforcement(s)-handlerSearch1_DrillAndPracticeVERSION2.exe, is an interactive experiment in operant conditioning to articulate the structure of intimacies inherent in behavioral training.

In a training session for a human puppy and her handler, positive and negative reinforcements are enacted in a circle between audience members and the performer. Engaged together through a system of exchange, they mutually agree on how to choreograph the giving and receiving of a reward. As rewards and punishments offer potentially precarious and playful communication, this choreographic transfer of power is an act of BDSM. Through this temporary relationship, called “pick-up play,” viewers witness a visceral dance that asks questions about how consent is communicated, what qualifies as violence, and how desire can manifest.

_.Scheduled(VariableRatio):secondary-conditioned-immediateReinforcement(s)-handlerSearch1_DrillAndPracticeVERSION2.exe is part of holloway’s ongoing Chambers Series (2017–present), which is comprised of performance scores and their partner publications that illustrates a series of BDSM acts.

shawné michaelain holloway uses sound, video, and performance to shape the rhetoric of technology and sexuality into tools for exposing structures of power. She has spoken and exhibited at institutions internationally, including the New Museum, New York; Sorbus Galleria, Helsinki; The Kitchen, New York; the Institute of Contemporary Arts,London; and the Museum of Contemporary Art Chicago. holloway teaches digital publishing theory and practice in the New Arts Journalism department at the School of the Art Institute of Chicago. Her books (- - -), i'd lie if i could even, and no separation were published in 2018 as part of the TOO OFTEN IN THE DARK series, an ode to bondage, refusal, and wild women. holloway is also a sex educator, teaching classes and writing about intersectional approaches to exploring our bodies and our kinks.

Saturday, March 23
2–3:30 PM

205 Hudson Gallery
205 Hudson Street
New York, NY 10013

Free and open to the public

Detailed verbal descriptions and selected touch objects will provide an opportunity for visitors who are blind or have low vision to experience the exhibition. This tour will focus on the dynamic artworks and themes put forward by the artists and curators.

RSVP is requested. For more information or to RSVP please email j.soto@eyebeam.org or call (347) 378-9163.

Saturday, March 2
2–3 PM

205 Hudson Gallery
205 Hudson Street
New York, NY 10013

Free and open to the public
ASL interpretation will be provided for this tour

Curator-led walkthrough of Refiguring the Future with Heather Dewey-Hagborg.

Friday, February 15
Doors open at 6:30 PM
Performance at 7:00 PM
Free and open to the public

Hunter College MFA Program Flex Space, Room 200
205 Hudson Street
New York, NY 10013

This Platform Life (a command line memoir)

In Her Interior and Petra will perform This Platform Life (a command line memoir). This Platform Life is a memoir, looking back to look forward at a life lived in the futurepast, platform stacking, stratifying, and avatar jumping, where the flesh in all its porosity leaks data into the dataocean to become a multiplicity in univocity. Hyperleaping from platform to platform and avatar to avatar, exhuming zombie shells and webbing, messily.

This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

In Her Interior
Formed in 2015, In Her Interior co-creates and performs live works of spoken, sung, and recorded text and video within site-specific installation environments. As two of the four co-founders of cyber-feminist group VNS Matrix (est. 1991), da Rimini and Barratt have contributed to critiques of gender and technology for over three decades. Her Eyes Were As Black As Coal… is a new work by the Australian collective, on view in Refiguring the Future.

Petra
Petra (aka Waste Heat) is a Milwaukee-based sound artist & DJ whose ambient/techno mixes are really taking off in the Midwest and beyond. This is the first time they have performed live with In Her Interior, and in New York, although they have collaborated on sporadic philosophy gigs together.