Oct
14
3:00pm 3:00pm

Tibetan Thangkas: The Art of Visualization

Tibetan Thangkas: The Art of Visualization

Tibetan Thangkas: The Art of Visualization
A talk by Ven. Khenpo Tenzin Norgay Rinpoche 

Organized in conjunction with "Ugo Rondinone: I ♥︎ John Giorno" for the chapter John Giorno and Tibetan Buddhism at 205 Hudson Gallery, Hunter College Art Galleries

With works by John Giorno and Ugo Rondinone and thangkas selected from the collection of the Rubin Museum of Art

Saturday, October 14, 2017
3pm

205 Hudson Gallery
Hunter College Art Galleries
205 Hudson Street
New York, NY 10013

Entrance on the south side of Canal between Hudson and Watts

Iconic figures represented in Tibetan thangkas, or painted scrolls, mirror aspects of our own enlightened nature. Depicted in their sacred environment, or mandala, both figure and ground act as supports for a devotee’s meditation practices. With Khenpo Norgay Rinpoche’s guidance, we will enter into the mandala of thangkas on display at the gallery.

Ven. Khenpo Tenzin Norgay Rinpoche completed the nine-year program of study at the Ngagyur Nyingma Institute, an advanced Buddhist studies and research center at Namdroling Monastery in southern India, and taught at the Institute for three years. Formally enthroned as “Khenpo” by His Holiness Penor Rinpoche in 1998, he was assigned to teach at the Buddhist college of the Palyul monastery in Tibet, where he served on the faculty for two years.

Since 2005, Khen Rinpoche has been the resident lama at the Nyingma Palyul Dharma Center (NPDC) in New York City. NPDC serves as a locus for students of the Palyul tradition in the metropolitan area, and welcomes visitors from around the world to participate in all its activities.  The center hosts public talks, formal teachings, and empowerments from the Palyul tradition, as well as a variety of cultural events at venues throughout the city.

For more information about Khenpo Norgay Rinpoche or the Palyul tradition and retreats please visit:
www.palyulnyc.org
www.palyul.org
www.retreat.palyul.org

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Oct
12
7:00pm 7:00pm

Replica, Originality, and the Art of Devotion

Replica, Originality, and the Art of Devotion

Replica, Originality, and the Art of Devotion

 A panel discussion with Marcus Boon, John Giorno, Ariana Maki and Tsherin Sherpa

Organized by Wen-Shing Chou and Sarah Watson

Presented in conjunction with the exhibition Ugo Rondinone: I ♥ John Giorno for the chapter “John Giorno and Tibetan Buddhism” with works by John Giorno and Ugo Rondinone and thangkas selected from the collection of the Rubin Museum of Art

Thursday, October 12, 2017
7pm

205 Hudson Gallery
Hunter College Art Galleries
205 Hudson Street
New York, NY 10013

Entrance on the south side of Canal between Hudson and Watts

Created in the forms of paintings and sculptures, Tibetan Buddhist images are part of a sophisticated artistic and religious tradition whose efficacy is underscored by the interconnected concepts of replication and originality. This conversation positions the image-making tradition in relation to the acts of copying, repetition, and rehearsal that have been central to contemporary art and culture. The aim is to offer fresh perspectives on Tibetan Buddhist images that have rarely been understood outside of their cultural and devotional contexts, and to forge new connections between different spheres of artistic practice, both traditional and modern.

Marcus Boon is a writer and Professor of English at York University in Toronto. He is the author of The Road of Excess: A History of Writers on Drugs (Harvard, 2002); In Praise of Copying (Harvard, 2010); and is a co-author with Timothy Morton and Eric Cazdyn of Nothing: Three Inquiries in Buddhism (Chicago, 2015). He is co-editing a book on Practice with Gabriel Levine (MIT/Whitechapel, forthcoming) and is currently finishing a book on sound and ontology called The Politics of Vibration.

John Giorno is an artistic innovator who has been defying conventional definitions of poet, performer, political activist, Tibetan Buddhist, and visual artist since he emerged upon the New York art scene during the late 1950s. In the 1960s, he began producing multi-media, multi-sensory events concurrent with Warhol’s Exploding Plastic Inevitable. He worked with Rauschenberg’s Experiments in Art and Technology (E.A.T) in 1966, and with Bob Moog in 1967–68. His breakthroughs in this area include Dial-A-Poem, which was first presented in 1968 at the Architectural Society of New York, and was later included in the MoMA’s Information exhibition in 1970. His contributions are significant to many culturally defining moments: the Beat generation, Pop Art, Punk, the Pictures Generation, and the hip-hop era. Giorno’s work is included in the collections of the Museum of Modern Art, New York; the Centre Georges Pompidou, Paris; the Musée National d´Art Moderne, Paris; and the Queensland Art Gallery/Gallery of Modern Art, Brisbane; among others.

Ariana Maki holds a Ph.D. in Art History with a focus on Buddhist Art and specializations in Himalayan and South Asian art, as well as a minor concentration in Islamic art and architecture. She is presently a Research Scientist in Religious Studies at the University of Virginia. She is also Associate Curator of Himalayan Art Resources and maintains a research affiliation with the National Library and Archives of Bhutan. Maki's research interests include the relationships between text, politics and visual representation, the development of Himalayan visual arts, and the intersections of art and ritual.

Tsherin Sherpa was born in Kathmandu, Nepal in 1968 and currently works and resides in California. From the age of 12, he studied traditional Tibetan thangka painting with his father Master Urgen Dorje, a renowned thangka artist from Ngyalam, Tibet. In 1998, Sherpa immigrated to California, where he taught traditional thangka painting at various Buddhist Centers until he began to explore his own style, reimagining tantric motifs, symbols, colors and gestures placed in resolutely contemporary compositions. He has exhibited internationally, including in the 1st Kathmandu Triennale of Contemporary Art, Nepal (2017); the 8th Asia Pacific Triennale of Contemporary Art, Brisbane (2015); 2nd Dhaka Art Summit, Bangladesh (2014); the Queens Museum of Art, New York (2014); MASS MoCA, North Adams (2014); the Songzhuang Art Center, Beijing (2010); and the Rubin Museum of Art, New York (2010). His works are in many collections in Europe, America and Asia, including the Queensland Art Gallery of Modern Art, Brisbane; the Victoria and Albert Museum, London; the Asian Art Museum of San Francisco; the Samdani Art Foundation, Dhaka; and the Rubin Museum of Art.

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Sep
30
3:00pm 3:00pm

Walking the Talk: The Noble Eightfold Path

Walking the Talk: The Noble Eightfold Path

Walking the Talk: The Noble Eightfold Path
A talk by Ven. Khenpo Tenzin Norgay Rinpoche 

Organized in conjunction with the exhibition Ugo Rondinone: I ♥ John Giorno and Tibetan Buddhism at 205 Hudson Gallery, Hunter College Art Galleries

With works by John Giorno and Ugo Rondinone and thangkas selected from the collection of the Rubin Museum of Art

Saturday, September 30, 2017
3pm

205 Hudson Gallery
Hunter College Art Galleries
205 Hudson Street
New York, NY 10013
Entrance on the south side of Canal between Hudson and Watts

The Buddha lived in times not unlike our own. Amidst pervasive socio-economic and political turmoil, he questioned the wisdom of prevailing cultural-religious norms. His analysis of the true nature of things and events—with the intent to liberate all beings from suffering—forged a pathway to enlightenment. “The Noble Eightfold Path” lists essentials required for taking this walk.

Ven. Khenpo Tenzin Norgay Rinpoche completed the nine-year program of study at the Ngagyur Nyingma Institute, an advanced Buddhist studies and research center at Namdroling Monastery in southern India, and taught at the Institute for three years. Formally enthroned as “Khenpo” by His Holiness Penor Rinpoche in 1998, he was assigned to teach at the Buddhist college of the Palyul monastery in Tibet, where he served on the faculty for two years.

Since 2005, Khen Rinpoche has been the resident lama at the Nyingma Palyul Dharma Center (NPDC) in New York City. NPDC serves as a locus for students of the Palyul tradition in the metropolitan area, and welcomes visitors from around the world to participate in all its activities.  The center hosts public talks, formal teachings, and empowerments from the Palyul tradition, as well as a variety of cultural events at venues throughout the city.

For more information about Khenpo Norgay Rinpoche or the Palyul tradition and retreats please visit:
www.palyulnyc.org
www.palyul.org
www.retreat.palyul.org

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Jul
8
3:00pm 3:00pm

The Four Noble Truths, a talk by Ven. Khenpo Tenzin Norgay Rinpoche

The Four Noble Truths, a talk by Ven. Khenpo Tenzin Norgay Rinpoche

Organized in conjunction with "Ugo Rondinone: I ♥︎ John Giorno" for the chapter John Giorno and Tibetan Buddhism at 205 Hudson Gallery, Hunter College Art Galleries

With works by John Giorno and Ugo Rondinone and thangkas selected from the collection of the Rubin Museum of Art

Saturday, July 8
3pm

205 Hudson Gallery
Hunter College Art Galleries
205 Hudson Street
New York, NY 10013
Entrance on the south side of Canal between Hudson and Watts

Deer Park (Sarnath, India) circa 500 BCE: Siddhartha Gautama delivers first post enlightenment teaching, “The Four Noble Truths.” Roughly translated as the truth of suffering, the cause of suffering, the end of suffering, and the path that frees us from suffering (duhkha, samudaya, nirodha, marga), the truths serve as the foundation for the entire corpus of the Buddha’s 84,000 teachings on attaining complete liberation. Simply put, in the midst of sometimes unbearable suffering the truths are a balm, a prescription for healing. They outline a refreshing pathway, just as walkable here and now as it was 2,500 years ago.

Ven. Khenpo Tenzin Norgay Rinpoche completed the nine-year program of study at the Ngagyur Nyingma Institute, an advanced Buddhist studies and research center at Namdroling Monastery in southern India, and taught at the Institute for three years. Formally enthroned as “Khenpo” by His Holiness Penor Rinpoche in 1998, he was assigned to teach at the Buddhist college of the Palyul monastery in Tibet, where he served on the faculty for two years.

Since 2005, Khen Rinpoche has been the resident lama at the Nyingma Palyul Dharma Center (NPDC) in New York City. NPDC serves as a locus for students of the Palyul tradition in the metropolitan area, and welcomes visitors from around the world to participate in all its activities. The center hosts public talks, formal teachings, and empowerments from the Palyul tradition, as well as a variety of cultural events at venues throughout the city.

For more information about Khen Rinpoche or the Palyul tradition and retreats please visit:
www.palyulnyc.org
www.palyul.org
www.retreat.palyul.org

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Jun
24
3:00pm 3:00pm

Peace and Harmony Through Mindfulness

Peace and Harmony Through Mindfulness
A talk by Ven. Khenpo Tsewang Dongyal Rinpoche

Organized in conjunction with the exhibition Ugo Rondinone: I ♥ John Giorno

Saturday, June 24, 2017
3pm

205 Hudson Gallery
Hunter College Art Galleries
205 Hudson Street
New York, NY 10013
Entrance on the south side of Canal between Hudson and Watts

Peace and Harmony Through Mindfulness, a talk by Ven. Khenpo Tsewang Dongyal Rinpoche

Mindfulness is staying in the present moment and observing our body, feelings, thoughts, and senses. By practicing mindfulness, we discover a big, open space that allows us to be non-reactive to our outer and inner experiences. It is like all our experiences are dear old friends, and we say "Nice to see you" when they arrive and "Have a nice journey" when they go! This open space brings a lot of equanimity and compassion to our lives, which brings peace to ourselves and harmonizes our actions with others.

Ven. Khenpo Tsewang Dongyal Rinpoche was born in eastern Tibet and enthroned as a Nyingmapa abbot by His Holiness Dudjom Rinpoche. He traveled and studied with H.H. Dudjom Rinpoche, as well as with his late brother, Vajrayana master and scholar Ven. Khenchen Palden Sherab Rinpoche, and his father, the hidden yogi Lama Chimed Namgyal.  As a holder of the complete Nyingmapa lineage, Khenpo Tsewang Rinpoche is fully versed in the Theravada, Mahayana, and Vajrayana schools, and is a master of Dzogchen. He has co-authored over 25 Dharma books in English with Khenchen Palden Sherab Rinpoche, and travels throughout the world giving teachings, empowerments, and personal guidance in fluent English at numerous retreats.

Ven. Khenchen Palden Sherab Rinpoche and Ven. Khenpo Tsewang Dongyal Rinpoche established the Padmasambhava Buddhist Center (PBC) in 1989 to preserve the authentic message of Buddha Shakyamuni and Guru Padmasambhava in its entirety, and in particular to teach the traditions of the Nyingma school and Vajrayana Buddhism. PBC includes over 20 centers in the U.S.A., India, Puerto Rico, Latvia, and Russia, as well as monastic institutions in India, the U.S.A., and Russia.

For more information about Khenpo Tsewang Rinpoche's activities or the Padmasambhava Buddhist Center please contact:
Padma Samye Ling
618 Buddha Highway
Sidney Center, NY 13839
+1 (607) 865-8068
www.padmasambhava.org
Youtube: www.padmasambhava.org/youtube
Facebook: Padmasambhava Buddhist Center
Twitter: KhenpoRinpoche
Instagram: www.instagram.com/khenporinpoche

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Jun
21
to Oct 22

Ugo Rondinone: I ♥ John Giorno

Ugo Rondinone: I ♥ John Giorno

June 21–October 22, 2017
Opening reception: Wednesday, June 21, 5–8pm

Closed Friday, June 30–Friday, July 7, re-opening on Saturday, July 8

205 Hudson Gallery
Hunter College Art Galleries
205 Hudson Street
New York, NY 10013
Entrance on the south side of Canal Street between Hudson and Watts
Hours: Wednesday–Sunday, 1–6pm

On the evening of the June 21st summer solstice, Ugo Rondinone: I ♥ John Giorno—the first major U.S. exhibition about the American poet, artist, activist and muse John Giorno—will open simultaneously across 13 locations in New York City. I ♥ John Giorno is a work of art by Giorno’s husband, the Swiss artist Ugo Rondinone. The exhibition is a celebration of the life and work of John Giorno—an artist whose work has influenced generations. Taking place in his chosen hometown, the exhibition affords a unique opportunity for Giorno’s contributions to be recognized within the canons of American poetry and art history, and celebrates the artist’s 80th birthday. 

I ♥ John Giorno is an unprecedented collaboration between leading non-profit and alternative spaces across New York, which are joining forces for the first time to mount a multilayered exhibition on a single subject. Partner venues include: Artists SpaceHigh Line ArtHowl! HappeningHunter College Art GalleriesThe KitchenNew MuseumRed Bull Arts New YorkRubin Museum of ArtSky ArtSwiss Institute, White Columns, and 80WSE Gallery. Reconfigured as a festival, including installations in galleries and public spaces, as well as a full roster of public programs and events, I ♥ John Giorno is free and open to the public. 

Expanding upon the exhibition that took place at Palais de Tokyo in Paris from October 2015 to January 2016, I ♥ John Giorno has been re-conceptualized specifically for New York, highlighting Giorno’s significant relationship with the city, and his singular role in creating and fostering community here. The 18-part exhibition has been divided by Rondinone into chapters reflecting the layers of Giorno’s life and work, his longstanding influence on and dedication to his chosen hometown of New York City, and his relationships with artist friends, lovers and collaborators including: Richard Bosman, Phong Bui, Angela BullochAnne CollierVerne DawsonJudith EislerJohn GiornoMark HandforthMatthew HiggsPierre HuygheFrançoise JanicotScott KingElizabeth PeytonUgo RondinoneErik SatieKendall ShawMichael StipeBilly SullivanRirkrit Tiravanija, Peter Ungerleider,  Joan Wallace, and Andy Warhol, whose work will be presented as part of the festival.

The exhibition format echoes the symbiotic relationship between Ugo Rondinone and John Giorno, who have been both partners and collaborators for the past two decades. Rondinone describes the show saying: “I ♥ John Giorno is a kaleidoscopic exhibition about the life and work of American poet and Tibetan Buddhist John Giorno, whose rich and stimulating life has woven many threads of American culture and spirituality. Within the dreamscape of the exhibition, one is invited to wander through the juxtaposed realm of art and poetry where image and language build upon themselves in a layered stream of consciousness driven by the biographical, the conceptual, and the emotional.”    

I ♥ John Giorno is made possible in part by public funds from Pro Helvetia, Swiss Arts Council. The I ♥ John Giorno organizing committee gratefully acknowledges generous support from Van Cleef & Arpels and the Andy Warhol Foundation for the Visual Arts. Thanks to Almine Rech Gallery, Brussels, London, New York and Paris; Elizabeth Dee Gallery, New York; Esther Schipper, Berlin; Galerie Eva Presenhuber, New York and Zürich; Gladstone Gallery, Brussels and New York; Galerie Kamel Mennour, London and Paris; Kukje Gallery, Seoul; and Sadie Coles, London for production support. Additional thanks to Ophelia and Bill Rudin as well as the General Consulate of Switzerland in New York for their gracious contribution, and to agnès b. for in kind support.

ABOUT JOHN GIORNO
John Giorno (b. 1936, New York City, USA) is an artistic innovator who has been defying conventional definitions of poet, performer, political activist, Tibetan Buddhist, and visual artist since he emerged upon the New York art scene during the late 1950s. In the 1960s, he began producing multi-media, multi-sensory events concurrent with Warhol’s Exploding Plastic Inevitable. He worked with Rauschenberg’s Experiments in Art and Technology (E.A.T) in 1966, and with Bob Moog in 1967-68. His breakthroughs in this area include Dial-A-Poem, which was first presented in 1968 at the Architectural Society of New York, and was later included in the MoMA’s Information exhibition in 1970. His contributions are significant to many culturally defining moments: the Beat generation, Pop Art, Punk, the Pictures Generation, and the hip-hop era. His work is included in the collections of the Museum of Modern Art, New York; Centre Georges Pompidou, Paris; Musée National d´Art Moderne, Paris; and Queensland Art Gallery/Gallery of Modern Art, Brisbane; among others.

ABOUT UGO RONDINONE
go Rondinone (b. 1964, Brunnen, Switzerland) is a renowned mixed-media artist who lives and works in New York. Recent solo shows include: your age my age and the age of the rainbow, The Garage Museum of Contemporary Art, Moscow; let’s start this day again, Contemporary Arts Center, Cincinnati; every time the sun comes up, Place Vendome, Paris; girono d’oro + notti d’argento, Mercati die Traiano, Rome; becoming soil, Carre d’Art, Nîmes; seven magic mountains, Art Production Fund and Nevada Museum of Art/Desert of Nevada; vocabulary of solitude, Museum Boijmans Van Beuningen, Rotterdam; Ugo Rondinone: I ♡ John Giorno, Palais de Tokyo, Paris; golden days and silver nights, Art Gallery of New South Wales, Sydney; and artists and poets, Secession, Vienna. His work is in the collections of the Museum of Modern Art, New York, the Institute of Contemporary Art, Boston, the San Francisco Museum of Modern Art, the Walker Art Center, Minneapolis, and the Dallas Museum of Art, among others. Upcoming shows include the world just makes me laugh at Berkeley Art Museum and Pacific Film Archive, Berkeley; and good evening beautiful blue at Bass Museum of Art, Miami.

Ugo Rondinone: I ♡ John Giorno is made possible in part by public funds from the Swiss Arts Council Pro Helvetia. The I ♡ John Giorno organizing committee gratefully acknowledges generous support from Van Cleef & Arpels, the Andy Warhol Foundation for the Visual Arts and LUMA Foundation. Thanks to Almine Rech Gallery, Brussels, London, New York and Paris; Elizabeth Dee Gallery, New York; Esther Schipper, Berlin; Galerie Eva Presenhuber, New York and Zürich; Gladstone Gallery, Brussels and New York; Galerie Kamel Mennour, London and Paris; Kukje Gallery, Seoul; and Sadie Coles, London for production support. Additional thanks to Ophelia and Bill Rudin as well as the General Consulate of Switzerland in New York for their gracious contribution, and to agnès b. for in kind support.

JOHN GIORNO AND TIBETAN BUDDHISM
With works by John Giorno and Ugo Rondinone
205 Hudson Gallery

“When you’re a Buddhist, you work with your mind in meditation, and with various practices you train the mind to realize its empty nature. Strangely, that’s the way I make poems! Maybe it’s developing the ability to see what arises in one’s mind, how it arises and its nature, that makes Buddhism very sympathetic to poets.” — John Giorno

John Giorno was first introduced to Buddhism during his undergraduate studies at Columbia University in 1956 as part of its Core Curriculum.  After several trips to India during the 1970s, he discovered Tibetan Buddhism and became a disciple of Dudjom Rinpoche (1904–1987), master of the Nyingmapa lineage, which Giorno actively helped to promulgate in the United States. 

Every New Year since 1986, Giorno has welcomed Buddhist masters and students to his home for the traditional fire ceremony, during which the obstacles of the previous year are released to usher in the new one. For this exhibition, Giorno’s personal shrine from his home, which is decorated with intricate brocade from the sacred pilgrimage site of Benaras in India, has been relocated to the gallery space.  Additionally, selected from the collection of the Rubin Museum of Art, a group of eighteen thangkas—Tibetan paintings—are also on display along with two from Giorno’s personal collection. 

Padmasambhava, the founding figure of the Nyingmapa order, is depicted in a number of the works. Considered to be a “Second Buddha” in Tibet, Padmasambhava played a predominant role in the advancement of Buddhism across Tibet in the 8th century. Padmasambhava is endowed with superhuman qualities and shown through Tibetan iconography in a variety of forms.

Guru Pema Drakpo is one of the most wrathful depictions of Padmasambhava, an illustration of the powerful energy required to neutralize and transmute the obstacles that inevitably arise on the path to Enlightenment and spiritual accomplishment.  He holds in his hand a vajra or “Diamond Thunderbolt,” a symbol of Enlightenment and a ritual object.  Padmasambhava is believed to have been essential to the dissemination of the teachings of the Vajrakila, also known as the “Diamond Dagger,” throughout Tibet.

Conversely, Guru Pema Jungne is a more peaceful depiction of Padmasambhava. Known as the “Lotus-Born,” he is often shown sitting on a flower and dressed in the robes of a monk, teaching Dharma to the people.  In his right hand he holds a diamond scepter, while in his left he holds a skullcap of clear nectar.

AIDS TREATMENT PROJECT
With works by John Giorno, Ugo Rondinone and Peter Ungerleider
205 Hudson Gallery

205 Hudson Gallery presents material from Giorno’s AIDS Treatment Project begun in 1984. Conceived as a direct-action program, Giorno described it as “my personal effort to combat with all-pervasive compassion, the catastrophe of the AIDS epidemic. Cash grants for emergency situations: back rent, telephone and utilities, food, nursing, alternative medicine not covered by Medicaid, taxis, whatever is needed. Money given with love and affection.”

Facilitated through his non-profit foundation, Giorno Poetry Systems, many artists in his LP series, such as William Burroughs, Allen Ginsberg, and Patti Smith, among many others, donated their royalties to the AIDS Treatment Project. Giorno also organized benefit performances at the Beacon Theater with artists including Debbie Harry, Philip Glass, Laurie Anderson and Sonic Youth; posters from these concerts are included here. The AIDS Treatment Project concluded in 2004, though Giorno has continued to help poets and artists since with medical problems.

Peter Ungerleider’s film Loving Kindness, presented with the AIDS Treatment Project documentation, is a portrait of Giorno that focuses on his work with the AIDS Treatment Project interspersed with his musings on death within the Tibetan Buddhist tradition.

JOHN GIORNO DANCING
Kendall Shaw
Bertha and Karl Leubsdorf Gallery

The Bertha and Karl Leubsdorf Gallery displays works by Kendall Shaw depicting his close friend John Giorno. In 1963, Shaw took photos of Giorno dancing that later inspired his spare paintings whose black outlines and colorful silhouettes depict Giorno’s body in motion. The works were first exhibited at the Tibor de Nagy gallery in September 1964. For the first time, a number of Shaw’s original photographs will also be exhibited alongside the paintings.  

GRASPING AT EMPTINESS
Richard Bosman and John Giorno
Bertha and Karl Leubsdorf Gallery

Also on view at the Bertha and Karl Leubsdorf Gallery is Grasping at Emptiness, a collaboration featuring Giorno’s 1978 eponymous poem and 20 drawings by Richard Bosman. Bosman’s dynamic depictions of frustration evoke Giorno’s poem about a fraught end to a relationship. This book was published in 1985 by the Kulchur Foundation, an independent press and granting organization that supported poets and critics now primarily known as part of the New York School. 

Ugo Rondinone: I ♥ John Giorno is made possible by the generous support of the David Bershad Family Foundation, the Susan V. Bershad Charitable Fund, Inc., Arthur and Carol Kaufman Goldberg, the Leubsdorf Fund, and Agnes Gund in support of the Curatorial Certificate Program.

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May
18
to Jun 4

Hunter MFA Thesis Part 2

Hunter MFA Thesis Part 2

May 18–June 4, 2017
Opening Reception: Thursday, May 18, 6:00–9:00pm

Part 2 of Hunter College's Spring 2017 MFA Thesis exhibition includes the work of twelve graduating MFA students whose work spans across a range of media and examines subjects of gender, sexual identity, nationality, immigration, government, and technology.

Artists exhibiting work include: 
James Bayard
Sujung Chang
Ricardo Contreras
Peter Hoffmeister
Wendy Fulenwider Liszt
Laura McMillian
Alexander Perrelli
Christian Rogers
Arkadiy Ryabin
Lena Schmid
Ahna Serendren
Chris Spangler

205 Hudson Gallery
Hunter College Art Galleries
205 Hudson Street
New York, NY 10013
Entrance on the south side of Canal Street between Hudson and Watts
Hours: Wednesday–Sunday, 1–6pm

Facebook link:
https://www.facebook.com/events/1794082357575500/

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Apr
20
to May 7

Hunter MFA Thesis Part 1

Hunter MFA Thesis Part 1

April 20–May 7, 2017
Opening Reception: Thursday, April 20, 6:00–9:00pm

205 Hudson Gallery
Hunter College Art Galleries
205 Hudson Street
New York, NY 10013
Entrance on the south side of Canal Street between Hudson and Watts
Hours: Wednesday–Sunday, 1–6pm

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Reading by Lisa Russ Spaar with Suzannah Spaar and Jocelyn Spaar
Apr
6
6:30pm 6:30pm

Reading by Lisa Russ Spaar with Suzannah Spaar and Jocelyn Spaar

Reading by Lisa Russ Spaar with Suzannah Spaar and Jocelyn Spaar

Organized in conjunction with the exhibition Elective Affinities: A Library

Thursday, April 6, 6:30–8:30pm

205 Hudson Gallery
Hunter College Art Galleries
205 Hudson Street
New York, NY 10013
Entrance on the south side of Canal between Hudson and Watts

In the spirit of its theme of fostering creative family trees, 205 Hudson Gallery's Elective Affinities: A Library will host a reading by poet, essayist, and anthologist Lisa Russ Spaar, from her just published fifth collection of poetry, Orexia (Persea Books, 2017).  Reading with Spaar will be her daughters, the poet Suzannah Spaar and the poet, artist, and translator Jocelyn Spaar.  

Lisa Russ Spaar is the author of ten collections of poetry, essays, and edited anthologies; her awards include a Guggenheim Fellowship and a Rona Jaffe Award, and her essays and reviews have appeared in the New York Times, The Washington Post, The Los Angeles Review of Books, The Chronicle of Higher Education, and elsewhere.  She is a professor of English and Creative Writing at the University of Virginia.

Facebook link:
https://www.facebook.com/events/593516287513997/

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Calling All Collectives: A Community Action Forum
Apr
5
6:00pm 6:00pm

Calling All Collectives: A Community Action Forum

Calling All Collectives.jpg

Calling All Collectives: A Community Action Forum

Hosted by the Visual Resistance in conjunction with the exhibition Elective Affinities: A Library

Wednesday, April 5, 2017, 6–9pm

205 Hudson Gallery
Hunter College Art Galleries
205 Hudson Street
New York, NY 10013
Entrance on the south side of Canal between Hudson and Watts

The Visual Resistance (TVR) is a superforce of creative activists united to resist oppression and imagine a liberated future. We are excited to be working in a rapidly expanding field with many contributors, collectives, and individuals working with similar determination.  As such, we are inviting all the Resistance family, especially those using visuals/media/images/film/etc. to April’s forum, so we can learn about each other's work and get a better sense of our intersections, discovering ways to join forces, share resources, and grow stronger together.

This will be the third forum and the theme is Calling All Collectives. The forum will include brief presentations by several collectives including, #ArtsGoBK, BRIC, Chinatown and Lower East Side Artists Against Displacement, The Creative Resistance, the Diverse Filmmakers Alliance, Desis Rising Up & Moving (DRUM) - Moving Arts, For Freedoms, Hands Off Our Revolution, Hunter Community Action Coalition, The Illuminator, Kingsbridge Project, Love City Arts Collective, Occupy Museums, Resistance Media Collective, TVR-Imagine Liberation team, TVR-News, Wendy's Subway, Word Up Books, along with many others. There will also be breakout discussions and the evening will close with a few short readings. 

To get an idea of the March forum at Aperture, check out the program from the event and this Hyperallergic post.

Facebook link:
https://www.facebook.com/events/1828259997423465/

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“out of story”: poetry, politics, and praxis
Apr
1
12:00pm12:00pm

“out of story”: poetry, politics, and praxis

Erica Baum, Page Pencil, 2013 (Dog Ear) and Spectators, 2009 (Dog Ear), archival pigment prints, 9 x 9 in., edition of 6 + II AP.  Courtesy the artist and Bureau, New York  

Erica Baum, Page Pencil, 2013 (Dog Ear) and Spectators, 2009 (Dog Ear), archival pigment prints, 9 x 9 in., edition of 6 + II AP.  Courtesy the artist and Bureau, New York

 

“out of story”: poetry, politics, and praxis

Saturday, April 1, 2017
12–8pm

205 Hudson Gallery
Hunter College Art Galleries
205 Hudson Street
New York, NY 10013
Entrance on the south side of Canal between Hudson and Watts

12pm: Story time hosted by Word Up with coffee and pastries

1pm: Bookmaking workshop by Esther K. Smith of Purgatory Pie Press

5–6pm: Artist/curator, Janna Dyk of Brooklyn Press in conversation with artists Golnar Adili and Adam Golfer about how family history and language navigate sociopolitical landscapes in their recent book works.

6–8pm: Readings by Erica Baum, Georgia Faust, Jasmine Gibson, Janelle Poe, and Derica Shields

Reception to follow

12pm: Story time hosted by Word Up

Word Up Community Bookshop/Librería Comunitaria came into existence when a group of neighbors decided to make a space where their community could gather, exchange, grow, learn, laugh, argue, and reflect together. As a completely volunteer-run endeavor going on 6 years in Washington Heights—an underresourced part of the city that is often left off the map of Manhattan—we have built a family from our daily work of caring for the shop and its people. The books we have selected for inclusion in this exhibition feature some of the voices of our neighborhood. Home at Word Up: The Story of a Bookshop in Washington Heights is a bilingual children's book that the volunteer collective created together after our crowdfunding campaign that allowed us to move into our current, more permanent space. 

1pm: Bookmaking workshop by Esther K. Smith of Purgatory Pie Press

Purgatory Pie Press is one of the longest running artist/presses. Founder Dikko Faust handsets antique metal and wood type and typographic elements and letterpress prints on a Vandercook, collaborating with artistic director Esther K Smith and other artists and writers. They have had exhibitions at the Metropolitan Museum, the V&A, and been included in group exhibitions at MoMA; collections including Cooper Hewitt, the Whitney, National Gallery, Smithsonian, San Francisco MoMA, Tate, Harvard, Yale and many other rare book libraries through the world.

5–6pm: Artist/curator, Janna Dyk of Brooklyn Press in conversation with artists Golnar Adili and Adam Golfer

GOLNAR ADILI
Golnar Adili is a mixed media artist based in Brooklyn. She was born in Virginia and moved to Iran when she was four. She left Iran to pursue higher education in the US. She holds a Master's degree in architecture from the University of Michigan, where she received the Thesis Award and was the recipient of the Booth Traveling Fellowship to Tehran, in 2006. She has attended residencies at the Rockefeller Foundation for the Arts in Bellagio, Italy, Smack Mellon in Brooklyn, the Fine Arts Work Center in Provincetown, the MacDowell Colony, Ucross Foundation for the Arts, Lower East Side Printshop, and Women’s Studio Workshop among others.

Some of the venues Adili has shown her work include, Craft and Folk Art Museum LA, Cue Art Foundation, International Print Center NY, Brooklyn Arts Council, and the Lower East Side Printshop. Some of the grants she has received include the Pollock-Krasner Foundation grant, The Jerome Foundation Travel and Study Grant, Foundation for Contemporary Arts Grant, the New York Foundation for the Arts Fellowship in Printmaking/Drawing/Artists Books, Puffin Foundation Grant, and the Urban Artist Initiative grant. Golnar is currently a resident at the Center for Book Arts in New York.

JANNA DYK
Janna Dyk resides in New York, where she is an artist and independent curator. In 2015 she received a MFA in Combined Media from Hunter College, after continuing studies in Photography at the School of Visual Arts (New York), and Literature and Spanish Linguistics as an undergraduate. A 2016 Rema Hort Foundation ACE Grant recipient, she has exhibited work and participated in residencies in the United States, Lebanon, and China. Recent exhibitions include Unravelled (2016) at the Beirut Art Center, To Tell You (2015), and Shall We Talk or Will We Just Gaze (2014), at 205 Hudson Street (New York). Her cross-disciplinary work navigates such varied subjects as psychology, linguistics, poetry, and perception. A 2015-16 curatorial fellow at Booklyn, select projects include [ON SILENCE] (2012) at the New York Center for Art & Media Studies, OPEN CAGE: NEW YORK (2012) at Eyebeam Center for Art + Technology; Strange Labor (2015), Cottage Industry (2015), Hard to Place (2016), and Valid From Until (2016) at Booklyn. She is editor of A House Without a Roof, a trilingual artist book by Adam Golfer. Her art and curatorial projects have been reviewed in The Curator, SEEN, ArtForum, Art in America, the NY Times, and Hyperallergic. In the Spring of 2017 she is a curatorial resident at the Marble House Project.

ADAM GOLFER
Adam Golfer is a photographer and filmmaker based in Brooklyn. His short films “Router” and “We’ll Do the Rest,” look at the socio-psychological spaces between histories, where complexity and contradiction challenge the way we understand the past, present and the future. Echoes of his own family histories are often present, although the geography, time and place may be entirely different. Recent exhibitions of his work have been shown at 205 Hudson Gallery at Hunter College, Booklyn, the Camera Club and the 92nd Street Y in New York. His commissions have appeared in The New York Times, FT Weekend, Art21, TIME, Harper’s, Die Zeit and the New Yorker, among others. In September 2015, Golfer's solo exhibition at Booklyn, “A House Without a Roof,” was a critic’s pick in Art Forum. With generous grants from the Elizabeth Firestone Graham Foundation and the Puffin Foundation, the subsequent book was published in 2016. “A House Without a Roof,” was shortlisted for the Paris Photo-Aperture Foundation First Book Award, the Mack First Book Award and was awarded the Snider Prize from the MOCP in Chicago.

6–8pm: Readings by Erica Baum, Georgia Faust, Jasmine Gibson, Janelle Poe, and Derica Shields

ERICA BAUM
Erica Baum, lives and works in New York. Current and recent museum exhibitions include Arcades: Contemporary Art and Walter Benjamin, The Jewish Museum, New York. For the Love of Things, Albright-Knox Gallery, Buffalo, New York 2016, Photo-Poetics: An Anthology, Kunsthalle Berlin and Solomon R. Guggenheim Museum, 2015; Reconstructions: Recent Photographs and Video from the Met Collection, The Metropolitan Museum of Art, New York, 2015; After Dark, Mamco, Geneva, 2015; and the 30th Bienal de São Paulo: The Imminence of Poetics, São Paulo, Brazil, 2012. Recent solo exhibitions include The Following Information, Bureau, New York, 2016; Stanzas, Galerie Crevecoeur, Paris, 2015; The Paper Nautilus, Bureau, New York, 2014

GEORGIA FAUST
Georgia Luna Smith Faust was born, raised, and currently lives in lower Manhattan where she presides over poetry and corporate bankruptcy administration. She is the author of the chapbook Too Faust Too Furious (Resolving Host, 2016), the collaborative artist book, Pests of Public Importance (Purgatory Pie Press, 2016), and the forthcoming collection Too Big to Fail (Metatron, 2017). She holds a BA in Literature and American Studies from Macalester College and an MFA in poetry from Brooklyn College.

JASMINE GIBSON
Jasmine Gibson is a Philly jawn now living in Brooklyn and soon to be psychotherapist for all your gooey psychotic episodes that match the bipolar flows of capital. She spends her time thinking about sexy things like psychosis, desire and freedom. She has written for Mask Magazine and LIES Vol II: Journal of Materialist feminism, Queen Mobs, NON, The Capilano Review and has published a chapbook, Drapetomania (Commune Editions, 2015).

JANELLE POE
Multidisciplinary artist and City College of New York MFA student in creative writing, Poe’s writing explores the intersections of injustice, primarily race, class and gender, along with the nuances of privilege and oppression. A DJ with degrees in international studies, Spanish, and fashion design, and nearly twenty years living in New York City working in corporate and non-profit sectors, the influence of her diverse experiences and travels is transparent in her writing as is her Black, feminist and American identities. A VONA/Voices of Our Nation participant and coordinator of the CCNY MFA Reading Series, she is committed to building community amongst artists and creating opportunities for artists to gather and share their truth. 

Janelle has performed at Nuyorican Poets Cafe, Revolution Books, and Printed Matter in New York City. Recent publications include “Eyes of The Tiger” in Aster(ix) literary journal’s Winter ’16 Edition and "Black & White Studies”, a zine created alongside the painter Sheryl Oppenheim with Small Editions press.

DERICA SHIELDS
Derica Shields is a writer, editor, and programmer from South London. Her day job is Features Editor at Rookie. In 2013, she co-founded The Future Weird, a screening and discussion foregrounding weird, experimental, and speculative films by black artists and directors. Her research interests include black literature, visual art, film, and futurisms. 

Facebook Link:
https://www.facebook.com/events/428956914111588/

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Screening & Artist Talk with Roee Rosen
Mar
7
7:00pm 7:00pm

Screening & Artist Talk with Roee Rosen

Roee Rosen, still from The Dust Channel, 2016, (video, 23:00 minutes)  

Roee Rosen, still from The Dust Channel, 2016, (video, 23:00 minutes)
 

Screening & Artist Talk with Roee Rosen

Tuesday, March 7
7:00pm

205 Hudson Gallery
Hunter College Art Galleries
205 Hudson Street, 2nd floor Flex Space
New York, NY 10013
Entrance on the south side of Canal between Hudson and Watts

Hunter College Art Galleries invite you to a special screening and conversation with artist Roee Rosen, (MFA Hunter College, 1991) organized in conjunction with Artis. In addition to discussing his practice, Rosen will preview The Dust Channel (2016), a new video work commissioned by documenta14 to premier in Kassel this year. An operetta about the Dyson DC07 Vacuum Cleaner, The Dust Channel explores complicated themes of xenophobia from within the private sphere of leisure and pleasure, abundance and perversions, to the State policing and detention of refugees. Rosen will also discuss other works, such as Live and Die as Eva Braun and The Blind Merchant, both of which will be on view as part of documenta14.

This event is free and open to the public.

About the Artist
Roee Rosen (b. 1963) is an Israeli-American artist, filmmaker and writer. Rosen's work explores identity and the notions of evil, specifically addressing collective memory and the power of creativity in extreme situations of life and death. Through video, painting and narrative, Rosen's humor can be thought of as at once self-deprecating and incendiary.

Playing off Rosen’s penchant for pseudonyms and alter egos, his first comprehensive retrospective at the Tel Aviv Museum of Art in 2016 was billed as a group exhibition - and included seminal bodies of work such as Live and Die as Eva Braun (1995-1997) and Vladimir's Night (2001-2014). Rosen dedicated many years to his fictive feminine persona, the Jewish-Belgian Surrealist painter and pornographer Justine Frank (1900-1943), in a project that entailed fabricating her entire oeuvre as well as writing biographical and theoretical text about her, as well as the novel she supposedly authored. In 2010 Rosen created two films. Hilarious and Out, in which a BDSM session becomes a political exorcism. Out premiered at the Venice film festival, where it won the Orizzonti award for best medium-length film. Rosen’s books include Maxim Komar-Myshkin, Vladimir’s Night (2014), The Blind Merchant (2015) and Live and Die as Eva Braun and Other Intimate Stories (2017), all published by Sternberg Press.

www.roeerosen.com

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Elective Affinities: A Library
Feb
18
to Apr 9

Elective Affinities: A Library

Elective Affinities: A Library

Curated by Jocelyn Spaar and Sarah Watson

February 18–April 9, 2017
Opening Reception: Tuesday, February 21, 6:30–8:30pm

205 Hudson Gallery
Hunter College Art Galleries
205 Hudson Street
New York, NY 10013
Entrance on the south side of Canal Street between Hudson and Watts
Hours: Wednesday–Sunday, 1–6pm

With a library you are free, not confined by temporary political climates. It is the most democratic of institutions because no one—but no one at all—can tell you what to read and when and how. ­­—Doris Lessing

For the 2017 spring season, the Hunter College Art Galleries have transformed 205 Hudson Gallery into a library and reading room comprised of works centering on the notion of family and community in a very broad, inclusive sense, whether that pertains to one’s biological or chosen family, artistic or literary lineage, intellectual community, virtual network, or neighborhood. This library is intended to function as a gathering space to host readings, screenings, performances, meetings, and workshops. 

Committed to cultivating conversations by a multiplicity of voices to create an open and inclusive space for dialogue and engagement with art, the gallery has invited artists, small presses, libraries, and organizations to collaborate in the creation of this exhibition to interrogate the concept of family across various selections of printed matter, film, video, and photography.    

The library includes selections from Archipelago Books, Blonde Art Books, Ediciones Popolet, Explorers Club of Enrique de Malacca, Melville House, Miniature Garden, New Directions, Primary Information, Purgatory Pie Press, Roof Books, Seven Stories Press, Small Editions, The Song Cave, Stonecutter, Ugly Duckling Presse, Verso, Wendy’s Subway and Word Up Books, with works by artists Erica Baum, Joey Carducci, Kevin Everson, Barbara Hammer, Shigeko Kubota, Sondra Perry, and Bryan Zanisnik.

Our hope is that Elective Affinities: A Library continues to evolve and expand through the creativity, intellect, insight, diversity, connectivity, and power of all who occupy the space.

Elective Affinities: A Library is made possible by the generous support of the David Bershad Family Foundation, the Susan V. Bershad Charitable Fund, Inc., Arthur and Carol Kaufman Goldberg, and Joan and Charles Lazarus.

Press
Untapped Cities
The Culture Trip

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Something Possible Everywhere: Pier 34 NYC, 1983–84
Oct
30
to Nov 20

Something Possible Everywhere: Pier 34 NYC, 1983–84

Something Possible Everywhere: Pier 34 NYC, 1983–84

Curated by Jonathan Weinberg
Featuring the photographs of Andreas Sterzing

September 30–November 20, 2016
Opening Reception: Friday, September 30, 7–9pm

205 Hudson Gallery
Hunter College Art Galleries
205 Hudson Street
Entrance on Canal Street between Hudson and Greenwich Streets
New York, NY 10013

Hours: Wednesday–Sunday, 1–6pm  

Something Possible Everywhere: Pier 34 NYC, 1983-84 is the first exhibition to revisit the extraordinary time and place when David Wojnarowicz and his friends and peers, including Jane Bauman, Mike Bidlo, Keith Davis, Steve Doughton, John Fekner, David Finn, Jean Foos, Luis Frangella, Valeriy Gerlovin, Judy Glantzman, Alain Jacquet, Kim Jones, Rob Jones, Ruth Kligman, Stephen Lack, Liz-N-Val, Bill Mutter, Michael Ottersen, Rick Prol, Russell Sharon, Kiki Smith, Huck Snyder, Betty Tompkins, and Ruth Zwillinger among many others, effectively seized a city-owned pier and filled it with art. Andreas Sterzing’s remarkable photographs, along with related images by Peter Hujar, Marisela La Grave, and Dirk Rowntree, document how these artists turned the Ward Line shipping terminal at the foot of Canal Street into a series of makeshift art galleries and studios.

Accompanying Sterzing’s photographs are over seventy-five paintings, drawings, and sculptures made by the many artists who worked on the pier. Sadly, the building was demolished and almost all of the art made on the pier no longer exists, but the presence of contemporaneous work in the exhibition makes tangible some of the waterfront art's physicality and its larger aesthetic context.

The numerous artists who worked on Pier 34 crossed generations, from established figures like Alain Jacquet and Ruth Kligman, to emerging artists like Steven Doughton and Rhonda Zwillinger. They utilized a variety of media and styles, from the performance art of Kim Jones and Paolo Buggiani, to the expressionism of Judy Glantzman and Stephen Lack. This diversity and the site-specificity of works by artists like John Fekner and Teres Wydler, challenges the stereotypes of the 1980s art scene as market-driven and conservative with a turn toward easel painting. Indeed, the chief instigators of the Pier 34 experiment, Wojnarowicz and Bidlo, intentionally envisioned the site as anti-commercial.

As rumors spread in the spring of 1983 about what was happening on the waterfront, Bidlo and Wojnarowicz released a statement to friends in the press that explained their resistance to the gallery system and their aim to create an opportunity for anyone “to explore any image in any material on any surface they chose. It was something no gallery would tolerate…” Above all, they claimed that Pier 34 forged a community: “People who lived in this city for years said it was the first time they experienced fulfillment in terms of contact with the art scene and strangers.”

This exhibition is made possible by the generous support provided by Carol and Arthur Goldberg, Joan and Charles Lazarus, Dorothy Lichtenstein, and an anonymous donor.

Press
Art Forum
Art in America
HyperAllergic
New York Times
New Yorker

Catalogue
Issuu (Link)

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Buren, Mosset, Parmentier, Toroni
Feb
27
to Apr 10

Buren, Mosset, Parmentier, Toroni

Installation view: Buren, Mosset, Parmentier, Toroni, Hunter College Art Galleries, 2016. Photo by: Bill Orcutt.


Buren, Mosset, Parmentier, Toroni

Curated by Joachim Pissarro and Annie Wischmeyer

February 27–April 10, 2016
Opening Reception: February 26, 6–8pm

205 Hudson Gallery
Hunter College Art Galleries
205 Hudson Street
New York, NY 10013

Hours: Wednesday–Sunday, 1–6pm

This exhibition marks the first critical examination of the significant, albeit brief, work of the BMPT Group, composed of Daniel Buren, Olivier Mosset, Michel Parmentier, and Niele Toroni in 1967.

On Christmas night, 1966, Buren, Mosset, Parmentier and Toroni drafted their first declaration, inviting the public to attend a demonstration at the 18th Salon de la Jeune Peinture, stating, “For the first time, on January 3, 1967, something will happen.” This event became the first in a series of “Manifestations”—events in various formats, at various locations in Paris. These events criticized the institutionalization and spectacularization of art as well as the public’s passivity, encouraging new modes of critical engagement that defied and denied older exhibition models.

Coming out of the political tumult of France in the 1960s, the activities of the group were not hermetic, isolated occurrences, but rather a response to the particular intellectual moment, one defined by radical philosophy and social unrest. While the legacy of each artist has fallen under the rubric of painting, this strict classification ignores the conceptual, political, and performative impetus in deference to medium. 

This exhibition seeks to reexamine the BMPT group by placing its work in context with the broader conversations surrounding institutional critique, performance, and the role of painting as a political medium.

The show also includes a work from 2010 by Hugo Pernet, Hugo Schuwer-Boss, and Frediric Sanchez titled “Buren, Mosset, Parmentier, Toroni n’exposent pas”—a contemporary iteration of the BMPT group’s infamous refrain from Manifestation 1.

In conjunction with “Buren, Mosset, Parmentier, Toroni” is “Critical Gestures & Contested Spaces: Art in France in the 1960s,” curated by Hunter College MA and MFA students. Coming out of a dual-semester course, working under the guidance of the HCAG curatorial team, the students conceived and executed the exhibition. 

This exhibition is made possible by the David Bershad Family Foundation and Susan V. Bershad Charitable Fund, Inc.; The Brant Foundation, Inc.; Arthur and Carol Kaufman Goldberg; Andrew and Christine Hall; The Hunter College Foundation; Stephen King, C12 Capital Management; Anna Maria and Stephen Kellen Foundation; President Jennifer J. Raab; and an anonymous donor.

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Critical Gestures & Contested Spaces: Art in France in the 1960s
Feb
27
to Apr 10

Critical Gestures & Contested Spaces: Art in France in the 1960s

Installation view: Critical Gestures & Contested Spaces: Art in France in the 1960s, Hunter College Art Galleries, 2016. Photo by Bill Orcutt.


Critical Gestures & Contested Spaces: Art in France in the 1960s

Curated by Hunter College Graduate Students Isaac Aden, Jenn Bratovich, Flo Doukova, Lily Goldberg, Anna Jimenez, Michelle Molokotos, and Chris Spangler
Organized by Joachim Pissarro, Sarah Watson, and Annie Wischmeyer

February 27–April 10, 2016
Opening Reception: February 26, 6–8pm

205 Hudson Gallery
Hunter College Art Galleries
205 Hudson Street
New York, NY 10013

Hours: Wednesday–Sunday, 1–6pm

The theoretical, political, and cultural terrain of 1960s France was characterized by anti-colonialism, commodity fetishism, and extreme leftism. Operating within this zeitgeist, artists experimented with a range of practices that questioned authorship, explored new collective forms of art making, and opened up new modes of aesthetic experience. Motivated by radicalism, skepticism, and disillusionment, their work was by turns pointed, playful, and mischievous. Artists moved outside the constraints of staid institutional structures and into the physical space and ideological circuitry of the everyday, blurring the lines between art and politics, performance and the quotidian.

Critical Gestures and Contested Spaces: Art and Politics in 1960s France examines the broader context of 1960s France by mapping the politics of exhibition-making and of encountering art during this time. Organized in conjunction with Buren, Mosset, Parmentier, Toroni and curated by Joachim Pissarro and Annie Wischmeyer, Critical Gestures developed out of a dual-semester Theory and Criticism/Curatorial Practicum seminar taught by Joachim Pissarro. Working under the guidance of the Hunter College Art Galleries’ curatorial team, the students conceived and executed the exhibition.

This exhibition is made possible by the David Bershad Family Foundation and Susan V. Bershad Charitable Fund, Inc.; The Brant Foundation, Inc.; Arthur and Carol Kaufman Goldberg; Andrew and Christine Hall; The Hunter College Foundation; Stephen King, C12 Capital Management; Anna Maria and Stephen Kellen Foundation; President of Hunter College Jennifer J. Raab; and an anonymous donor.  

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The Experimental Television Center: A History, Etc...
Sep
25
to Nov 21

The Experimental Television Center: A History, Etc...

Installation view: The Experimental Television Center: A History, Etc..., Hunter College Art Galleries, 2015. Photo by Bill Orcutt.
 

The Experimental Television Center: A History, Etc...

Curated by Sarah Watson, Chief Curator of the Hunter College Art Galleries, Timothy Murray, Curator of the Rose Golden Archive of New Media Art, and Sherry Miller Hocking, Assistant Director of the Experimental Television Center.

September 25–November 21, 2015
Opening Reception: September 24, 2015, 7–9pm

205 Hudson Gallery
Hunter College Art Galleries
205 Hudson Street
New York, New York 10013

Hours: Wednesday–Sunday, 1–6pm

For over forty years, the Experimental Television Center was one of North America’s preeminent organizations for video art. The Center fostered a community for creativity and innovation through its residency program and tool building research program. This groundbreaking exhibition documents the important role the Experimental Television Center played in the development of video as an artistic medium. The exhibition presents a virtually invisible, but vitally important, aspect of the history of video art, one marked by collaboration, hacker-technology, and artistic liberation. The Experimental Television Center: A History, ETC... marks the first academic survey of the Center’s prolific, yet under recognized, role in the evolution of video art. Divided into two parts, the show maps the ETC’s history and importance within the larger narrative of the development of video art in New York State, the United States, and beyond. Part I: A History examines the early years of the Experimental Television Center through ephemera, tools, and early works from the late 1960s through the 1970s. Part II: ETC... looks at the growth of the Experimental Television Center from the 1970s through 2000s and its influence on the trajectory of video art into the digital and internet age.

The Experimental Television Center, founded in 1971 by Ralph Hocking, developed out of the media-access organization Student Experiments in Television (SET), which Hocking, a professor at Binghamton University (New York), started on campus in 1969. Established during the advent of portable video tools such as the Sony Portapak, SET provided equipment to community groups, students, artists, and faculty. As the interest in video grew, Hocking recognized the potential that video equipment held for artists. With encouragement from the pioneering video artist Nam June Paik and support from the New York State Council for the Arts, Hocking moved the organization to downtown Binghamton.  In 1980, the Center moved to Owego, New York, where it was located until it closed in 2011.

The ETC focused on providing access to and training on this new technology to three major communities: artists; social, cultural, and educational organizations; and interested citizens. Invested in the artistic possibilities of video, the ETC developed a research program to push the boundaries of the medium by creating a more flexible set of processing tools for artists. One of the earliest machines built at the ETC was the Paik/Abe video synthesizer. Under the direction of Nam June Paik and Shuya Abe, the first synthesizer was constructed for the TV Lab at WNET-TV in New York, followed by a second one for permanent placement at the ETC. The arrival of the Paik/Abe synthesizer launched the Center’s artist’s residency program. Some of the earliest artists to participate in the residency were Shigeko Kubota, Nam June Paik, Hollis Frampton, Bill T. Jones, Jackson MacLow, Nicolas Ray, Walter Wright, and Arnie Zane.

For decades, the ETC served as a site for exploration, education, and practice for media artists. From 1971 to 2011, over 1,500 artists participated in their residency program. In addition to the artists listed above, the residency also hosted the artists Irit Batsry, Peer Bode, Nancy Buchanan, Benton Bainbridge, Barbara Buckner, Shalom Gorewitz, Alex Hahn, Barbara Hammer, Gary Hill, LoVid, Kristin Lucas, Darrin Martin, Marisa Olson, and Alan Sondheim, to name just a few. 

Although the Center closed its physical space in 2011, the philosophy and ethos of the ETC endures through its ongoing commitment to the education, research and preservation of the media. One of the ETC’s most significant contributions to this work is its comprehensive archive. The archive is now housed at Cornell University, in the Rose Goldsen Archive of New Media Art, where it is being digitized, preserved, and made available for research. 

This exhibition is presented by the Hunter College Art Galleries in collaboration with the Rose Goldsen Archive of New Media Art, Cornell Library.

The Experimental Television Center: A History, Etc... is made possible by the generous support of The Hunter Art Exhibition Fund; Foundation To Life, Inc.; The Arts Across the Curriculum Initiative at Hunter College, funded by the Andrew W. Mellon Foundation; the Rose Goldsen Archive of New Media Art and the Digitization and Conservation Services, Cornell Library; Society for the Humanities, Cornell University; the Experimental Television Center; New York State Council for the Humanities; Electronic Arts Intermix; Dave Jones Design; and Signal Culture.   

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Daniel Barroca: Refusal of the Image
Jul
24
to Aug 22

Daniel Barroca: Refusal of the Image

Daniel Barroca: Refusal of the Image

Curated by Hunter College MA candidate Tatiana Mouarbe

July 24–August 22, 2015
Opening Reception: July 23, 6–8pm

205 Hudson Gallery
Hunter College Art Galleries
205 Hudson Street
New York, NY 10013

Hours: Wednesday–Sunday, 1–6pm