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The Hunter Department of Art & Art History is a union of three distinct areas—Art History, Studio Art and the Galleries. Students can practice many media, can study art history and theory, and can help curate shows and write catalog essays, gaining practical experience as well as knowledge. This holistic approach, seeing the department as a manifold of activities and study opportunities students can selectively engage and take advantage of, is a distinctive aspect of studying in the Department of Art & Art History at Hunter College.

The urban environment is inherently conducive to fostering the department's triadic, holistic aspect of study: the global art world—an integration of production, curating, and historical analysis—is at our doorstep and is part of daily life at Hunter. The faculty actively uses our art-rich environment to meet our learning goals and to shape our courses to incorporate an engagement with our environment.

Art, Biography, and the Archive: the case of Wong Kai Kah

A talk by Simon Leung

Thursday November 6, 2014

7:00 pm

Kossak Lecture Hall 

1527 Hunter North Building

Artist Simon Leung presents a two-part lecture. In the first half, Leung will, by way of introduction to his work, discuss projects in which he has used the cipher of a historical personage to construct multifaceted digital film essays. These include "Mulholland," a reflection on different orders of time through the figure of Williams Mulholland, who brought water to Southern California; and "POE," which reframes Robert Smithson's site/non-site dialectic through three returns to Edgar Allan Poe (filmmaker/choreographer Yvonne Rainer plays Poe). In the second half of the lecture, Leung will present his current research on another, but little known, historical personage, Wong Kai Kah (1860-1906). As a boy, Wong was sent by the Chinese Court to study in the US in the 1870s, later becoming a prominent diplomat who represented China at the closing of the Russo-Japanese War and the 1904 World's Fair. For Leung, the singular figure of Wong provides an opportunity to narrativize and picture the complex double consciousness of an early modern Chinese cosmopolitan. 

Simon Leung was born in Hong Kong and was educated in Los Angeles and New York. As an artist, he works across several mediums and discourses, among which are an opera set in Griffith Park; a live/video performance addressing AIDS in the figure of the glory hole; and a trilogy on “the residual space of the Vietnam War." His most recent works include War After War (2011), a cyclical film using Kant's "Perpetual Peace" as a script, and  ACTIONS!, an "art worker’s theater" project presented at the Kitchen in Fall 2013. His work has been exhibited in the Guangzhou Triennial (2008), the Venice Biennale (2003), the Whitney Biennial (1993), and in venues throughout the Americas, Asia, and Europe. Leung has received fellowships from the Guggenheim Foundation, the Clark Institute, the New York State Council on the Arts, the New York Foundation for the Arts, Art Matters, The California Community Foundation, and the City of Los Angeles. He is co-editor, with Zoya Kocur, of Theory in Contemporary Art Since 1985, and is Professor of Art at the University of California, Irvine, where his is also affiliate faculty in Asian American Studies, Gender and Sexualities Studies, and the Critical Theory Emphasis.

Curated by Aisha Tandiwe Bell

Juana Valdes’ most current work elicits migration as a complex process, constructing history through a continuum that involves both the homespace of the diasporic community and their new homeland. 
In Remnants –“What Remains,” at the Thomas Hunter Project Space, Juana Valdes reevaluates the worth of artistic workings once considered craft-like.  These images weave a narrative of historical periods, styles and modes of production. The final outcome speaks of tensions, which explore issues of personal identity and one’s role in multiple collectives.

Juana Valdes  is currently in the exhibition, "Treasure Island" at the Lower East Side Print Shop in NYC . Simultaneously she is part of a group exhibition curated by William Cordova at The Museum of Contemporary Art North Miami. Past exhibitions include a solo show at SENSEI Gallery 2013. 
El Museo del Barrio, White Box Gallery, Bronx River Art Center, P.S.1 Contemporary Art Center, Paul Sharpe Contemporary Art, Diaspora Vibe Cultural Arts Incubator and Nohra Haime Gallery are a selection of the spaces that have shown her work. 

 Thomas Hunter Project Room is located in the basement of the Thomas Hunter building on Lexington Ave. between 68th. and 69th Streets.

Visitors will need to get a "guest pass" from the main entrance (next to the enormous black cube) at Hunter College on the corner of 68th St. and Lexington Ave. You may then use any entrance to reach the Thomas Hunter Project Space, located in the basement of the Thomas Hunter Building.

Visitation by appointment the weeks of Oct. 6-24 also available.

Please call with any questions, especially if you have trouble entering the event:
Aisha Bell 917-754-3291 or Juana Valdes 917-370-0074


October 18 – November 8, 2014

Opening reception October 17, 2014, 6-10pm


Curated by MA candidate Alan Longino in collaboration with the MFA Digital Media Collective

205 Hudson Street
2nd floor gallery
(entrance on Canal between Hudson and Greenwich)
2nd floor gallery hours: Thursdays – Mondays, 1-6pm

Leadership support of the Hunter College Art Galleries is provided by Carol Goldberg and Agnes Gund, and by an anonymous donor.

Image: Detail, "View of the Great Fire in New York, Dec. 16th and 17th, 1835," by Bennett, Calyo, and Clover, 1836, aquatint, Museum of the City of New York

Hunter College Department of Art and Art History presents a lecture by

Michael Leja

“Quick and Dirty:  Early News Images for the Masses”

 Wednesday November 19, 2014

7:00 pm

Kossak Lecture Hall, 1527 Hunter North Building

Michael Leja, professor of Art History at the University of Pennsylvania, studies the visual arts in various media (painting, sculpture, film, photography, prints, illustrations) in the 19th and 20th centuries, primarily in the United States. His work is interdisciplinary and strives to understand visual artifacts in relation to contemporary cultural, social, political, and intellectual developments. He is especially interested in examining the interactions between works of art and particular audiences. His book Looking Askance: Skepticism and American Art from Eakins to Duchamp (2004) traces the interactions between the visual arts and the skeptical forms of seeing engendered in modern life in northeastern American cities between 1869 and 1917. It won the Modernist Studies Association Book Prize in 2005.

An earlier book, Reframing Abstract Expressionism: Subjectivity and Painting in the 1940s (1993) situates the paintings of Jackson Pollock, Barnett Newman, and others in a culture-wide initiative to re-imagine the self in the midst of a traumatic history. It won the Charles Eldredge Prize for Distinguished Scholarship in American Art from the Smithsonian American Art Museum. He is currently at work on a book exploring changes in pictorial forms and in social relations associated with the industrialization of picture production and the development of a mass market for images in the mid-nineteenth century.  His lecture at Hunter, “Quick and Dirty: Early News Images for the Masses,” is drawn from that research.

The Hallway Gallery(located in the hallway near HN11022-11028) in Hunter College’s Printmaking Area proudly presents a series of etchings titled, “15 Weeks” by Paul Corio. Mr. Corio was a student of Professor Vincent Longo’s in 1999.  

The concept for this series of etchings is based on 15 different states of the same plate.

Each state is an edition of five (as indicated in the lower left-hand corner of each print).

The final state is presented on a separate wall between rooms 11028 and 11034. 

Etching allows an artist to record the evolution of an image, by adding and subtracting various marks to the composition.


Images of Paul Corio paintings available on his website.

Installation and photo credit - Elizabeth Lewin, MFA Candidate 2016