Current and Upcoming Exhibitions
The Hunter College Art Galleries and The Muse Scholar Program have organized a screening program of ART21 Presents William Kentridge: Six Drawing Lessons. The six lectures will be screened continuously during normal gallery hours on individual monitors, as well as projected. The gallery is encouraging faculty to bring their classes to the exhibition. To schedule a class viewing, please contact Annie Wischmeyer at email@example.com.
In 2012, William Kentridge—the Johannesburg-born artist whose creations have been celebrated for their direct engagement with political and social issues—was selected by an esteemed panel to deliver the Charles Eliot Norton Lectures at Harvard University. Six Drawing Lessons were the resulting lectures he presented that spring at Harvard’s Mahindra Humanities Center. ART21, the award-winning nonprofit producers of Art in the Twenty-First Century, has distributed Six Drawing Lessons,each of which spans a wide range of ideas and includes vivid examples of Kentridge’s works.
Fall 2013 Hunter MFA Thesis Show
Curated by Max Weintraub, Assistant Visiting Professor of Art History, Hunter College
Organized by Dove Bradshaw
October 4 – November 30, 2013
(Closed Thanksgiving Day, Open November 29th and 30th)
Sound Works examines the importance of sound in the work of William Anastasi (b. 1933), one of the key figures in the development of Conceptual, Process, and Minimal Art. Since the early 1960s sound has played a central role in Anastasi’s relentless investigations into the status, autonomy, and representational function of the art object. Bringing together works from 1963 to the present, Sound Works marks the first comprehensive exhibition to focus exclusively on William Anastasi’s varied use of and engagement with sound. By showcasing sound as a consistent thread in his pioneering efforts to question aesthetic norms, this exhibition provides a unique lens through which to consider Anastasi’s artistic innovations and contributes to the ongoing critical reappraisal of his oeuvre.
This ensemble of objects and drawings explores the complex relationship between sound and image, and yields a range of conceptual and phenomenological tensions: between active and passive, presence and absence, creation and destruction. In so doing, Anastasi raises important questions about site and medium specificity, the dematerialization of the aesthetic object, and the dynamic nature of sense experience and perception. Cumulatively, Sound Works offers visitors an unprecedented opportunity to consider both the importance of sound to Anastasi’s broader artistic practice as well as Anastasi’s significance to the emerging art movements of the 1960s and beyond.
William Anastasi: Sound Works, 1963–2013 opens at a pivotal moment in the artist’s career—in the year of his eightieth birthday— and coincides with a resurgence of interest in sound based art. This unique timing opens the door for critical discussion of the development of sound art and Anastasi’s pivotal role in its history.
This exhibition is made possible by the generous support of: Agnes Gund, Dorothy Lichtenstein, The Straus Family Fund, Galerie Jocelyn Wolff, and an anonymous donor.
The Bertha and Karl Leubsdorf Art Gallery
At Hunter College
68th Street and Lexington Avenue
SW corner, New York, NY 10065
Gallery Hours: Tuesday – Saturday, 1 – 6pm
Open Work in Latin America, New York & Beyond: Conceptualism Reconsidered, 1967–1978
Curated by Harper Montgomery, Patricia Phelps de Cisneros Professor of Modern & Contemporary Latin American Art
OPENING RECEPTION: Thursday, February 7th, 6–8pm
Please note that the galleries will be closed, Tuesday, February 12th, in observation of Lincoln's Birthday.
THE BERTHA AND KARL LEUBSDORF ART GALLERY
Hunter College, West Building at the southwest corner of 68th Street and Lexington Avenue, New York, NY
Exhibition runs February 8 – May 5, 2013
Diego Barboza, Artur Barrio, Luis Benedit, Mel Bochner, Donald Burgy, Luis Camnitzer, Sigfredo Chacón, Eduardo Costa, Jaime Davidovich, Iole de Freitas, Antonio Dias, Juan Downey, Felipe Ehrenberg, Rafael Ferrer, Anna Bella Geiger, Rubens Gerchman, Víctor Grippo, Leandro Katz, Joseph Kosuth, David Lamelas, Sol LeWitt, Lucy Lippard, Cildo Meireles, Ana Mendieta, Marta Minujín, Hélio Oiticica, Clemente Padín, Claudio Perna, John Perreault, Liliana Porter, Alejandro Puente, Carlos Rojas, Ed Ruscha, Bernardo Salcedo, Lawrence Weiner, Horacio Zabala
Eco’s concept of the Open Work—an artwork that could not be completed without the viewer’s participation—was highly useful for Latin American conceptualists from the late 1960s through the late 1970s because it named the collaborative and performative emphasis of their artworks. Open Work in Latin America, New York & Beyond: Conceptualism Reconsidered, 1967–1978 displays the capacious nature of conceptualism by exhibiting 91 books, video, sound works, prints, drawings, installations and photography by 36 artists working in Buenos Aires, Rio de Janeiro, New York, London, Los Angeles, Montevideo and Caracas. Although not a historical survey, the show presents a collective desire to use the body to destabilize systems of representation shared by artists from Latin America working in conceptual modes from 1967 to 1978.
Open Work in Latin America, New York and Beyond includes some ninety works that have been generously lent to Hunter College from the Colección Patricia Phelps de Cisneros, The Museum of Modern Art, The Metropolitan Museum of Art, Harvard University, Henrique Faria Fine Art, Document Art Gallery, Alexander Gray Associates, Daros Latinamerica Collection, Thria Collection, Luis Camnitzer, Jaime Davidovich, and Liliana Porter.
Hunter College is deeply grateful to the following donors, whose generous support has made this exhibition possible, Colección Patricia Phelps de Cisneros and The Bershad Exhibition Fund.
For more information about related events, including lectures by Dan Quiles, Gabriela Rangel, and performances and screenings organized by students at Hunter College, and for information about Hunter College’s Department of Art and Art History and its initiatives supported by the Colección Patricia Phelps de Cisneros, go to: www.latinamericanartathunter.org
Sanford Wurmfeld: Color Visions 1966 - 2013
Curated by William C. Agee, Evelyn Kranes Kossak Professor of Art History with assistance from the following graduate students: Rotem Linial, Bridget McCarthy, Thesesa Andrea Morrison, Joan Reuteshan, and Nicoline Strom-Jensen
Organized by Susan Crile with Lisa Corinne Davis
OPENING RECEPTION: Friday, February 15th, 6–8pm
EXHIBITION DATES: February 15 – April 20, 2013
HUNTER COLLEGE / TIMES SQUARE GALLERY
450 West 41st Street (between Dyer and 10th Avenue), New York, NY
Gallery Hours: Tuesday – Saturday, 1-6pm
Sanford Wurmfeld: Color Visions 1966 - 2013 celebrates the work of Sanford Wurmfeld, the Phyllis and Joseph Caroff Professor of Fine Arts Emeritus and the Hunter College Art Department Chair from 1978-2006. Wurmfeld is an internationally known painter and a fixture in the New York art world. For decades he has created abstract paintings about color and its affects on human mood and visual perception. Drawing inspiration from Georges Seurat, Josef Albers, Claude Monet, Mark Rothko, and his mentors and colleagues from Hunter College, among others, Sanford Wurmfeld illustrates the psychological effects of color on large-scale canvases. He has pursued a near-scientific inquiry into the perceptual and experiential effects of color while remaining an intuitive painter. With over 60 paintings, sculptures, drawings, and films – many of which have never been exhibited – Sanford Wurmfeld: Color Visions 1966 - 2013 presents the most comprehensive retrospective of his large-scale works from over his fifty-year career. The exhibition provides a unique opportunity to explore Wurmfeld’s groundbreaking examination of three-dimensional color as well as his legacy as a painter.
Hunter College is deeply grateful to the leadership support from the following exhibition sponsors: The President’s Office, Hunter College; The Bershad Exhibition Fund; The Evelyn Kranes Kossak Painting Fund; and The Wolf Kahn and Emily Mason Foundation. We thank, for their major contributions, Phyllis and Joseph Caroff, Lucille D. & Theodore Kaufman, Golden Artist Colors, Inc., New Berlin, NY, Phyllis L. Kossoff, John Leubsdorf, Joan Masket and Sherman Pincus, Jacqueline J. Sferra Rada, Anita Shapolsky, and the Judith and Stanley Zabar Fund. We are also grateful for the many generous gifts to the exhibition from Sandy Wurmfeld’s former students, colleagues, friends and family, including those who contributed through our Facebook campaign.