For more information, please visit: https://www.92y.org/genius
Please join us for an Artist Talk by Young Min Moon on Wednesday, March 28 at 1 pm in the Paul W. Zuccaire Gallery, Staller Center for the Arts. The talk, entitled “Ways of Kneeling,” focuses on the artist’s repeated imagery of a back view of a kneeling man in a suit. Moon states, “These images are based on a significant experience from my upbringing in South Korea: Jesa, a Confucian ritual performed as a remembrance of spirits of ancestors and funerary rite of mourning for the deceased. Growing up in the South Korean military regime of the 1980s in which violence was a norm everywhere, including classrooms, the austere moments of silence during prostration have become one of the most important memories of mine.”
Young Min Moon is an artist and critic whose work reflects his migration across cultures and his awareness of the hybrid nature of identities forged amid the complex historical and political relationships between Asia and North America. In his paintings and text-based works, Moon represents loss, mourning, and reflection on violence. He has shown his art in many exhibitions in South Korea, the U.S., and Canada. Moon has also written extensively on contemporary art in South Korea. He published a bilingual Korean-English catalog for his curatorial project “Incongruent: Contemporary Art from South Korea,” and contributed scholarly essays to Rethinking Marxism, BOL, and the anthology Contemporary Art in Asia: A Critical Reader (MIT). He is also on the editorial board of Trans Asia Photography Review, http://tapreview.org. Recipient of 2014 Guggenheim Fellowship, Moon is Professor of Art at the University of Massachusetts Amherst. ( http://youngminmoon.net )
This Artist Talk is organized by Prof. Sohl Lee, Department of Art, Stony Brook University, and sponsored by The Center for Korean Research at Columbia University and the Center for Korean Studies at Stony Brook University.
Image credit: Young Min Moon, Some Sense of Order 20170328, oil on linen, 15″ x 18″, 2017
Stony Brook will be participating in the following events as part of the College Art Associations annual conference in Los Angeles:
“ALTERNATIVE VISIONS: THE PHOTOGRAPH, SELF-REPRESENTATION, AND FACT IN CONTEMPORARY ART OF THE UNITED STATES”
Time: 02/21/2018: 10:30AM–12:00PM Location: Room 505
• “Counterimages: Constructing the Self/Image as Counter-Hegemonic Practice”
Anastasia Tuazon, Stony Brook University
“AMBIVALENCES AND APPROPRIATIONS: SOME AMERICAN ARTISTS”
Time: 02/21/2018: 10:30AM–12:00PM
Location: Room 501C
• “Joan Mitchell’s Equivocal Feminism”
Amy Rahn, Stony Brook University, The State University of New York
“CURATING DIFFERENCE: RACE AND ETHNICITY IN THE US MUSEUM” (ASSOCIATION FOR CRITICAL RACE ART HISTORY ACRAH)
Time: 02/22/2018: 10:30AM–12:00PM
Location: Room 408A
• “Monumental Change?: Integrating Black American Women in the United States Capitol Statuary Collection”
Sierra Rooney, Stony Brook University
“BIENNIALS OF THE GLOBAL SOUTH: CHARTING TRANSNATIONAL NETWORKS OF EXCHANGE”
Time: 02/22/2018: 2:00PM–3:30PM
Location: Room 402A
Chair: Joseph L. Underwood, Kent State University
“WOMEN’S LIBERATION AND THE PERSISTENCE OF PAINTING”
Time: 02/23/2018: 10:30AM–12:00PM
Location: Room 409B
Chairs: Sarah Cowan University of California, Berkeley; Amy Rahn, Stony Brook University, The State University of New York
“RACE, ETHNICITY, AND CULTURAL APPROPRIATION IN THE HISTORY OF DESIGN”
Time: 02/23/2018: 2:00PM–3:30PM
Location: Room 402A
• “Mayan by Design: Adaptation and Copy in Ruth Reeves’s Guatemalan Exhibition of Textiles and Costumes”
Noga Bernstein, Stony Brook University
Time: 02/23/2018: 2:00PM–3:30PM
Location: Room 410
• “‘Original in Every Way it Mattered’: Richard Maxfield’s New York City Art Music, 1957–62”
Gerald Hartnett, Stony Brook University, The State University of New York
• “‘There Will Be a Taker of the Shapes’: Retracing Tony Martin’s Score for ‘City Scale,’ 1963”
Erin Stout, Stony Brook University, The State University of New York
“TEACHABLE MONUMENTS: USING PUBLIC ART TO SPARK DIALOGUE AND ADDRESS CONTROVERSIES” (PUBLIC ART DIALOGUE PAD)
Time: 02/23/2018: 2:00PM–3:30PM
Location: Room 402B
Chairs: Harriet Senie, The City College of New York, The City University of New York and Sierra Rooney, Stony Brook University, The State University of New York
Three years ago artist Stephanie Dinkins began visiting Bina48, an intelligent social robot said to be capable of independent thought and emotion, with the aim of answering the question “Can an artist and a social robot build a relationship over time?” Dinkins’s project uses art and aesthetics as common languages to help people, in particular communities of color, understand what algorithms and artificial intelligent systems are, and to better understand where these systems already impact our daily lives.
Opening reception: Wednesday, February 7th, from 5-7 pm.
Presented as a part of Gallatin’s Black History Month programming.
February 2-27, 2018
1 Washington Pl @ Broadway New York, NY 10003
September to June 1
Hours Mon-Fri: 10am-7pm. • Sat: 10am-4pm. • Sun: Closed.
Karen Lloyd has a chapter in the newly published edited volume, The New World in Early Modern Italy, 1492-1750 (Cambridge University Press). The book breaks new ground in studying the interconnected worlds of Italy and the Americas. Dr. Lloyd’s essay analyzes the dissemination and reception of the image and cult of the Peruvian Virgin of Copacabana in Italy, considering why and how the image came to Italy, and why it ultimately failed to capture the Italian devotional imagination.
Dr. Lloyd also has a newly published essay in the Journal of the History of Collections. It is the second part of a study of the collection of Cardinal Paluzzo Altieri (d. 1698). The first essay examined his picture collection. This essay turns to a broader range of material objects, including sculpture, tapestries, devotional objects, and naturalia, some of which, such as the American import, chocolate, reflect the globalization of the early modern world. As the nephew of Pope Clement X, Cardinal Altieri was once one of the most powerful men in Rome. After his uncle’s death his influence waned; this essay helps to understand the complex social and political life of such a cardinal, and how the arts and material culture functioned in a domestic setting. The essay can be accessed online by clicking here.
In this combination workshop and interview, ABOG Fellow Stephanie Dinkins asks, “What Does AI need from you?” She explores how algorithms — decision-making procedures that computers use — can privilege or discriminate against members of key identity groups, especially African Americans.
For more information, visit the event page here.
Date: February 22, 2018 | 6:00pm
Location: Google Building 75 (Chelsea Market), 75 9th Ave, New York, NY 10011
Reflecting on What Remains to Be Seen, the first major retrospective of her work, Studio Faculty Member Howardena Pindell writes in Art Forum about what aspects of her life have come to inform her practice as an artist:
“As the show’s title, “What Remains to Be Seen,” suggests, I like challenging people to figure out what’s painted and what isn’t. When I was a child of eight or nine, my parents often took me on trips in the car. Once, when we drove through northern Kentucky, we stopped at a restaurant where they served us mugs of root beer with red circles on the bottoms. These circles marked the silverware and glassware reserved for nonwhites. My fascination with the circle comes from that day. Abstraction is like that: It doesn’t have a concrete meaning, but can relate back to signification in the world, like that experience of turning over the cup and seeing the circle, of being marked.”
What Remains To Be Seen will be on display at the The Museum of Contemporary Art Chicago from Feb 24–May 20, 2018.
On, Monday February 12, 2018 Stony Brook Studio Art MFA Alumni Ha Na Lee will be giving a lecture in the Paul W. Zuccaire Gallery in the Staller Center at 1pm, and will also be participating in a seminar in the Art Department Conference Room (2215 Staller Center). Born in Seoul, South Korea (1979), Ha Na Lee received her MFA at Stony Brook University in 2008 and Ph.D. at Center for Digital Arts and Experimental Media) (DXARTS) at the University of Washington, in Seattle in 2016. Her artwork focuses on portraying an individual’s experience of psychological and physical trauma in a poetic narrative in the mediums of video, new media, installation art, and experimental film. She is especially interested in exploring these traumas by creating bodily and cinematic experiences and spatializing fragmented narratives in the form of interactive and immersive environments. In her artist statement she states, “In the form of non-linear storytelling, I attempt to address the power relationships through visual allusions to forms of pain, violence, resignation, repression of female sexuality and experience, melancholy, death in the contemporary world.”
Lee’s work has been exhibited in a number of solo and group exhibitions, and her films have been screened in the United States and internationally in South Korea, Japan, Taiwan, Puerto Rico, Spain, and the Netherlands. Lee and her collaborator James Hughes were invited to present their work at Currents: The Santa Fe International New Media Art Festival in 2014 and 2015, and will present their interactive VR project at SXSW in 2018. She received TEMPO 2017 grant from the city of Austin, GAP grant at Artist Trust in Seattle in 2015. She received the dARTboard award from the Vilcek Foundation in New York and was the recipient of the New York Foundation for the Arts Fellowship, the Goldberger Graduate Research Fellowship at Stony Brook University in New York, and others. She currently lives and works in Austin, Texas. She will be presenting her paper at the Ammerman Center for Arts and Technology symposium in February and will start teaching at the Film & Media Arts department at the University of Utah this Fall.
This event is supported by the Department of Art, the Simons Center Art and Science Program, and the Paul W. Zuccaire Gallery, Staller Center for the Arts.
Faculty Member Toby Buonagurio’s Work “Times Square Times: 35 Times” was recently featured on the MTA’s Podcast: “Think of Times Square and a variety of images, sights, sounds, and scents come to mind. Whatever they are, chances are you will find it in Times Square: 35 Times, a series of artworks encased within glass blocks and set into the walls of the station. Toby Buonagurio conceived the work around three themes emblematic of the energetic vibrancy of midtown Manhattan: performing arts, fashion, and street life – all recognizable to the everyday passerby and to the thousands of tourists who visit the city. The ceramics are installed in illuminated shadowboxes throughout the Times Square subway station complex.”
Stony Brook University Department of Art Professor Zabet Patterson speaking with media artists Beryl Korot and Tamiko Thiel to a sold out crowd at MoMA this evening for the opening of Thinking Machines: Art and Design in the Computer Age, 1959–1989.
Professor Zabet Patterson, and MoMA’s Associate Curator in the Department of Architecture and Design Sean Anderson hold a panel discussion for the occasion of the opening of Thinking Machines: Art and Design in the Computer Age, 1959–1989, on view at the MoMA: 11/13/17–04/08/2018.
Artist Talk: Basim Magdy, Monday, November 13, 12:30pm
Staller Center for the Arts, 2nd floor seminar room
Basim Magdy was born in 1977 in Assiut, Egypt, and lives and works in Basel and Cairo. His work appeared recently in solo and group exhibitions at Centre Pompidou, Paris; Castello di Rivoli, Torino; Mathaf, Doha (2017) MCA Museum of Contemporary Art, Chicago, MAXXI National Museum of the 21st Century Arts, Rome; Jeu de Paume, Paris; CAPC Museum of Contemporary Art, Bordeaux; Deutsche Bank KunstHalle, Berlin; Hessel Museum of Art, Annandale-On-Hudson, New York; Salt Ulus, Ankara; Sharjah Art Foundation, Sharjah, UAE; Whitechapel Gallery, London (2016); MoMA The Museum of Modern Art, New York; KW Institute for Contemporary Art, Berlin; The Museum of Contemporary Photography, Chicago; The New Museum Triennial, New Museum, New York; Museum of Modern Art, Warsaw, Warsaw; HOME, Manchester, UK; The Green Parrot, Barcelona; Lismore Castle Arts, Lismore, Ireland (2015); La Biennale de Montreal, Montreal; Art in General, New York; Monash University Museum of Art | MUMA, Melbourne, Australia; MEDIACITY Seoul Biennial, Seoul Museum of Art, Seoul; Passerelle Centre d’art contemporain, Brest; CRAC Alsace, Altkirch (2014); 13th Istanbul Biennial, Istanbul; Centre Culturel Suisse, Paris; Sharjah Biennial 11, Sharjah, UAE; Yerba Buena Center for the Arts, San Francisco; The High Line, New York (2013); Haus der Kulturen der Welt, Berlin; La Triennale: Intense Proximity, Palais de Tokyo, Paris (2012); Kunsthalle Wien, Vienna (2011); Mass MOCA, North Adams, USA and Ateliers de Rennes – Biennale dʼart contemporain, Rennes, (2010). He was shortlisted for the Future Generation Art Prize, Kiev (2012) and won the Abraaj Art Prize, Dubai and the New:Vision Award, CPH:DOX Film Festival, Copenhagen (2014) and the Experimental Award at the Curtas Vila do Conde – International Film Festival, Portugal (2015), Deutsche Bank’s 2016 Artist of the Year (2016).
Following the artist talk, Basim Magdy will visit the studios for individual critiques at the MFA studio spaces located in Nassau Hall, South Campus.
SBU Professor Sohl Lee, Modern and Contemporary East Asian Art, in conversation with our outstanding alumni: Stephanie Gress, BA ’97 MA ’00, Director of Curatorial Affairs for the Suffolk County Vanderbilt Museum; Roland Coffey, BA ’13, Publicist for art and architecture titles at Yale University Press; Kara Li, formerly with Christie’s, current Art History PhD student working on transnational flows of contemporary Chinese art.
Who are your people?” Since 2014, the artist Stephanie Dinkins has asked the social robot BINA48 this question several times. Developed by Hanson Robotics in 2010, BINA48 was purchased by Martine Rothblatt, a futurist and self-made millionaire. The robot’s bust is modeled after Rothblatt’s partner, Bina. More than one hundred hours of Bina Rothblatt’s thoughts, memories, and beliefs were compiled to form the personality of this humanoid robot. Although the robot shares its likeness and opinions with Bina Rothblatt, Dinkins is curious how BINA48 sees herself. Can the robot learn to empathize with people? by Jacquelyn Gleisner