Category: News

Art Professor Nobuhu Nagasawa’s new public sculpture “Luminescence” at Hunter’s Point South Park is now open to visitors, and has received poisitive press from a number of outlets, including from Curbed NY and The Architectural Record and who notes that:

“The isle’s dune-like upward curvature and the plantings that surround its edge contribute to a sense of enclosure, most strikingly at its top, which offers a tranquil setting to take in the skyline. It is an encounter rich in dichotomies: isolation and connection, density and openness, the natural and the machine-made.”

Additionally, Art History Professor Katy Siegal’s curated show at the Met Breuer featuring the work of sculptor Jack Whitten has been reviewed by the New York Times, which notes:

“The cross-cultural, cross-media conversations resulting from the show’s disparate objects swirl around the visitor, conveying a vital sense of how artists thrive in an aesthetic space that is porous and fluid, distilling experiences and transforming sources.”

The exhibition, which features forty sculptures and eighteen of the artist’s paintings, will be open until December 2nd, 2018.

The Fall 2018 Graduate Courses for Art History and Studio have now been posted online. Please feel free to peruse the selection of courses on offer at the following department page: Art Department Graduate Courses

A prestigious Soros fellowship has been awarded to Stephanie Dinkins, associate professor in the College of Arts and Sciences Department of Art. Dinkins was recently named to the Open Society Foundation’s 2018 class of Soros Equality Fellows, a program intended to help incubate innovators and risk-takers striving to create and develop new ways of addressing the challenges of racial disparity and discrimination in the United States.

Through this fellowship, Professor Dinkins is developing Not the Only One (NTOO), a multigenerational memoir of one black American family told from the perspective of an artificial intelligence with an evolving intellect.

An interdisciplinary artist who investigates how artificial intelligence intersects with race, gender, aging, and the future, Professor Dinkins is particularly driven to work with communities of color to develop deep-rooted AI literacy and co-create more culturally inclusive equitable artificial intelligence. Through her NTOO project, she strives to create a new kind of artificially intelligent narrative form that uses oral history and creative storytelling methods, such interactivity, vocalization and verbal ingenuity to spark the imagination and draw more underrepresented communities into crucial conversations about AI and careers that can impact the trajectory of this far-reaching technology.

Image: Judith Stenneken, video still from Staircase, 2018

ArtNet Editors’ Pick: Tuesday, July 17, professor Zabet Patterson will moderate a discussion of algorithmic art with Beryl Korot, Manfred Mohr, and Judith Stenneken at Flowers Gallery in Chelsea for the opening of the exhibition “Yes No Maybe.”

Flowers Gallery, 529 West 20th Street

Editors’ Picks: 17 Things Not to Miss in New York’s Art World This Week

http://www.artnet.com/galleries/flowers/yes-no-maybe/

Monica Bravo ’09, was recently appointed to a tenure-track position as Assistant Professor of the History and Theory of Photographic Media at the California College of the Arts in San Francisco.

Bravo completed her Masters in Stony Brook’s Graduate Program in Art History & Criticism with a graduate certificate in Art & Philosophy.  She completed her MA thesis under the direction of Andrew Uroskie on the philosophical aesthetics of Chris Marker’s photographic practice. She subsequently completed a doctorate in Art History at Brown, and served as a Lecturer at Yale before joining CCA in 2018. Bravo will be chairing the panel “Making/Writing Artists’ Lives” at the 2019 College Art Association Conference in NYC, to explore contemporary artists whose practice involves the creation of fictional personas.

Ian Alan Paul’s video essay “The Dis/Appeared: 25 Notes on Colonial Regimes of Perception” will be screened at this summer’s World Congress of Middle Eastern Studies in Sevilla, Spain as part of the conference’s acclaimed Film Festival.

Through narration and a montage of images that are at once ordinary and unsettling, the video essay gives an account of settler-colonial instantiations of power while also proposing a tactical repertoire to be taken up against colonial rule. The project was produced over the course of 2017 while the artist was living and teaching in the West Bank of Palestine, and is the first part of a series of films, installations, and texts that examine the conjuncture of coloniality, governmentality, and memory in global contexts.

7 May 2018
Department of Art Conference Room (2215)

 

9:30-10:00
Coffee and bagels

 

10:00-10:15
Lisa Strickland: Postwar American female sculptors and environmental art

10:15-10:35
Jasna Boudard: Interactivity: creating shared experiences

10:35-10:50
Sierra Rooney: Monumental Change? Rosa Parks and the United States Capitol Statuary Collection

10:50-11:10
Karine Falleni: Coexistence

11:10-11:25
Nikki Georgopoulos: Make-Up and Mechanical Reproduction: Mary Cassatt’s Prints of 1891

11:25-11:45
Razieh Jafari: Text as Image: Calligraphy in Contemporary Iranian Art

11:45-12:00
Amy Rahn: “This Particular Very Dark Thing”: Joan Mitchell’s Black Paintings

12:00-12:20
Justin Roxo: Untitled

 

12:20
Potluck Lunch

Department of Art | Monday, May 7th | 2–5pm | South Studios

2:00~2:30 Maggie Avolio
2:30~3:00 Kat Kaiser
3:00~3:30 Lauren Ruiz
3:30~4:00 Julia Miller
4:00~4:30 Joe Santarpia

Natalie Bell is Associate Curator at the New Museum, New York, where she has curated and co-curated recent solo exhibitions by Hiwa K (2018), Anna Boghiguian (2018), Jonathas de Andrade (2017), Elaine Cameron-Weir (2017), Kahlil Joseph (2017), Albert Oehlen (2015), Barbara Rossi (2015), Anri Sala (2016), Andra Ursuta (2016), and Lynette Yiadom-Boakye (2017). She has also co-curated several major group exhibitions at the New Museum, including Trigger: Gender as a Tool and a Weapon (2017); The Keeper (2016), and Here and Elsewhere (2014).

Alexandra Zigomalas is a double major in History and Art History with a minor in Writing. Throughout her past four years at Stony Brook, she has worked at the Writing Center, the Paul W. Zuccaire Gallery, and has been a member of the Women’s Leadership Council. Alexandra has written two honors theses for each of her majors. Her art history project is titled, “Paying a Prince: Gian Lorenzo Bernini and The Payment of Sculptors in Seventeenth-Century Rome,”and was advised by Dr. Karen Lloyd in the fall of 2017. Alexandra received funding through the Women’s Leadership Council to study abroad in Rome in order to do research for this project. Her second thesis titled, “‘The Figure Before the Booke’: The Image of the Mystic Massacre in John Underhill’s Newes from America, 1638,” explores the potential meanings behind and purposes of an image in John Underhill’s seventeenth-century narrative of the Pequot War. Dr. Ned Landsman in the history department advised this project, and Alexandra presented it at this year’s URECA symposium. She also presented a paper at the 2017 URECA symposium titled, “ La Danse et Les Dames du Ballet: Edgar Degas and The Representation of Movement through the Belle Époque Ballerina.” Kevin Clouther in the Program in Writing and Rhetoric advised this project. Alexandra is a five-time recipient of the Academic Achievement Award that honors students with a 4.0-semester GPA and a recipient of the Undergraduate Recognition Award for Academic Excellence. She has enjoyed working closely with all of her faculty advisors and mentors, and will miss them this upcoming fall when she will be pursuing her PhD in Art History at Emory University.

https://www.stonybrook.edu/commcms/ureca/feature/_bio/2018/May2018.php

A conversation with Bina48, Abena Asare, Stephanie Dinkins, & Bruce Duncan

Wednesday, April 25, 2018
2:30pm
Pietra Family Auditorium
Simons Center for Geometry and Physics

http://momarnd.moma.org/salons/salon-24-ai-artificial-imperfection-2/

MoMA R&D | Salon 24: AI – Artificial Imperfection

In a time when society is gearing itself up for the upcoming artificial intelligent quickening, much has been written about singularity, robots as job-stealing enemies and the trade-off between safety and autonomy.

//cdn.embedly.com/widgets/platform.js

Dinkins 92nd Y #7 Days of Genius 2018 from Stephanie Dinkins on Vimeo.

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

“SOUNDSCAPE/TEXTSCAPE”
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

http://conference.collegeart.org/schedule/