Stony Brook Department of Art 2018 Graduate Colloquium

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

Natalie Bell, Associate Curator at the New Museum @ Stony Brook University Department of Art | Monday, May 7th | South Studios

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 (Art History Major) featured as URECA Researcher of the Month

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

Prof. Stephanie Dinkins participated in MOMA R&D Salon 24: AI – Artificial Imperfection check out the video documentation and amazing reading list.

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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.

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Ways of Kneeling: Artist Talk by Young Min Moon


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 Department of Art at CAA 2018


 

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/

Conversations with Bina48 Exhibition by Stephanie Dinkins Gallatin Gallery NYU

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.

New Publications

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.

Studio Art Faculty Member Stephanie Dinkins To Give Workshop At Google (open to the public)

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

Studio Faculty Member Howardena Pindell Writes About Her Work in Art Forum

Howardena Pindell, Hunger: The Color of Bones, 2014, mixed media; canvas: 5′ 11“ × 11′ 8”; floor component: dimensions variable.

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.