In a recent issue of New American Paintings, current MFA Maggie Avolio was featured and profiled and had her artist statement published online. She describes her practice as being engaged in producing:
“…minimalistic artwork that exists simultaneously as painting, sculpture, and installation. Raw canvas is unwoven, torn, folded, or reconstructed to create three-dimensional form. I create marks using unconventional methods like stitching. Paint is absent from the canvas yet sometimes appears in the surrounding area, creating a new spatial identity.”
Art History Faculty Katy Siegel was recently interviewed about her show at the Rose Art Museum. Among other reflections, she notes that:
“That earlier generation of women artists was not given the option of being feminists—and, even later in life, many were not interested in embracing that identity when it was on offer. Nonetheless, they faced the same issues as later generations, and enacted some of the same adaptations and solutions: playing both at femininity and masculinity as artificial roles, speaking to each other in private in a different manner than in public speech, and letting their work be filled with their own, unnamed sensibility. Female artists today are more likely to be able to say things out loud, but perhaps still run similar risks in the media and popular conceptions—being pinned down by categorical thinking about gender and identity.”
Athena recently had the opportunity to make a new work for the Crystal Bridges Museum’s traveling exhibition “Art for a New Understanding: Native Voices, 1950s to Now, ” on display between October 05, 2018 – January 07, 2019.
For Art for a New Understanding: Native Voices, 1950s to Now, artist Athena LaTocha visited Northwest Arkansas and Pea Ridge National Military Park. The result of this visit is a work specific to the region, both the lush topography of the Ozarks as well as what the land has seen over time.
The entire cultural history of the land impacts LaTocha’s work– in this case, the Trail of Tears and the Civil War. During her visit, certain elements of the Arkansas landscape lingered: burnt trees, the smell of wet earth, sun on the rocks, and the erosion and striation of rock features. LaTocha connected the burnt wood and bluff overhangs with the experience of war and trauma in the land’s past.
Stony Brook Art History MA Barbara Christen, author of Cass Gilbert, Life and Work, will be featured on a podcast on the topic of the Brooklyn Army Terminal (the military-site-turned-manufacturing-complex), during OPEN HOUSE NY weekend.
Art Studio Faculty Member Nobuho Nagasawa’s sculpture “Nest” that is installed in the LA Metro has been chosen to be included in CODAmagazine’s new issue “Suspended in Space IV.” The editors describe the sculpture in this way:
This artwork on the station mezzanine alludes to migration and travel, a significant theme, which acknowledges the history of the immigrant community in this part of the city. An old map with images of flying birds, and a suspended spiral nest with an “egg” symbolizes “home.” The egg glows and pulsates to the rhythm of the artists’ heartbeat.
Reflecting on the histories of migration in East Los Angeles, Nagasawa’s work was completed in 2009.
Random Acts of Flyness is a late-night series from artist Terence Nance (An Oversimplification of Her Beauty). The six-episode season explores evergreen cultural idioms such as patriarchy, white supremacy and sensuality from a new, thought-provoking perspective. Associate Professor Stephanie Dinkins will appear on the Season Finales (episode 6) where she describes her encounters with a simulated black woman, drawing upon her previous work in relation to Artificial Intelligence and Race.
Are there any related links you would like included? : usp_custom_field : https://www.green-wood.com/event/sculpture-in-gotham/
Professor Michele H. Bogart will be speaking about her new book Sculpture in Gotham on Wednesday, September 26th at 6:30 at Brooklyn‘s historic Green-Wood Cemetery. Dr. Harry Weil, Ph.D. , M.A., and B.A. in, Art History, Stony Brook University, heads up Green-Wood’s Public Programs. Tickets can be purchased online here.
Art Professor Nobuho Nagasawa’s new public sculpture “Luminescence” at Hunter’s Point South Park is now open to visitors, and has received positive 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
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)
Coffee and bagels
Lisa Strickland: Postwar American female sculptors and environmental art
Jasna Boudard: Interactivity: creating shared experiences
Sierra Rooney: Monumental Change? Rosa Parks and the United States Capitol Statuary Collection
Karine Falleni: Coexistence
Nikki Georgopoulos: Make-Up and Mechanical Reproduction: Mary Cassatt’s Prints of 1891
Razieh Jafari: Text as Image: Calligraphy in Contemporary Iranian Art
Amy Rahn: “This Particular Very Dark Thing”: Joan Mitchell’s Black Paintings
Justin Roxo: Untitled