Assistant Professor Ian Alan Paul premiered his new experimental documentary “La Orilla Infinita” (The Infinite Shore) this January as part of Traces’ Contentious Objects / Ashamed Subjects Exhibition at the Galleria del Progetto in Milan, Italy.
The work explores the entanglement of three contentious historic narratives on the Canary Islands brought together by the surrounding sea: The Spanish colonization and genocide of the indigenous communities in the 15th century, the fascist coup that was initiated from the islands in 1936 while Francisco Franco was stationed there, and the mass arrival and drowning of migrants coming from West Africa in the present.
Prof. Stephanie Dinkins has received a 2019 Creative Capital Award for her project “Not the Only One,” a multigenerational memoir of a black American family told from the mind of an artificial intelligence of evolving intellect. It is designed by, trained inclusively and aligned with the interests and culture(s) of people of color.
The 2019 Creative Capital Awards represent 50 projects by 58 artists from all over the country. The projects span a range of genres, including literature, performance, the visual arts, moving image, technology, and socially engaged art.
Standout projects in this year’s final round were multidisciplinary, collaborative, and addressed the urgency of the current socio-political climate while evoking or referencing timeless conditions. The most successful applications utilized a specific lens through which to engage with a potent, yet often overlooked issue that relates to a broad and meaningful range of ideas. —Alice Gray Stites
Come study with us in a rigorous and dynamic environment with critically informed faculty who are working at the intellectual and artistic frontiers of their respective fields. To be considered for competitive funding and support, applications must be received by January 15, 2019. All other applications will be accepted until March 1, 2019. Click here to get started.
In the Spring of 2019, the artists Dread Scott and Jenny Polak will be in residence in the Department of Art and will be participating in a symposium on February 26th, 2019 in their capacity as Run Run Shaw Distinguished Lecturers. Over a calendar of three months and supported by an Arts, Humanities, and Lettered Social Sciences Established Artist Grant, they will both engage in a series of events and talks on campus, will be undertaking a semester long research project that examines the relations between the history of slavery, migration, and art, and will be participating in one-on-one and small group critiques with students in the Art Department.
Dread Scott and Jenny Polak are both artists whose practices engage the intersections of politics, history, and power in the contemporary United States. Addressing a range of interrelated social issues related to race, colonialism, slavery, migration, and citizenship, their performances, events, poetic gestures, provocations, and projects challenge audiences and publics to critically engage the complex and often vexed political inheritances of American life.
Bringing Dread Scott and Jenny Polak to the Art Department as artists-in-residence will allow for their work to enrich the campus’ intellectual and artistic communities and generate necessary political debate about issues that continue to play a central role in our society. Beyond the obvious aesthetic and political merits of their work, Dread Scott and Jenny Polak’s time on campus will encourage and facilitate interdisciplinary forms of exchange between students and faculty, making significant and meaningful contributions to the form of political debate, exchange, and reflection and that are already taking place on campus.
Modern Art History &
Criticism PhD Sophie Landres has accepted the position of Curator of
Education and Public Programs at the Miami Dade College Museum of Art
and Design, where she will work directly under Director Rina Carvajal!
independent curator, critic, and art historian, Landres’
interdisciplinary scholarship ranges across the fields of late modern
art and visual culture, feminist history and theory, sound studies, and
performance. Her 2017 dissertation, “Opera for Automatons: Carlotte
Moorman’s Early Collaborations with Nam June Paik”, was completed under
the direction of Andrew Uroskie, Zabet Patterson, and Megan Craig
(Philosophy), with performance historian Kathy O’Dell (UMBC) as her
Sophie was the 2015 Mellon Global Initiatives Fellow at Creative Time, where she assisted Okwui Enwezor with the Creative Time Summit for the Venice Biennale, and her essays have recently appeared in the College Art Association’s Art Journal as well as in PAJ: A Journal of Performance and Art.
last year, she has curated contemporary art exhibitions for Sargent’s
Daughters and Stellar Projects in New York City, while teaching at the
NYU Gallatin School of Individualized Study.
Art History faculty member Michele Bogart is at the forefront of efforts to conserve reliefs by Harlem Renaissance artist Richmond Barthé at Kingsborough houses in Brooklyn, as a recent piece has explored while highlighting the complexity of the issue:
Bogart is a champion of public art who is trying to find a champion for Barthé. NYCHA is facing an urgent capital needs deficit of billions, but maybe money to protect the frieze can be found elsewhere. Alternative funding from the City Council? The borough president’s office? A partnership with something like the Ford Foundation, which has made a cause out of public art and expression? Maybe the money is somewhere to fix what NYCHA couldn’t protect. Bogart points to the city Parks Department which she said does a solid job maintaining and monitoring public art.
Xinyu Wu, What should be tied, 2018, 23 x 30 x 23 cm
A new student show “One of a Kind” will be on display at the Central Reading Room in the Melville Library between November 6 and December 10, 2018.
Nobuho Nagasawa, the Art Studio Faculty Member who curated the show, described what’s on display in this way:
“In the new technological age, the role of the library has changed with the rise of the Internet, E-books, Kindles, and other means of reading. Nevertheless, books have never failed to transport new ideas, relay messages, provoke thoughts, and challenge viewpoints. In this exhibition, “One of a Kind,” I asked each student in the senior seminar class to expand their individual art practice and to create a site-responsive work that is related to the function of the library as a beacon of knowledge, and a place for exploration.”
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.”
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.
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.
“With her wide-ranging style and broad use of materials, Ms. Pindell has long been a round peg in a square hole. Enigmatic at times, didactic at others, she is an innovative abstractionist who also works in photography and video.”