The opening reception for the VCS senior thesis exhibition “Carnivalesque” will take place this Wednesday, January 28th from 6 to 8 pm in SVA’s Flatiron Gallery at 133/141 West 21st Street. The evening’s events will include a series of live performances.
For more information on “Carnivalesque,” check out last week’s post about the show.
In a post last week I mentioned VERSUS, a student exhibition staged in the VCS department as part of Annette Wehrhahn and Emily Weiner’s course Make Your Own Art World: Independent Exhibitions, Projects and Spaces. VERSUS is the second Make Your Own Art World exhibition I’ve written about (you can read about the Fall 2013 Stairwell Show here).
VERSUS is a collaborative constellation of visual, auditory and performance art occurring at the School of Visual Art’s 133/141 West 21 St. building between 12-3pm on October 28, 2014. Viewers are invited into a conversation of public versus private, the constant versus fleeting, and the obvious versus the hidden.
The 2015 VCS senior thesis exhibition just opened this weekend in the SVA Flatiron Gallery; it will be on display for the next three weeks, with an evening reception and live performances to take place on January 28th. Here’s a brief description of the show from our website:
Carnivalesque: Opening Reception Wednesday, January 28, 6pm-8pm 133/141 W21 Street, School of Visual Arts Flatiron Gallery
CARNIVALESQUE Selections from the Visual & Critical Studies Department’s Seniors On view January 17 – February 7, 2014
School of Visual Arts presents “Carnivalesque,” an exhibition of thesis projects by BFA Visual & Critical Studies students. Curated by deputy chair of MA Curatorial Practice, Jovana Stokic, the exhibition is on view January 17 through February 7 at the SVA Flatiron Gallery, 133/141 West 21st Street, New York City.
Participating artists include Taylor Baker, Harris Bauer, Nicholas Calhoun, Lilyann Chen, Jina Choi, Brittany Cota, Carmela D’Agostino, Joseph DeSena, Isabel Dahl, Ashley Elma, Jennette June, Aspen Kincaid, Jinhee Kwak, Monica Lo, Shawn McCarney, Carissa Melillo, Katrina Mitilenes, Lauren Orscheln, Lily Roche, Lisa Saeboe, Julia Santoli, Devon Watson, Rachel Zaretsky and Leila Zhanybekova.
The Huffington Post’s Arts & Culture section recently ran an interview with Stokic in which she presents her thoughts on curating and talks about her role as deputy chair of SVA’s MA Curatorial Practice program. You can read it here.
The SVA Flatiron Gallery is located on the first floor at 133/141 West 21st Street in New York City. The show is free and open to the public, and can be viewed Mondays through Fridays 9:00 am to 7:00 pm and Saturdays 10:00 am to 6:00pm; the gallery is closed and is closed Sundays and federal holidays.
For more information and a slideshow of works from a few of the students in the show, see the listing on the SVA event calendar. You can also contact the gallery at 212-592-2145 or email@example.com.
I’ll be back with images from the exhibition and reception soon.
Tomorrow (Sunday, January 18, 2015), VCS faculty member Annette Wehrhahn’s new solo exhibition LIVE/WORK will open at Soloway in Brooklyn. Here’s the press release for the show, via the Soloway website:
SOLOWAY is pleased to announce its first solo exhibition of Annette Wehrhahn, LIVE/WORK January 18 – February 22, 2015 Opening Reception: January 18, 6-8pm
LIVE/WORK is the body through absence, on repeat, looped and shifted.
People bent over, squatting, sitting, jumbled; limbs interlocked and orphaned, falling down onto each other and the floor. Yet these figures are missing, implied here by the painted line. In this exhibition, Annette Wehrhahn has traced the body and its baggage to evoke caves long hidden and legacies untold. Her influences and gestures oscillate between prehistoric and expressionist visual languages, materialized in wax, hexagonal shapes, pre and re fabricated clothing, oil paint and raw canvas. The weight of the work comes from its liminal nature; life, work, reparation and fragility are interwoven, uncovering process as doubt. Wehrhahn records the tactility of production through the accumulation of movement in paint and object unearthing what it means to make something. If once there was gravity, it is now lost to contemplation, landing on its head, alongside the artist.
Annette Wehrhahn received her MFA from Bard College in 2006. Co-founder of Soloway Gallery, her work has been exhibited across the country and internationally, most recently with Andel 31 at the International Festival for Artist-Run Spaces in Copenhagen, Denmark.
SOLOWAY 348 South 4th Street. Brooklyn, NY 11211 www.soloway.info Hours: Saturday and Sunday, 12-5pm
Here in the Visual & Critical Studies program, Annette and fellow faculty member Emily Weiner co-teach Make Your Own Art World: Independent Exhibitions, Projects and Spaces, a course that’s received several mentions here. In a few days I’ll be posting a recap of VERSUS, an exhibition in and around the VCS department that was staged by students in the class last semester.
This semester, the Visual & Critical Studies Program is sponsoring four lectures as part of SVA’s ongoing Art in the First Person series. Here the full schedule for all four, including details on the speakers, dates, and topics. I will post updates here as each approaches. You can also find a listing of our lectures on the VCS website, and the entire SVA spring schedule on the SVA website.
Monday, February 16, 6:30 pm
Alfredo Jaar: It Is Difficult
With an introduction by Carla Stellweg
SVA Beatrice Theater
333 West 23rd Street, New York, NY 10011
ALFREDO JAAR is an architect, artist and filmmaker. Over the past decades he has shown an unwavering penchant to base all his work on in-depth research in regards to political, social or community-based issues. From his 1979-1981 billboards Studies on Happiness around Santiago, Chile to his electronic billboard A Logo for America in Times Square, first shown in 1987 and recently revived this past August 2014, Jaar’s public interventions have focused not only on geographical space but also on the cultural and political specifics of those places. His serious interest in information, history and details behind a particular location enables his work to operate as a tool for new models of thinking about art in the world of culture at large.
Jaar’s SVA presentation will expand on the unique relationships of architecture and art in his past and current work including its social and political impact.
Monday, February 23, 6:30 pm Leo Treitler: Our Mimetic Heritage from Plato to Louis Vuitton
133-141 West 21st Street, room 101C
New York, NY 10011
The concept of “mimesis” comes down to us from Greek Antiquity, evidently deriving the connotation of its name from the word for actor, “mimos,” in the context of either ritual or entertainment dramas of the culture. Given that background it took on the connotation of imitation or representational action. In either sense “mimesis” has implied a dichotomy of appearance as against reality. And under a compulsion for seeing likenesses the embrace of virtual realities is encouraged–a realization of fears notoriously expressed by Plato. The paper explores these pathways and their issue in aspects of contemporary culture and policy–for example the Louis Vuitton phenomenon, but also the conception of war and peace in the eyes of American populations and their governments.
Leo Treitler was born in Dortmund, Germany in 1931 and emigrated to the US in April, 1938. He studied composition with Boris Blacher at the Hochschule für Musik, Berlin 1957-58, received BA and MA degrees in music from the University of Chicago, MFA and PhD in music from Princeton University, and Doctor of Music /Honoris Causa /from the New England Conservatory of Music. He has held professorial positions at the University of Chicago, Brandeis University, Stony Brook University, the Graduate Center of the City University of New York where he is Distinguished Professor of Music Emeritus since 2003, and guest professorships at Basel (Switzerland), Berkeley, Columbia, Frankfurt (Germany), Harvard, and Yale Universities. He is a fellow of the American Academy of Arts and Sciences and of the New York Institute for the Humanities. Books published: Music and the Historical Imagination, With Voice and Pen: Coming to Know Medieval Song and How it was Made, Strunk’s Source Readings in Music History, Revised Edition, Reflections on Musical Meaning and its Representations.
Monday, March 16, 2015, 6:30 pm Cara Starke on Creative Time
133-141 West 21st Street, room 101C
New York, NY 10011
Over the past four decades, Creative Time has commissioned and presented ambitious public art projects with thousands of artists throughout New York City, across the country, around the world. Guided by three core values—art matters, artists’ voices are important in shaping society, and public spaces are places for creative and free expression—Creative Time is deeply committed to presenting important art for our times and engaging broad audiences that transcend geographic, racial, and socioeconomic barriers.
Cara Starke, Director of Exhibitions at Creative Time, will speak about Creative Time’s innovative and meaningful history—from Tribute in Light, the twin beacons of light that illuminated lower Manhattan six months after 9/11, to Paul Chan’s production of Waiting for Godot in New Orleans, to Kara Walker’s A Subtlety at the Domino Sugar Factory—as well as the process of commissioning artists, and the challenges of engaging public spaces as places for creative and free expression.
As the Director of Exhibitions at Creative Time, Starke heads the department that commissions artists and presents public art projects. Previously she was Assistant Curator at The Museum of Modern Art, where she collaborated with artists and organized exhibitions with the Department of Media and Performance Art.
Monday, April 6, 6:30 pm Sadequain: A Talk by Saiyid Ali Naqvi
133-141 West 21st Street, room 101C
New York, NY 10011
Sadequain is considered one of the most original, controversial and prolific artists of his time. His remarkable career spanned three decades and witnessed a feverish flurry of creativity which resulted in several thousands of paintings, etchings, drawings, calligraphy and giant mural which adorn institutions in South Asia and in the West. As an introduction to Sadequain – the Pakistani artist and poet (1930-1987) who’s art works span three decades of pen ink drawings, oil paintings, large scale murals and calligraphy – the lecture will briefly locate the artist within his political, social and emotional context and how these contributed to and shaped his creativity.
Saiyid Ali Naqvi is the author of Indus Waters and Social Change. And is currently working on his second book ‘Sadequain Painter and Poet’ and his book of verse ‘Mashke Sukhan’ (The Practice of Poetry) He grew up with his cousin Sadequain in Amroha where they spent their childhood together in the same compound of homes in their mohalla in Amroha. From early adulthood they shared each other’s thoughts and passions. These are beautifully reflected in Sadequain’s mural, The Saga of Labour, which adorns the wall of the machine room of Mangla Dam Power Station. The author takes great pride in having persuaded both the artist and the engineers to create a mural that celebrates human endeavour for development and nature’s beauty.