William Patterson in this weekend’s Bushwick Open Studios

WP os

This weekend, VCS alumnus William Patterson will have works on display at two locations during the Bushwick Open Studios. Here’s some information that he forwarded to us:

You are cordially invited to my studio this weekend as I will be participating in Bushwick Open Studios for my second consecutive year!  My most recent body of work will be on display throughout my apartment and studio.

The studio is located directly off the DeKalb L stop at 140 Wyckoff Avenue, #3R and will be open to the public this Saturday and Sunday (June 6th and 7th) from 11am-6pm.

In addition, my paintings will also be displayed alongside the work of Richard Kostelanetz, Anna Hegarty and Alex Zandi at Alex’s studio space, located at 10-51 Wyckoff Avenue. There will be an opening night party on Saturday, June 6th from 7-10pm.

For more information, check out Will’s listing on the Bushwick Open Studios website, and his own site.

Will’s participation in the last year’s Bushwick Open Studios got a special mention in Art F City’s 2014 event guide; for details, check out this post.

WP 2015


WP site

This weekend (June 6-7): “On Taking Photographs,” curated by Rachel Zaretsky

On Taking Photographs

Recent VCS graduate Rachel Zaretsky has contacted us with news that she’s curated a two-day exhibition set to coincide with this weekend’s Bushwick Open Studios. The three-person show includes work by VCS alumna Julia Santoli and artists David Johnson and Lucia Del Sanchez.

Here are the details:

On Taking Photographs:
David Johnson
Lucia Del Sanchez
& Julia Santoli

curated by Rachel Zaretsky
Bushwick Open Studios
June 6-7
12-7 pm

Opening on June 6
6-8 pm

1828 Troutman Street
Ridgewood, NY

Opening Tuesday in the VCS Gallery: Amarcord, curated by Peter Hristoff

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Ama

June 2-June 25, 2015
Reception: Tuesday, June 2, 6:00-8:00 PM

 

It was an experience that to this day still unravels itself to me. Sometimes I see it in my paintings or drawings, a certain predilection towards a specific shape, or form. Sometimes it’s when I choose to stand up at a Starbucks counter to have my espresso, or how familiar it feels when I hear someone speaking Italian in the subway. Usually, it hits me during a quiet taxi ride home as I watch the glistening NY landscape and I know that Rome’s landscape is still burned into my eyes, and that for a little while, I belonged to her somehow.

               - Jonathas Nazareth

The Visual and Critical Studies Gallery is pleased to present AMARCORD, an exhibition of works created by students of SVA’s inaugural class in Rome. Titled after Federico Fellini’s 1973 masterpiece Amarcord (meaning “I remember”) the exhibition presents works made by the participants since their return to New York as well as a digital presentation of works made while in Rome. Similar to the theme of the movie, which is a coming of age story, the exhibition presents the idea of studying abroad as a transformative experience.

Among the pieces presented will be a monumental self-portrait by Gerald Sheffield (BFA Fine Arts 2015) referencing the style of Roman busts that incorporate various types of marble and the Belvedere Torso. Sheffield, who will continue his studies at Yale (MFA Painting) in the fall, comments: “Rome provided a unique opportunity for me as a studying artist. The historical significance and parallels to contemporary western culture became an integral part of my work.” In addition, the exhibition will include an over life-size saluting rabbit by Andrew Senken (BFA Fine Arts 2015) reminiscent of the saluting Emperor bronzes along the Roman Forum; Digital images of unidentifiable ancient fragments by Taylor Baker (BFA VCS 2015); a video inspired by Bernini’s “Ecstasy of Saint Teresa” by Kate Kuhne (BFA Fine Arts 2016) and Lisa Saeboe (BFA VCS 2015); painted reliefs of devotional objects and spaces by Julia Garcia (BFA VCS 2014); and, Byzantine mosaic-like paintings by Jonathas Nazareth (BFA VCS 2014), among others.

Curated by Peter Hristoff.

Visual & Critical Studies Gallery
133/141 West 21st Street, Ground Floor
New York, NY 10011

Photo credit: Genevieve O’Keefe

An essay by VCS Department Chair Tom Huhn in Vision Anew, from UC Press

We are happy to announce that Tom Huhn, the Chair of Visual & Critical Studies, has contributed an essay on the fate of photography to the new collection of essays on the lens and screen arts. (See below for more information on the book.)

vision anew

The following description of Vision Anew is quoted from the University of California Press website. (Click on the cover image or the link above to visit the site.)

Vision Anew
The Lens and Screen Arts

Adam Bell (Editor), Charles H. Traub (Editor)
Available worldwide
Paperback, 312 pages
ISBN: 9780520284708
May 2015
$34.95, £24.95

[Hardcover edition here]

“A valuable, timely, and stimulating collection.”—Geoff Dyer, author of The Ongoing Moment

Vision Anew is a remarkable compendium of important artists, practitioners, theorists, and essayists, who muse on what constitutes creativity in the lens and screen arts today. The book reveals how the intersection of a mobile Internet with photography and video has radically changed what we expect from the witnessing camera. I think this book is destined to be essential reading for all those thinking about the future of our visual culture.”—Mark Lubell, Executive Director, International Center of Photography

“Brings together prophetic historic texts with the best of recent thinking to create an essential reader. This book provides a critical framework that genuinely supports a creative life in photography; its pluralism in the range of ideas and voices speaks out for what is new and what is enduring in the vital dynamics of photographic culture.”—Charlotte Cotton, author of The Photograph as Contemporary Art

The ubiquity of digital images has profoundly changed the responsibilities and capabilities of anyone and everyone who uses them. Thanks to a range of innovations, from the convergence of moving and still image in the latest DSLR cameras to the growing potential of interactive and online photographic work, the lens and screen have emerged as central tools for many artists. Vision Anew brings together a diverse selection of texts by practitioners, critics, and scholars to explore the evolving nature of the lens-based arts.

Presenting essays on photography and the moving image alongside engaging interviews with artists and filmmakers, Vision Anew offers an inspired assessment of the medium’s ongoing importance in the digital era. Contributors include Ai Weiwei, Gerry Badger, David Campany, Lev Manovich, Christian Marclay, László Moholy-Nagy, Walter Murch, Trevor Paglen, Pipilotti Rist, Shelly Silver, Rebecca Solnit, and Alec Soth, among others. This vital collection is essential reading for artists, educators, scholars, critics, and curators, and anyone who is passionate about the lens-based arts.

 —

Adam Bell is a photographer and writer. Coeditor of The Education of a Photographer, he has written for numerous publications, including Afterimage, The Brooklyn Rail, The Art Book Review,FOAM Magazine, photo-eye, and Paper Journal. He is currently on staff and faculty in the MFA Photography, Video, and Related Media Department, School of Visual Arts.

Charles H. Traub is chair of the MFA Photography, Video, and Related Media Department, School of Visual Arts, and president of the Aaron Siskind Foundation. His many books include Dolce Via: Italy in the 80s, The Education of a Photographer, and In the Realm of the Circuit, and his writings have been published in Connoisseur, Fortune, Newsweek, Aperture, U.S. News & World Report, Afterimage, Popular Photography, American Photographer, and The New Yorker.

Opening this Thursday: “Cuts Noon Light” at Brian Morris Gallery, featuring work by Kara Rooney

Kara Rooney, On Moving Farther Away from Speech, or Hindsight is Never Twenty/Twenty, No. 2-3, Plaster, ceramic, resin and digital photograph, Dimensions variable, 2014 (via the Facebook page for "Cuts Noon Light")
Kara Rooney, On Moving Farther Away from Speech, or Hindsight is Never Twenty/Twenty, No. 2-3, Plaster, ceramic, resin and digital photograph, Dimensions variable, 2014 (via Facebook)

 

This Thursday, May 21st from 7 to 9 pm, Brian Morris Gallery will hold the opening reception for the three-person exhibition “Cuts Noon Light,” featuring artworks by VCS faculty member Kara Rooney and artists Steel Stillman, and Andrew Ginzel.

The following excerpt from the gallery’s press release provides this overview of the show and description of Kara’s work (you can read the rest here):

Animated by its empty center, the work in “Cuts Noon Light” creates a space through its scale shift between tiny details and the vastness of nothing happening. The universe is expanding, and our understanding of the universe expands with it. This exhibition invites us to reflect on all that is known as well as the unknowable. Infinite sides of a clear duality. Reconstructing memories. Deconstructing the Present. At times, manufacturing history. Question everything.

Combine that small patch of negation with the eroticism of translucent fabric and you have an explosion the size of a small star. Pulses quicken at the possibilities–everything we need is right there if we can just catch the light.

Black becomes object, subject and background. It is inserted into what seems to be a familiar scene or removed entirely. Dark matter outweighs visible matter but can only be detected through gravitational effects. Like galaxies, we should have been torn apart long ago. The glossy blacks, photo mattes, and reflections of mirrors used by the artists in this exhibition explore beyond the measured and quantifiable.

***

Kara Rooney’s sculptures, installations and photographs include fragments of memory imbedded in plaster, isolated atop obsidian platforms. The installation uses these moments of isolation along with thinly veiled scrims to speak to memory’s slippery affect, which shift and morph, like stanzas in a poem, in accordance with their surroundings.

“Cuts Noon Light” will be on display from May 21 through June 20, 2015 at Brian Morris Gallery, located at 163 Chrystie Street between Delancey and Rivington Streets in New York City. The gallery is open Wednesday through Sunday from 12 to 6 pm. For more information, contact the gallery by phone at 347-261-8228, or by e-mail at info@brianmorrisgallery.com

 

Andrew Ginzel, Cataclysm, 2008 Ink, toner on paper, convex mirror, 18  x 14 in
Andrew Ginzel, Cataclysm, 2008 Ink, toner on paper, convex mirror, 18 x 14 in