Each semester the Student Art Alliance invites artists, historians, critics and curators to give presentations on their work or on current issues in contemporary culture. The Visiting Artist Lecture Series offers unique opportunities to explore and discuss contemporary creative practices. More than 200 internationally recognized artists and designers representing the range of disciplinary and interdisciplinary interests of the region have participated to date.
This series has become the flagship of the Student Art Alliance, an entirely student-run organization that for years has supported and enhanced opportunities for campus community members to view fine art and gain insights into the process of working art professionals.
The lecture series is funded by the SUNY New Paltz Student Association and administered by the Student Art Alliance. For additional information email firstname.lastname@example.org.
Chloé Rutzerveld is a critical food designer who explores and challenges food production and consumption. She is fascinated by nature, the human body and the strange relationship people have with food. After she graduated Cum Laude from the Eindhoven University of Technology in 2014, she started her own studio as Food and Concept Designer.
Her work is interdisciplinary and a direct response to the things she questions or is fascinated about. By combining aspects of design, science and technology she thinks up new ways to make our food more efficient, healthy and sustainable.
She communicates her ideas through speculative design probes, workshops and experimental dinners. By using food as medium, she makes new technologies and food related issues tangible for a wide variety of people, resulting in more understanding and in-depth discussions.
Next to self-initiated work, Chloé does commissioned projects and consultancy work. She also lectures about her work and the future of food.
We’re just two guys, Andy Bichlbaum and Mike Bonanno, who—thanks to a network of ultra-capable friends and allies—infiltrate conferences, produce fake newspapers, and do various other weirdness in order to expose the wrongdoings of miscellaneous, mostly corporate evildoers. Oh, and we record the whole thing to get it out to the world through social media, news channels, and our own movies.
We call this sort of thing “laughtivism” because, well, it’s funny. And it’s activist: the theory is, we’ll laugh bloodsuckers into oblivion and thus save the world. It doesn’t always work—the world still needs some saving—but, you know, the arc of history bends towards justice, even when it seems to be breaking.
On this site you’ll find stories from our past adventures, revealing some of the dirty details so that you can pull off your own. (And if you ever wonder “How did they do that?” just ask! We’ll be happy to add more details to satisfy demand.)
Laughtivism is fun, relatively easy, and is part of the tapestry of resistance – so if it appeals to you, why not do some of your own?
Arlene Shechet was born in 1951 in New York City. Fascinated by the way things are made, Shechet likens her studio to both farm and factory. Employing an experimental approach to ceramic sculpture, she tests the limits of gravity, color, and texture by pushing against the boundary of classical techniques, sometimes fusing her kiln-fired creations with complex plinths formed of wood, steel, and concrete.
By incorporating casts of firebricks and porcelain slip molds into her sculptures (revealing the tools of industry), she reflects on and investigates the tradition of decorative arts. Variously sensual, humorous, and elegant, her clay-based vessels evoke the tension between control and chaos, beauty and ugliness, perfection and imperfection. Considering herself an installation artist who happens to make objects, Shechet focuses intently on ensuring that the display, sight lines, and relationships of the objects in her exhibitions change with every view while maintaining formal equilibrium. Read more...
Faye Hirsch is an editor and critic who has published widely on contemporary art, most frequently in Art in America, where she has been a senior editor since 2003. Prior to that she was editor in chief at Art on Paper and senior editor at Print Collector's Newsletter, with expertise in the history of contemporary printmaking. She received her Ph.D. in the History of Art from Yale University in 1987, and has taught at the universities of Oregon (Eugene) and Arizona (Tucson), at the School of Visual Art in New York and at the Rhode Island School of Design in Providence. Apart from articles, reviews and interviews in Art in America, she has written for Artforum, Flash Art, Parkett and other magazines, and a wide variety of catalogue essays for museum and gallery exhibitions. Among her forthcoming publications are an essay on Beatriz Milhazes for a retrospective at the Museo Naçional de San Pãulo and a book on Tamarind Press.
Since 1964, Helen Drutt has been fascinated with contemporary craft. She began to collect and wear contemporary pieces. Drutt continued to do so for the love of the objects and to promote modern craft. Helen Drutt has become a resource to scholars and institutions worldwide. The Helen Drutt Gallery, of which she is founder and director since 1974, was one of the first galleries in the nation to commit to the crafts. She is the executive director and founding member of the Philadelphia Council of Professional Craftsmen. Drutt also developed the first college level course on the history of modern craft in 1973. Drutt is acknowledged for introducing American craft internationally and for bringing European and Australian craftwork to Philadelphia. She has collected over three hundred works over the past thirty years. This collection is representative of the last three decades of the crafts. The Helen Drutt Collection of jewelry, Contemporary Jewelry: 1964 - 1994, has been exhibited throughout the world. Helen Drutt has lectured internationally and has been honored for her endeavors. She was appointed a Cultural Ambassador for the City of Philadelphia by the Office of Arts and Culture in 1965. In this role, she is better able to continue her role of excellence in the promotion and support of modern craft.
The work I make is my soliloquy of simpler times.
I turn the soil. I plant the seeds. I grow the wheat. I harvest the grain. I grind the flour. I trade for the salt. I collect the water. I knead the dough. I coax the fire. I bake the bread.
Nourishment comes in many forms-labor, vulnerability, connectedness, desire. The vessels of clay I make are for sustenance. They are a document of my intent and a signifier of my connection to this life, both past and present. Having the hand present in my work is critical. It is through the element of touch I am able to honor honesty, vibrancy, energy, and humility.
Valerie Hammond maintains a fluid artistic practice, distinguished by for her organic approach and deft interaction with different mediums. Yet the tangibility of her materials and processes are subtly undermined by the poetic nature of her imagery.
Hammond was born in Santa Maria, California. She received her MFA from the University of California at Berkeley, where she was awarded the Eisner Award. Her work is included in public and private collections such as the Walker Art Center, The Fine Arts Museum Houston, The Library of Congress, the New York Public Library's Print and Drawing Collection, the Getty Museum, the Progressive Collection, the Chazen Museum of Art, Madison Museum of Contemporary Art, the Grand Palais Museum, and the Fidelity Collection. She has exhibited in solo shows and group exhibitions in the United States, Europe, China, New Zealand and India. Hammond is the recipient of awards and fellowships from the New York Foundation of the Arts, the Lower Manhattan Cultural Council and the Peter S. Reed Foundation. She currently lives in New York City.
Dates, times and locations subject to change. Bookmark this website for the most up-to-date information.