Curated by Michael Asbill
January 25 – April 9, 2017
Alice and Horace Chandler Gallery and North Gallery
Matthew Friday, Eat Your Sidewalk, 2016, chalkboard, mobile research platform, books and photographs, courtesy the artist
Intimately Unfamiliar, an exhibition of new work by the fulltime art faculty of the State University of New York at New Paltz, presents a wide-range of projects in many mediums, utilizing a myriad of technologies, on many subjects. The breadth of this show, which presents work by over 20 artists, would suggest little likelihood of a common thread. But on close inspection, one discovers that the work in this exhibition is connected by a tension that exists between recognizable objects, situations, places, and spaces that we encounter every day and the startling degree to which the ordinary is complicated, fascinating, possibly misleading, and most likely unknowable.
Participating artists: Thomas Albrecht, Robin Arnold, Lynn Batchelder, Rimer Cardillo, Amy Cheng, Bryan Czibesz, Francois Deschamps, James Fossett, Andrea Frank, Matthew Friday, Michael Gayk, Kathy Goodell, Joshua Korenblat, Rena Leinberger, Myra Mimlitsch-Gray, Itty Neuhaus, Jill Parisi, Emily Puthoff, Nadia Sabin, Thomas Sarrantonio, Anat Shiftan, Suzanne Stokes, Dimitry S. Tetin
Curated by Tom Wolf
February 4 – May 21, 2017
Morgan Anderson Gallery
Carl Walters, Whale, 1927, glazed ceramic, private collection, courtesy of Conner-Rosenkranz, NY (photo Mark Ostrander)
The retrospective exhibition Carl Walters and Woodstock Ceramic Arts will survey the over 40-year career of Carl Walters (1883–1955), a pioneer of modern ceramic art in America. Walters made both functional objects and ceramic sculptures. The exhibition will feature prime examples of his witty and original three dimensional figures as well as his elegant plates and bowls. Curated by Tom Wolf, professor of art history at Bard College and renowned expert on the Woodstock art colony, the exhibition will also include examples of Walters’s rarely exhibited works on paper. The first major exhibition of Walters’s work since the 1950s, this show will place Walters within the context of ceramic arts in Woodstock from the Byrdcliffe colony in the early 20th century to the modernists who worked in Woodstock in the 1920s and 30s. Today, when ceramic sculpture plays a vital role in the contemporary art world, this exhibition will bring attention to one of the most prominent early practitioners of the medium in the United States.
Curated by Murtaza Vali
February 4 – May 21, 2017
Howard Greenberg Family Gallery
Hanaa Malallah (b. 1958, thee Qar, Iraq), Uruk Wall, 2006, Mixed media on carved wood, courtesy Pomagranate Gallery
Drawn from the personal collection of New York-based sculptor Oded Halahmy, a Jewish native of Baghdad, this exhibition presents his work alongside that of eight contemporary artists from Iraq, organized around the notions of text and texture. The varied works in the exhibition range from examples of modern Arabic and Hebrew calligraphy, illustrating texts from both Western and Islamic philosophical traditions, to those that evoke hurufiyah, an influential modern Arab variant of Lettrism, which used the swoops and curves of the Arabic alphabet as painterly gestures. From abstract collages constructed out of the remains of destroyed books to the Hebrew calligraphy seen in Halahmy’s art, these works demonstrate the importance of the literary—of letters, words, and books—in Iraqi society, culture and visual arts, both past and present.
Hayder Ali / Amal Alwan / Mohmammed al Hamadany / Oded Halahmy / Ismail Khayat / Hana Malallah / Hassan Massoudy / Naziha Rashid / Qasim Sabti
Curated by Andrew Ingall
February 4 – May 21, 2017
Sara Bedrick Gallery
Sara Greenberger Rafferty, Jokes on You, 2016 (detail), Acrylic polymer and inkjet prints on acetate on Plexiglas, and hardware, courtesy of the artist and Rachel Uffner Gallery. Photo: JSP Art Photography
The exhibition Sara Greenberger Rafferty: Gloves Off will present recent work by the Brooklyn-based artist known for unsettling works that contend with topics such as domesticity, the body, consumer culture, fashion, and violence. Over the past decade, Rafferty (b. 1978) has referenced the language, gestures, and props associated with stand-up comedy using a variety of media. Her new objects—blurring the lines between two and three dimensions—feature images printed on acetate which are then painted and mounted on irregular, hand-cut Plexiglas. To complete this intensive process, Rafferty mounts the work to walls using custom-painted screws that disrupt and “wound” its surface. The exhibition will also premiere a video based on research conducted as part of a 2015-16 Smithsonian Artist Research Fellowship. The boxing term “gloves off”—frequently used as a metaphor for brutal political campaigns and post-9/11 military interrogation—also aptly describes the more subtle aggressions in American popular culture which Rafferty lays bare.
The show is organized by independent curator Andrew Ingall, whose exhibitionVideofreex: The Art of Guerrilla Television was on view at The Dorsky in 2015. After its presentation at The Dorsky, a related exhibition travels to the University Art Museum (UAM), the State University of New York at Albany, opening on June 30, 2017.
Curated by Wayne Lempka
Ongoing: February 4, 2017
Milton Avery, Card Players, 1944, oil on canvas, gift of Mr. & Mrs. Roy R. Neuberger, 1954.002
From its humble beginnings in the 1950s, the permanent collection of the Samuel Dorsky Museum of Art (formerly known as The College Art Gallery) has grown to comprise roughly 6,000 objects spanning over 4,000 years. While many individuals have been responsible for the increase in the number of objects accessioned into the collection, it was through the initial efforts of both the University’s Faculty Wives Club and the Arts & Crafts Society that a permanent collection was established on campus. When one considers that the few hundred objects which initially formed the core of the permanent collection in the 1950s, have grown to comprise approximately 6,000 objects, one cannot help but reflect upon the diligent efforts and the extreme generosity of a vast number of patrons over the last six decades.