Eugene Ludins: An American Fantasist
Curated by Susana Torruella Leval
February 11 — July 15, 2012
Morgan Anderson Gallery, Howard Greenberg Family Gallery, and Corridor Gallery
Saturday, June 16, 5:30 p.m.
"Representation and Its Discontents," a panel discussion in conjunction with the exhibition Eugene Ludins: An American Fantasist, moderated by curator Susana Torruella Leval. (Kleinert/James Center for the Arts, Woodstock, NY)
Visit the Special Events page for more information.
Read Roll Magazine's review of the exhibition HERE.
Catalog available at the museum or through SUNY PRESS.
Ludins was a product of his time, coming of age in a New York City that offered much for young men and women interested in pursuing a creative life. Like many young artists, Ludins studied at the Art Students League, where he developed his skill as a painter. In 1929 he moved to Woodstock, where he connected with the artists, writers, musicians, and other creative people who would shape his art as well as his life. Later, he became a professor and teaching artist in Iowa, though he spent his summers in Woodstock and relocated there permanently when he retired from teaching in 1969.
This is a story not unlike others in which a young artist came to the Hudson Valley to be inspired and then stayed, captivated by the beauty of the region and by its innovative community of artists. In furtherance of its mission to support Hudson Valley art and culture, the Samuel Dorsky Museum of Art is proud to add Eugene Ludins to the list of Hudson Valley artists we have celebrated and whose work has served as an inspiration for our audiences and for the artists of our time.
Losang Gyatso, Jokhang #2 (from the series "Signs from Tibet"), 2008
Anonymous seeks to explore the tension between an ancient culture's unbroken artistic tradition of anonymity and the personality-driven world of contemporary art. By examining attitudes towards attribution in shifting cultural contexts, we ask the question: how do practitioners in the emerging field of Tibetan contemporary art react to and reinterpret their predecessors' anonymous past, and what role does anonymity play in the changing landscape of contemporary Tibetan culture?