Corridor Gallery and Howard Greenberg Family Gallery
Hudson River School Drawings from Dia Art Foundation
From a collection assembled by Dia Art Foundation artist Dan Flavin, this exhibition includes important drawings and oil sketches by John Kensett, Aaron Draper Shattuck, Sanford Gifford, Jasper Cropsey, and James David Smillie. The exhibition is organized by the Frances Lehman Loeb Art Center, Vassar College.
John Frederick Kensett (American, 1816 - 1872)
Cattskill Mt. [sic], ca. 1849
Graphite on beige wove paper
9 1/4 x 13 inches (sheet)
Sara Bedrick Gallery
Grace Bakst Wapner: A Scholar’s Garden
A selection of semi-abstract ceramic works based upon this Woodstock-based artist’s ruminations on natural forms as inspired by the ancient and contemplative “Scholar’s Rock” tradition in China.
Alice and Horace Chandler Gallery & North Gallery
B.F.A./M.F.A. Thesis Exhibition I
November 30 - December 4
Opening reception November 30, 6–8 p.m.
B.F.A./M.F.A. Thesis Exhibition II
December 7-11
Opening reception December 7, 6–8 p.m.
Miguel Gandert,
Guadalupana,
gelatin silver print.
Sara Bedrick Gallery
Rituales de la Tierra y del Espíritu--Rituals of the Land and Spirit
Photographs by Miguel Gandert
November 2 - December 9
Miguel Gandert, an internationally-acclaimed photographer and professor at the University of New Mexico has participated in and documented the rituals of the indigenous, mestizo, Nuevo Mexicano culture for more than twenty years.
- Opening reception Friday, November 2, 6 - 8 p.m.
- Conversation between Miguel Gandert and Enrique Lamadrid, Professor of Chicano Studies, University of New Mexico Saturday, November 3, 2 p.m. (SDMA)
The Big Read: New Paltz reads Bless Me, Ultima
This event is part of The Big Read, an initiative of the National Endowment for the Arts in partnership with the Institute of Museum and Library Services and Arts Midwest.
http://www.onebookonenewpaltz.org
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Alice and Horace Chandler Gallery
Re-Viewing the Museum
October 6 - November 18
Selected works from the SDMA's collection with special emphasis on works not recently exhibited at the museum.
Harry Callahan, Providence, 1977,
dye transfer print gift of mary and Charles Traub
Helen K. Garber
Radio Tower, 1997,
selenium toned gelatin silver print
North Gallery
Urban Noir: L.A. - N.Y.
Photographs by Helen K. Garber
October 6 - November 18
A portfolio of black-and-white photographs, inspired by Film Noir and pulp fiction, taken at night in Los Angeles and New York City.
- Opening reception for both exhibitions: October 6, 2 - 4 p.m.
- Gallery Talk with Helen K. Garber: Saturday, October 13, 2 p.m.
A Designed Life: The Arts and Crafts of Byrdcliffe
June 23 – December 9
A selection of artworks and crafts created by artists associated with the historic Byrdcliffe Arts and Crafts Colony founded in 1903 in Woodstock, NY.
Interpreting Utopia
June 23 – December 9
Recent work by Center for Photography at Woodstock Artist-in-Residence Fellows inspired by the environment and architecture of the Byrdcliffe colony. Artists: Kira Lynn Harris, Isabelle Lumpkin, Stephen Marc, Xaviera Simmons, Karina Aguilera Skvirsy, and Kwabena Slaughter.
European Prints from the Ken Ratner Collection
June 23 – December 9
An exhibition of 30 prints on extended loan to the museum, including significant works by Cezanne, Daumier, Magritte, Matisse, Munch, Picasso, Rembrandt, Renoir, Sisley, and others.
» Download Fall 07 Exhibition Announcement Card *
Re-Viewing the Museum
October 6 - November 18
Selected works from the SDMA's collection with special emphasis on works not recently exhibited at the museum.
Harry Callahan, Providence, 1977,
dye transfer print gift of mary and Charles Traub
Helen K. Garber
Radio Tower, 1997,
selenium toned gelatin silver print
Urban Noir: L.A. - N.Y.
Photographs by Helen K. Garber
October 6 - November 18
A portfolio of black-and-white photographs, inspired by Film Noir and pulp fiction, taken at night in Los Angeles and New York City.
- Opening reception for both exhibitions: October 6, 2 - 4 p.m.
- Gallery Talk with Helen K. Garber: Saturday, October 13, 2 p.m.
Hudson Valley Artists 2007: The Uncanny Valley
June 23 – September 9
An exhibition of work by artists from the region exploring - from diverse viewpoints and with a wide range of media-psychological, perceptual, historical, and literary aspects of the uncanny.
» Conversations @ SDMA *
George Quasha: “art is” and Axial works in stone, graphite, and video
June 23 – October 7
Three interrelated bodies of work and a video project comprising short interviews with over 500 artists commenting on “what art is.”
» Conversations @ SDMA *
Form Radiating Life: The Paintings of Charles Rosen
February 24 - May 20, 2007
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Charles Rosen was one of the most accomplished Pennsylvania Impressionists, and later, a prominent Modernist associated with the Woodstock Art Colony. In the early 1900s Rosen became a successful landscape painter but, dissatisfied with this style, eventually abandoned the purely representational mode in favor of a rhythmic and semi-abstract style that incorporated elements of the built landscape, decorative patterning, and cubist fractured perspectives. Rosen maintained that this mature style was based on a passionate exploration of form as a living, organic phenomenon, what he referred to as the form that radiates life. Form Radiating Life: The Paintings of Charles Rosen will feature 50 works, including major paintings and works on paper spanning Rosen's stylistic development. The works in the exhibition are drawn from the collections of the James A. Michener Art Museum (JAMAM), as well as from other public institutions and private collections in Connecticut, Ohio, New York, Pennsylvania, Missouri, and Washington, D. C. This exhibition was initiated through a shared interest in Rosens work on the part of SDMA director Neil Trager and JAMAM curator Brian Peterson. Neil Trager facilitated relationships with Charles Rosen's granddaughter Kit Rosen Taylor, a resident of Woodstock, Arthur A. Anderson, an avid Rosen collector and SDMA board member, and Tom Wolf, Professor of Art History at Bard College, whose catalogue essay and lectures at both the Michener and the Dorsky museums provide important insight on the artist and his times. Form Radiating Life: The Paintings of Charles Rosen was organized by the James A. Michener Art Museum, Doylestown, Pennsylvania. |
Judy Pfaff: New Prints and Drawings
February 10 - April 7, 2007
Sculptor, printmaker, installation artist, and set designer Judy Pfaff will be the subject of the next Hudson Valley Masters series exhibition at the SDMA. Pfaff exuberantly investigates the visual and metaphorical intensities of the natural and built worlds. Her deep engagement with materials and processes has resulted in the creation of a respected but always surprising body of subtle, powerful work.
Pfaff's large prints incorporate multiple plates, collaged papers and an array of other materials and techniques; these works are presented in elaborate frames designed and fabricated to Pfaff's specifications. The exhibition focuses on prints created at Tandem Press in Madison, Wisconsin, and on prints and drawings the artist has completed since receiving a MacArthur Fellowship in 2004.
Judy Pfaff
Edition 30
Letterpress, lithography, wax, encaustic, acrylic
12 3/8 x 23 1/8 inches
In addition to the prints and drawings, the SDMA will present a new project by the artist: a group of works from the museum's permanent collection selected and installed under the direction of the artist.
Judy Pfaff's work has recently been featured in one-person shows in New York, Philadelphia, Santa Fe, and Tokyo, and her work is included in the permanent collections of institutions including The Museum of Modern Art, the Whitney Museum of American Art, and the Albright-Knox Gallery. Pfaff, a current MacArthur Fellow and past recipient of NEA and Guggenheim fellowships, represented the United States at the Bienal de Sao Paolo in 1998. She is a Professor of Art at Bard College, and lives and works in the Hudson River Valley.
EAST WING:
January 23 - February 11, 2007
MUSEUM, MISSION and MEANING:
Selections from the Collections
This installation marks the first in a series of long-term installations in three of the SDMA’s spectacular east wing galleries, dedicated to displaying work from its diverse collections. A museum’s value is determined, to a large extent, by the uniqueness of the objects it holds in trust, and how it interprets and uses the contents of its collections. The works on display here are designed to demonstrate the growth and development of collections at the SDMA, and to underscore the areas of focus and strength that are particular to the museum.
Works on display will include the following:
Morgan Anderson Gallery
A survey of 19th and 20th century American prints, drawings, paintings, and sculpture selected from the permanent collection. The SDMA has a special commitment to collecting important works of art created by 
artists whose careers are linked to the Hudson Valley and Catskill regions. Works from the permanent collection on display in the Morgan Anderson Gallery will include including works by George Inness, Milton Avery, George Bellows, Bolton Coit Brown, Ilya Bolotowsky, Doris Lee, Lilly Ente, Eugene Speicher, Charles Rosen, Austin Mecklem, Theodore Roszak, Richard Segalman, and Don Nice. Many of the artists featured in this gallery were associated with the historic Woodstock Art Colony.
George Inness
Montclair, New Jersey, 1885
Oil on board, 9 3/8 x 14 1/8 inches
Gift of Elizabeth Koppitz, 1961.001.002
Howard Greenberg Family Gallery
First dedicated in 2005, this gallery focuses on the SDMA’s extensive photography holdings, which include both the museum’s own permanent collection and the collection of the Center for Photography at Woodstock which is housed at the SDMA. Works on view will include major recent acquisitions, including two rare issues of Alfred Stieglitz’s magazine Camera Work. The collections span a broad 
cross-section of the history of photography, from 19th century images of the Adirondacks by Seneca Ray Stoddard and pictorialilst portraits by Eva Watson Schütze, to work by renowned mid-20th century photographers such as Aaron Siskind, Edward Steichen, Josef Sudek, Sid Grossman, and Weegee, to significant bodies of work by more contemporary figures like Larry Fink, Mark Goodman, Joel Meyerowitz, and Allen Ginsberg.
Sid Grossman
Untitled, ca. 1945, 7 5/8 x 9 ½ inches
Gelatin silver print
Gift of Howard Greenberg
2004.038.117
Corridor Gallery
Committed by its mission to collecting, researching, interpreting, and exhibiting works of art from diverse cultures, 
the SDMA’s permanent collection spans a period of almost 4,000 years, and includes art and artifacts from Africa, Asia, Oceania, and the Americas. On view in the Corridor Gallery will be outstanding examples from the museum’s rarely seen world study collection, including Chinese and Japanese woodblock prints, Australian bark paintings, and pre-Colombian art and artifacts. Made newly accessible through this installation, this broad group of works serves to complement museum’s other holdings, and to support the teaching mission of the college.
Unknown Egyptian
Child-god, late 4th – 3rd century B.C .E.
Plaster 5 ½ x 5 x 1 inches
Gift of the New Paltz Arts and Crafts Society
1957.005.011
Student Thesis Exhibitions
BFA/MFA I 12/1 - 12/5
BFA//MFA II 12/8 - 12/12
October 4 – December 10
Sara Bedrick Gallery
ANFAS LISTWA NOU: Facing Our History
Haiti: Photographs by Daniel Morel
» Download Exhibition Brochure **
Daniel Morel
Injured and panicked students and professors shout for help after they were attacked by pro-Aristide
thugs who attacked their march at State University, December 5, 2003
digital print 11 x 14 inches courtesy the artist and Wozo Productions
For more information about this project visit, www.facingourhistory.org
October 7 - November 19
Chandler and north Galleries
LoCurto/Outcault
[un-moving] pictures
LoCurto/Outcault
/scribble in the air_bc/, 2006
flat panel display, electronics, wood, formica
4 minutes 28 seconds
courtesy the artists
August 29 - September 22
Kaaterskill: Photographs by Susan Wides
Sara Bedrick Gallery
In this new series of photographs made near Wides’ woodland home in the Catskills, she focuses on the grandeur of the landscape that captivated the Hudson River School of painters.
It was Thomas Cole’s view that it was all right, even necessary to falsify observed nature in the name of some higher truth. As it was for the Hudson River painters, transformation is a potent force in these photographs. Wides transforms ordinary reality into majestic scenery. A truck dump near Cole’s house is rendered as something like a botanical garden of refuse, as certain objects and details loom into consciousness with heightened clarity while the rest fade away into dreamy abstraction. The boundaries between fact and fiction, recollection and preservation are blurred. Picking up a thread common to all of Wides’ work, this series explores the play between the exterior world and the subjective one.
The photographs of Susan Wides have been featured in numerous exhibitions in the US and Europe. Her work has appeared in the anthologies One Man’s Eye and Here is New York. She has contributed to several magazines, including Harpers, Double Take, Architecture and 2wice. Her work is in the permanent collection of the Norton Museum of Art, International Center of Photography, The Art Museum of Princeton University, Brooklyn Museum, Bibliotheque Nationale and The Center for Creative Photography.
Susan Wides
Hudson Riveer Landscape 10.15.04
Chromogenic print
20 x 24 inches (dimensions variable)
Courtesy Kim Foster Gallery, NYC
American Scenery: Different Views in Hudson River School Painting
» Art History Students Discuss American Scenery / Download Tour
February 4 - May 14, 2006
The SDMA is pleased to announce a special exhibition of 19th century American landscape paintings by artists associated with the Hudson River School of painting. The exhibition features paintings grouped by pairs or arranged in series so the viewer can see how different generations of Hudson River School artists interpreted the majestic American landscape. The Hudson River School, considered by many to be the first truly American school of painting, flourished between 1825 and 1875. The three generations of artists (71 in all) represented in the exhibition of 116 paintings are assembled from one private collection.
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Asher Brown Durand |
Laura Woodward (active 1872 1889) |
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Homer Dodge Martin |
Generous support for this exhibition and related programs provided by the Friends of the Samuel Dorsky Museum of Art, The Dorsky Foundation, James H. and Mary Ottaway, Morgan Anderson Consulting, Hudson United Bank, and KeyBank
American Scenery: Different
Views in Hudson River School Painting is organized and toured by
Westmoreland Museum of American Art, Greensburg, PA.
Second Nature: Selected Work by the Art Faculty
February 4 - April 2, 2006
West Wing - Chandler and north galleries
Opening reception February 4, 2-4 p.m.
What does the term 'nature' mean in the 21st century? In the context of contemporary, technology-driven, post-industrial culture, our relationship to nature has become vexed, as the boundaries between the natural and the artificial have become more and more blurred. The work in this exhibition represents a range of artistic responses by members of the SUNY New Paltz art faculty on this theme, including painting, drawing, sculpture, photography, ceramics, printmaking, new media and installation. The diversity of these media reflect the varied approaches taken by these faculty members as they address issues of place, the environment, and our response(s) to them, as we begin to appreciate what has been lost, what has been gained, and how we will continue to shape our relationship to 'nature'-whatever we decide that means-in the future.
Participating artists:
- Joan Barker
- Karen Capobianco
- Amy Cheng
- Kathy Goodell
- Itty Neuhaus
- Matthew Palin
- Chunsoo Park
- Gabriel Phipps
- Emily Puthoff
- Thomas Sarrantonio
- Anat Shiftan
- Elena Sniezek
- Suzanne Stokes
- Pamela Wallace
Images in the Heavens, Patterns on the Earth: The I Ching, photographs by Janet Russek and David Scheinbaum
October 1 - November 20, 2005
Chandler and North Galleries, West Wing
Samuel Dorsky Museum of Art
For many years, photographers, Janet Russek and Dav id Scheinbuam have studied the book of knowledge know as the I Ching (Yijing) or Book of Changes, an ancient Chinese book of divination. The 64 hexagrams of the I-Ching each stand for an essential condition: peace, stagnation, grace, and so on. Users formulate an inquiry, manipulate yarrow stalks or toss coins to determine which hexagram speaks t their condition. Images in the Heavens, Patterns on the Earth evoke sthe spirit of each hexagram through a corresponding photograph and an interpretive text panel'deciphering the I Ching's multiple layers of words and symbols through personal and artistic investigations into their relations with each other and the natural world.
Janet Russek was the assistant to photographer Eliot Porter from 1980 to 1990. Her work has been widely exhibited throughout the United States and is in public collections including the Museum of Fine Arts, Houston, the Gernsheim Collection, University of Texas, Austin, and the Rockwell Museum in Corning, New York. David Scheinbaum was assistant to photo-historian Beaumont Newhall for fifteen years and currently teaches photography at the College of Santa Fe. His work has been widely exhibited and is included in public collections including the Amon Carter Museum, Fort Worth, the New York Public Library, the Center for Creative Photography, University of Arizona, Tucson, and the Corcoran Gallery of Art in Washington, D.C. In 1997 he collaborated with this wife Janet Russek on the exhibition and publication of Ghost Ranch: Land of Light.
The exhibition consists of 64 toned gelatin silver landscape photographs taken between 1972 and 2003, paired with text panels, one for each hexagram in the I Ching.
View selected works from Images in the Heavens, Patterns on the Earth: The I Ching
Encaustic Works 2005
September 17 – December 11
Opening reception Saturday, September 17, 2 to 4 p.m.
Exhibition description: Encaustic Works 2005 is a selective survey of contemporary works using encaustics, a wax-based medium that dates back to Classical Greece and Rome. Interest in this unusual medium was re-kindled in the mid-20th century, as modern artists such as Jasper Johns rediscovered the unique practical and aesthetic advantages of working with pigments and other materials embedded in melted wax. This exhibition showcases a range of innovative contemporary approaches to the medium by 22 artists who live and work in the Hudson Valley, producing painting, sculpture, and photo-based work incorporating encaustics. Inspired by the biennial series initiated ten years ago by R&F Handmade Paints of Kingston, New York, this exhibition celebrates the company’s ongoing leadership in revitalizing and advancing the medium, through their exhibitions and workshop programs.
Artists in the exhibition: Nancy Azara, Pamela Blum, Danielle B. Correia, Dan Feldman, Lorrie Fredette, Gail Gregg, Valerie Hammond, Jan Harrison, James Haskin, Judy Hoyt, Martin Kline, Megan Irving, Heather Hutchinson, Allyson Levy, Wayne Montecalvo, Laura Moriarty, Denise Orzo, Tracina Priest, Donna Sharrett, Fawn Potash, Cynthia Winika, and Rebecca Zilinski.
View selected works from Encaustic Works 2005
The Cult of Happiness
September 17 – November 6, 2005
Corridor Gallery, East Wing
Samuel Dorsky Museum of Art
This exhibition of more than 30 Chinese woodblock prints, selected from the SDMA's permanent collection by Dr. Elizabeth Brotherton, Associate Professor of Art History at SUNY New Paltz, is being mounted to accompany the annual meeting of the New York Conference of Asian Studies (NYCAS), which will be held on the New Paltz campus this Fall on September 30 and October 1, 2005.
The popular prints in this exhibition were originally made in celebration of the lunar New Year, when they would be pasted up on the doors and walls of homes throughout China. The bold designs and bright colors of the prints would have been especially striking when seen within the often drab architectural contexts in which they were used. Produced by anonymous craftsmen or peasants during the agricultural off-season, they display great decorative sophistication while at the same time managing to retain a direct simplicity in their style. All the works in the exhibition date from the 19th and early 20th centuries.
A panel in the NYCAS conference will devote itself to Chinese popular prints, and will take place on Saturday morning, October 1, in 118A Smiley Art Building.
View selected works from The Cult of Happiness
Juxtapositions: Selections from the Metals Collection
September 17 – December 11, 2005
Sarah Bedrick Gallery
Samuel Dorsky Museum of Art
Opening reception Saturday, September 17, from 2-4 p.m.
This exhibition, curated by SUNY New Paltz professors James Bennett and Myra Mimlitsch-Gray, features objects from the SDMA’s permanent collection of fine art metals. The show will highlight recent acquisitions, establishing comparisons between a wide range of objects – old and new, precious and common, unique and production work – in order to better understand the fluid, dynamic relationships between these categories in the field of metalsmithing. The show will also include a number of renderings and preparatory sketches by a number of artists, and will pay special tribute to the recently deceased Hermann Jünger, the renowned and influential German jeweler and former professor at the Akademie der bildende Künste in Munich, who also lectured at SUNY New Paltz.
In conjunction with the exhibition, a roundtable discussion entitled “On Collecting” will be held September 21, including members of the Art Jewelry Forum, a group of collectors, curators, and others from across the country who have included a two-day visit to New Paltz as part of their New York regional tour. The discussion will explore the nature of collecting from the personal and institutional perspectives, as well as discuss the mission and subjectivity related to objects and their display.
An exhibition of student and recent alumni work, Process/Product, will run from September 6 through 28 in the Sojourner Truth Library.
View selected works from Juxtapositions
Recycled Revisited: Artistic Responses to the Earth Charter, curated by guest artist John Dahlsen and Dr. Alice Wexler, presents a selection of work by artists from the Art Society of Kingston.
The exhibition is based on the Earth Charter, a declaration of the fundamental principles for building a just society with a special emphasis of the world’s environmental challenges. The document’s vision recognizes that environmental protection, human rights, equitable human development, and peace are interdependent and indivisible.
The twelve artists in this exhibition weave together environmental, social, and political concerns, all of which must be attended to for a sustainable future. Employing a variety of media that range from plastic bags, shoes, rocks, and bones, to more traditional materials, they challenge the concept of the artist as removed from society in favor of the artist as responsive and responsible to society. Through issue-oriented, challenging works, the artists inspire an appreciation for the fragility of the social and natural environments and a sense of global interdependence.
Artists in the show include: Takashi Abe, Barbara Bachner, Rimer Cardillo, Dennis Connors, John Dahlsen, Anthony Krauss, Iain Machell, Meadow, Franc Palaia, Shelley Parriott, Elisa Pritzker, and Cynthia Winika.
View works from Recycled Revisited
June 8 - August 7, 2005
The Material Image: Surface and Substance In Photography
Beth Wilson, Curator
Most of us spend more time looking through photographs than looking at them. An engaging new exhibition, The Material Image: Surface and Substance in Photography, seeks to quiet the instrumental and/or narrative impulse that underscores the making and consumption of most photographs. Through a comprehensive survey of photographic processes primarily drawn from the SDMA permanent collection ' from cyanotype and daguerreotype to platinum and gelatin silver ' some hand-tinted, others solarized, still others classic 'straight' images - visitors to the exhibition will be challenged to reflect on the physical nature of the medium and the specific visual and formal effects that have historically been enabled by these photographic processes, with an eye toward the way emerging digital technologies are changing the way we comprehend traditional analogue, emulsion-based works.
Dorothy Norman
Telephone and Stieglitz Equivalent
Gelatin silver print 2 1/2 x 3 1/2 inches
Copyright: The Estate of Dorothy Norman
Gift of Howard Greenberg
2003.053.40
The Maverick Festival: An Exhibition on the Centennial of the Maverick Art Colony
Dr. Jaimee Uhlenbrock, Curator
Photographs, prints, and memorabilia from the Jean Gaede/ Fritizi Striebel archive at the SDMA
Isamu Noguchi and Grace Greenwood (at Maverick Festival)
"He painted eyes on me and I painted lips on him"
Gaede/Striebel Archive:
Extended loan from the Center for Photography at Woodstock.
Vintage photographs, prints, and memorabilia, commemorating the original "Woodstock Festival" at the Maverick Art Colony.
The Maverick Festival Online Exhibition
DON NICE: The Nature of Art
February 5 - April 22, 2005
An exhibition of 50 paintings by contemporary American realist painter Don Nice will open at the Samuel Dorsky Museum of Art on Saturday, February 5, with a reception from 2-4:00 p.m. The exhibition will be on view through April 22, 2005.
The exhibition emphasizes his later work, dating from the mid-1980's, which concerns itself more with a sense of place and the artist's relationship to the land. In 1985 and again in 1999, Nice traveled the length of the Hudson River by boat, making spontaneous watercolors documenting the trips. A significant selection of works from these trips will be featured in one of the museum's galleries.
Of special interest are his paintings which bring to bear most of Nice's artistic concerns, now expressed with new materials, specifically the use of organic dyes on shaped anodized aluminum. In these works, Nice embraces aspects of popular culture and certain critical issues of our time. He paints classic American products like sneakers, candy wrappers, and soda bottles and juxtaposes them with natural elements, such as bears, fish, birds and fruits - in site-specific landscapes from the Hudson River Valley. In doing so, he has created a distinctive vision of civilization's detritus in league with cultural concerns for the environment. In all aspects of this endeavor, Nice gives definition to the nature of art.
Don Nice, Indian Brook Falls, 1993, Oil on canvas, 60 x 60"
Samuel Dorsky Museum of Art, Extended loan.
Co-Conspirators: Artist and Collector
Selections from The Collection of James Cottrell and Joseph Lovett
February 5 - April 10, 2005
The Samuel Dorsky Museum of Art will highlight the contemporary art collection of New York residents Jim Cottrell and Joe Lovett, February 5 - April 10, 2005. The 47 works selected for this exhibition will offer an in-depth look at the work of Basquiat, Haring, Morley, Hockney and others, often through several examples of their work. The focus of the collection includes artists working in the United States, Spain and France.
Cottrell and Lovett have been collecting art since 1976, with much of their collection built around a personal relationship with an artist. A cohesive sensibility is evident as well, - a love of painting and an appreciation for whimsy and humor.
Jim Cottrell and Joe Lovett are listed among Art & Antiques Top 100 Collectors in 2001.
A reception for the exhibition will be held on Saturday, February 5 from 2-4 p.m. It is free and open to all.
Donald Baechler, Flower #1, 1993, acrylic on canvas 91 x 61"
Courtesy of James Cottrell and Joseph Lovett
EAST WING
Rimer Cardillo: Impressions (and other images of memory)
October 16 - December 12, 2004
The Samuel Dorsky Museum of Art (SDMA) at the State University of New York at New Paltz presents the first comprehensive survey of Rimer Cardillo's artistic career. Rimer Cardillo: Impressions (and other images of memory) will open with a reception on Saturday, October 16th from 2pm-4pm at the Samuel Dorsky Museum of Art.
Focusing on Cardillo's contributions to printmaking and the graphic arts, this retrospective explores Cardillo's commitment to preservation of indigenous cultures, protection of endangered species, and conservation of vulnerable environments. Working amidst the dictatorial oppression in Uruguay of the 1970's, the artist strove to maintain a tradition of free expression in opposition to totalitarian censorship. Cardillo's later art explores the links between the historical norms that decimate indigenous peoples and the cultural habits that threaten plant and animal life.
The exhibition presents several print series that measure out the career and contributions of this major graphic artist. The exhibition also explores the ways in which Cardillo's printing expertise expands to include objects, installations and environments. Exploring a career that now extends over three decades, Rimer Cardillo: Impressions (and other images of memory) organizes the artist's work into four periods: Early Explorations: Uruguay and Germany during the late 1960s and early 1970s; A Voice of Protest: Uruguay in the 1970s; Strategies of Metaphor: The United States in the 1980s and 1990s; and Beyond Printmaking: Installations and Castings in the 1990s and Today.
The exhibition is funded in part by the Friends of the Samuel Dorsky Museum of Art and the Dorsky Foundation.
WEST WING
Impression Mourlot:
Modern French Lithographic Posters
September 8 - November 14
In the early 1950's Fernand Mourlot began to work collaboratively with modern French masters in Paris to design and produce original color lithographic posters to promote their exhibitions primarily at Galerie Maeght in Paris. Employing classic color lithographic techniques for posters, established in the late 19th century during the Belle Epoch (1890 - 1900) each design functioned not only as a broadside, but also as an original work of art. Featured are posters by some of the most well-known French modern artists including:, Pablo Picasso, Georges Braque, Joan Mir', Robert Delaunay and others. A section of 19th century posters and lithographs by masters of the genre, Frederic Auguste Cazals, Jules Cheret, Henri de Tolouse Lautrec, Eugene Grasset, T. A. Steinlen, and Alphonse Mucha, establish a historical context for understanding the evolution of the poster and the seminal role that Fernand Mourlot played in establishing and transforming the fine art poster in the 20th century.
Out of The Vault:
Exhibitions continue through 9/12
Kindred Spirits: George Bellows and Friends In Woodstock--From the Collection of Arthur A. Anderson
Recent Acquisitions, Promised Gifts, and Extended Loans
Impressionist Prints of Childe Hassam
For more information about Childe Hassam, the retrospective at the Metropolitan Museum of Art , follow the two links below:
The act of collecting can be said to be instinctive, although motivated by many factors from an altruistic support of the arts to the basic need to amass and acquire objects. Although public museums develop collections for reasons different than individual collectors, the two are inextricably tied together -- and have been throughout the history of art. This exhibition draws upon important works of art from the permanent collection of the Samuel Dorsky Museum of Art and from the private collection of Arthur A. Anderson. The Arthur A. Anderson collection is notable for its comprehensive inclusion of paintings, prints, and drawings by artists associated with the historic Woodstock art colony. Arthur A. Anderson, a long-time friend of the Samuel Dorsky Museum of Art, is a member of the Executive Board of the Friends of the SDMA and has recently created The Morgan Anderson Gallery at the museum to support the institution's regional mission.
Kindred Spirits Gallery Guide *
SUMMER 2004 EXHIBITIONS
JUNE 26 - AUGUST 8, 2004
Out of The Vault: Exhibitions continue through 9/12
Each summer, the Samuel Dorsky Museum of Art at SUNY New Paltz mounts an exhibition of work by emerging, mid-career, or under-represented artists living and working in the mid Hudson Valley and Catskill Mountains region. Following a format established in 2003, several prominent artists in the New Paltz area have recommended for exhibition an artist living and working in the region. There is a wealth and diversity of artistic activity in the mid Hudson Valley and Catskill Mountains area that makes this project possible. For the summer of 2004, the painter Joel Griffith of Tivoli has been selected by Carolee Schneemann of New Paltz; the painter and multi-media artist Roman Hrab of Kingston has been selected by Ursula Von Rydingsvard of Accord; the painter Henrietta Mantooth of Lake Hill has been selected by Mary Frank also of Lake Hill; the photographer and installation artist Peter Mauney of Tivoli has been selected by Stephen Shore also of Tivoli; the sculptor and ceramist Joyce Robins of High Falls has been selected by Catherine Murphy of Poughkeepsie; the sculptor Sal Romano of Jeffersonville has been selected by Mel Edwards of Accord; and the painter Christopher Seubert of High Falls has been selected by Pat Flynn also of High Falls.
West Wing Galleries
Out of the Studio: Hudson Valley Artists 2004
JUNE 26 - AUGUST 8, 2004
Milton Avery: Paintings from the Neuberger Museum Collection
East Wing
Lecture on Milton Avery by Karl Willers, Curator,Samuel Dorsky Museum of Art,
April 29, 7:30 pm, Lecture Center 120
January 28 - May 30, 2004
Opening reception: Sunday, February 8th, 2-4 pm
Milton Avery, The Group (After Dinner Coffee), 1939. Oil on canvas, 30 X 40 inches. Permanent Collection of the Neuberger Museum of Art, Purchase College, State University of New York; Gift of Roy R. Neuberger.
Remaining faithful to his own artistic vision, and defying the popular art movements of his day, Milton Avery forged his own aesthetic path through modernity. Milton Avery: Paintings from the Collection of the Neuberger Museum of Art, will be on exhibit at the Samuel Dorsky Museum of Art January 28th through May 30th, 2004. This exceptional exhibition highlights 29 works of art, rarely exhibited in the region, documenting Avery's artistic development from 1929 to 1961.
Roy R. Neuberger was one of this country's most recognized patrons of American Art. Encountering the work of Milton Avery around 1940, he quickly acquired a large personal collection of the artist's works and has gifted many to museums across the United States.
Card Players (1944), the major canvas by Milton Avery in the Permanent Collection of the Samuel Dorsky Museum of Art, was given by Mr. And Mrs. Roy Neuberger in 1954 and will also be on view during the exhibition.
This exhibition is dedicated to the memory of Adeline Dorsky. Support for this exhibition is provided by The Dorsky Foundation, Inc.
About Avery and his work: In recent years, appreciation of Avery's work has experienced a renaissance and his paintings have taken their rightfully prominent place in the history of modern American Art. An unassuming man who shied away from publicity, Avery was not allied with the avant-garde, regionalist, or social realist movement of the 1930s, and even less a part of the gesture abstractionists of the 1940s and 1950s. Considered too radical for the critics, Avery remained out of favor for years, and lived modestly for most of his life.
Milton Avery: Paintings from the Collection of the Neuberger Museum of Art embodies Avery's classic motifs-intimate groupings of friends, portraits, still lifes, seascapes, and landscapes-with his characteristic flattened, color harmonies and respect for his chosen subjects. While Avery's interest in representing everyday life in his work did not change with time, he did increasingly experiment in saturated color and simplified forms beginning in the 1930s.
In the 1940s, the prolific Avery replaced his brushy paint application and graphic detailing with more daring areas of flattened color. His intense concentration on color and ever more simplified form became evident, as shape and color now shared equal importance in his works.
In the late 1940's and into the 1950's Avery began concentrating on larger fields of flat color and capturing relationships between more generalized elements in his compositions. Even as Abstract Expressionism dominated the post-war art world, Avery continued his explorations in color harmonies, shapes and everyday experiences. Avery has often been called the American Matisse for his use of vibrant colors and fluid outlines simple in his later work.
Around 1957 Avery's work shifted again, this time working on a larger scale resulting in a greater impact of composition and color. This style gained him extraordinary critical acclaim and a retrospective at the Whitney Museum of American Art in New York in 1960.
In 1962, Avery suffered a second heart attack, and his health continued to deteriorate steadily until his death in 1965. Throughout his life, Avery demonstrated perseverance as a solitary artist pushing representation to the border of abstraction with a lyrical elegance. During his career, he has been credited with influencing other notable painters including Adolph Gottlieb, Barnett Newman and Mark Rothko. Rothko, at Avery's memorial, gave the following tribute:
There have been several others in our generation who have celebrated the world around them, but none with that inevitability where the poetry penetrated every pore of the canvas to the very last touch of the brush. For Avery was a great poet-inventor who had invented sonorities never seen or heard before. From these we have learned much and will learn more for a long time to come.
This exhibition is part of the SDMA's continuing Hudson Valley Masters Series, which highlights work created by artists who have lived and worked in the Hudson Valley and Catskill regions. Milton Avery summered in Woodstock, New York and was a member of the Woodstock Art Association.
About the Neuberger Museum collection: Roy R. Neuberger, one of this country's most respected collectors and patrons of American art was attracted to Avery's nuances of color as well as the simplified forms of his work. Convinced of Avery's significance, Neuberger acquired over one hundred of the artist's paintings within a short period of time, making his the largest private collection of Avery's work. In 1974, the gift of a considerable portion of Roy R. Neuberger's collection created the Neuberger Museum of Art of the State University of New York at Purchase.
Opening Reception: A reception for Milton Avery: Paintings from the Collection of the Neuberger Museum of Art will take place at the Samuel Dorsky Museum of Art on Sunday, February 8th from 2:00 - 4:00 p.m. It is free and open to all. A fully illustrated catalogue, featuring an essay by Barbara Haskell, accompanies the exhibition and will be available for purchase at the museum.
James Welling: Agricultural Works
West Wing/Chandler Gallery
Agricultural Works
Photographs by James Welling
Music by Will Welling
February 7 - April 8, 2004
Opening reception: Sunday, Februrary 8th, 2-4 pm
Agricultural Works, an exhibition of new work by contemporary photographer James Welling, that merges nature, culture and industry of the Hudson River Valley through color photography and music will premiere at the Samuel Dorsky Museum of Art at the State University of New York at New Paltz, New York, on February 7th. The exhibition is on view through April 8, 2004.
James Welling, Lampman Farm from Agricultural Works, 2001. C-Print, 20 X 24 inches.
Collection of the artist.
About the Project: Agricultural Works comprises photographs and musical soundtrack that document a rich array of subjects identified with the region: farmland, crops, livestock, vineyards, farm buildings, machinery and tools in the counties north of New York City. The project was developed collaboratively with Will Welling, the photographer's brother, a musician living in the Albany area. For the past three years James Welling has been photographing farms in northern New York counties and Will Welling has been composing original music on the theme of agriculture. Agriculture Works will include James Welling's photographs, and a live performance of Will Welling's music by The Please and Thank You String Band at the opening reception on February 8, 2004.
About the Artist: James Welling is often identified with the postmodern photography movement that came to critical attention in the early 1980s. This group of artists, which also includes Louise Lawler, Cindy Sherman and Barbara Kruger challenged the idea of photographic transparency and truth. For the past 16 years, Welling has worked on a series of documentary photography projects in the United States and in Europe: Railroad Photographs (1987-94); The Architecture of H.H. Richardson, (1988-94); Calais Lace Factories, (1993); Wolfsburg, (1994); Light Sources, (1992-98) and Los Angeles, (2003).
James Welling is vice chair of the Department of Art at UCLA. His recent work has been featured in exhibitions at the Palais des Beaux-Arts in Brussels; the Wexner Center for the Arts in Columbus; the Baltimore Museum of Art, and the Museum of Contemporary Art in Los Angeles. His work is represented in the permanent collections of the Metropolitan Museum of Art and the Museum of Modern Art in New York; and the Museum of Contemporary Art in Los Angeles.
About Minetta Brook: Minetta Brook, a non-profit arts organization, originally commissioned this project as part of Watershed: The Hudson Valley Art Project - a series of new public artworks that brings together the natural and cultural geography of the Hudson River Valley while the valley is undergoing major change. Diane Shamash, Director of Minetta Brook, remarks:
Watershed was created to help generate dialogue and engagement with these changing economic and cultural conditions. Participating artists were selected on the basis of their work's ability to reconnect communities to the history and present-day life of cities and towns along the Hudson River, either directly through participatory projects or by increasing public access and involvement with the natural geography of the Hudson River.
Minetta Brook is a non-profit arts organization that encourages new forms of public engagement with art, artists, and life on the Hudson River waterfront through projects designed to strengthen the relationship between contemporary artists and communities throughout New York State.
Opening Reception: A reception for the artist will be held in the Chandler Gallery on Sunday, February 8th from 2:00 - 4:00 p.m. with a performances by Will Welling and the Please & Thank You String Band at 2:30 and 3:00 p.m. It is free and open to all.
Sponsors: Generous funding for this exhibition is provided by The Dorsky Foundation, Inc.
Watershed is made possible with major funding from Lee Balter, The Reed Foundation, Inc. and The Scenic Hudson Land Trust, Inc. Generous support is also provided by the City of Beacon; Dia Art Foundation; The Dutchess County Industrial Development Agency; Educational Foundation of America; Glynwood Center; Hudson River Valley National Heritage Area; Lannan Foundation; LEF Foundation; The M&T Charitable Foundation; National Endowment for the Arts; New York State Department of State; Philip Morris Companies; The Horace W. Goldsmith Foundation; The Surdna Foundation; Beacon Terminal Associates; and private individuals.
Written in Memory - Portraits of the Holocaust
Photographs by Jeffrey Wolin
March 24 - May 30, 2004
East Wing/ Sara Bedrick Gallery
Jeffrey Wolin's black and white photographic portraits, which include handwritten text taken from interviews with Holocaust survivors and applied to the surface of each image, provide a powerful tribute to those whose lives were forever altered by the horrific events that took place in Europe during World War II. His revealing photographs stand as a testimony to the pain, the losses, and the vivid memories of each survivor.
Lecture by Jeffrey Wolin
April 13, 2004
Mr. Wolin will give an informal gallery talk at 6 pm in the museum. At 7 pm, he will be the keynote speaker at a symposium dealing with art that uses the Holocaust as its theme in Lecture Center 102. Both the gallery talk and symposium are free and open to the public.
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Reading Objects 2004 SUNY New Paltz faculty and professional staff are participating in an intriguing interdisciplinary exhibition at the Samuel Dorsky Museum of Art. Reading Objects 2004, opening to the public on January 28, 2004, is the second in an ongoing series of exhibitions at the museum in which the academic and professional staff provide the interpretive wall text for selected objects from the museum's permanent collection. The exhibition will continue through March 14, 2004. |
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Larry Rivers, Dutch Masters Cigars, 1982. Lithograph, 27 5/8 X 39 1/2 inches. About the exhibition This engaging exhibition reveals a diverse array of new acquisitions from the museum's permanent collection and potential gifts. From a Persian manuscript page from the 16th century to Dutch Masters Cigars, a 1982 lithograph by Larry Rivers - works of art from the Middle East, the South Seas, Asia, Africa, North America, South America and Europe are represented in the exhibition. Participants in the project were asked to review a selection of twenty-one objects from the SDMA permanent collection, select one or more to study, and finally to create interpretive label copy developed from the unique perspective of their academic disciplines or professional interests. The interpretive panels offer a variety of voices and diverse perspectives. Poetic language, fictional stories, experimental writing, critical commentary, historical research from the perspectives of the sciences, humanities and other areas are some of the methods, literary styles and interpretive forms the writers take. Included in the exhibition are: Robin Arnold, Kristin Sanchez Carter, Betty Ann Enos (nee Damms), Wilma Feliciano, Lourdes Giordani, Anne Gorrick, Mary Hafeli, Jan Hammond, Kristine Harris, EunKyung Jeong, Richard Kelder, Susan Lewis, Jo Margaret Mano, Lawrence McGlinn, Tom Meyer, Jeff Miller, Susan Miiller, Thomas G. Olsen, Jennifer Piren, Rachel Rigolino, John Sharp, Rafael Saavedra-Hern'ndez, Tom Sarrantonio, Jan Schmidt, Anat Shiftan, Robin Smith and Robert Waugh. Reading Objects 2004 is accompanied by a fully illustrated catalog available at the museum. The exhibition is modeled after a program originated in 1995 at the Williams College Museum of Art, which was designed to explore the numerous perspectives from which a work of art can be experienced and understood through interdisciplinary interpretation. Opening Reception: A reception for Reading Objects 2004 will be held on Sunday, February 8, 2004 from 2-4:00 p.m. in the Sara Bedrick Gallery at the Samuel Dorsky Museum. |
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Student Thesis Exhibitions
West Wing/Chandler Gallery
December 5 - 10, 2003
Opening Reception Friday, December 5, 6 - 8 p.m.
December 12 - 17, 2003
Opening reception December 12, 6 - 8 p.m.
Utopia/Post-Utopia: Conceptual Photography and Video From Cuba
Nine photographers and video artists on the cutting edge of the Cuban art scene exhibit their work in "Utopia/Post-Utopia: Conceptual Photography and Video from Cuba" from Saturday, July 12 through Sunday, August 10. The exhibition re-opens at the museum on September 17 and will remain on view through Sunday, December 14. An illustrated catalogue with essays by guest curator, Helaine Posner and art critic, Eugenio Vald's Figueroa are inlcuded in the publication. The nine artists included are: Tania Bruguera, Ra'l Cordero, Carlos Garaicoa, Luis Gomez, Ernesto Leal, Elsa Mora, Ren' Pe'a, Manuel Pina, and Sandra Ramos. The exhibition closes on Sunday, December 14.
Alice Neel's Feminist Portraits
Women Artists, Writers, Activists and Intellectuals
West Wing-Chandler Gallery
October 14-November 23, 2003
Alice Neel appeared to burst on the scene in the 1970s with her riveting portraits of public figures like her towering image of Bella Abzug (1975). Despite being a regular in New York City's art world in the 1930s, it wasn't until the 1970s that Neel began to gain mainstream visibility when her colorful life story, ebullient personality, and passion about showing her work began to attract the media's attention. The increased attention paid to Neel and her work in the 1970s is attributed commonly to the rise of Second Wave feminism, an association made explicit through Neel's outspoken activism in support of women's rights. In fact, Neel had an ambivalent and rather complex relationship to feminism that is evident in her portraits of leftist women artists, intellectuals, and writers and in the other portraits of women she painted and drew from the 1930s to the 1980s. Neel portrayed some of the most interesting and compelling American women of the twentieth-century. In some of her portraits of ordinary women (whom she met on the street or who were her neighbors and friends), Neel explored such chronic female hardships as domestic violence, child abuse, and poverty. She also frequently explored race and class differences between women and was consistently critical of white privilege, often through the use of parody and humor, in ways that contemporary feminists have only recently begun to explore. By looking closely at Neel's portraits of women as a category of their own, we can uncover this neglected legacy of her work and gain a more complex understanding of Neel's politics and relationship to feminism.
-Adapted from Denise Bauer, "Alice Neel's Feminist and Leftist Portraits of Women," Feminist Studies (Summer 2002), pp. 375-76.
This exhibition is held in association with Women and Social Action, the 2003 Women's Studies conference at the State University of New York, New Paltz.
Sample from the exhibition:
Alice Neel, Bella Abzug, 1976. Oil on canvas, 43 3/4 x 34 in. (111.1 x 86.4
cm.). The Estate of Alice Neel; courtesy Robert Miller Gallery, New York.
View the Alice Neel Catalogue *
All images © The Estate of Alice Neel; courtesy Robert Miller Gallery, New York
The Photographs of James Van Der Zee
For over 60 years, African American photographer James Van Der Zee (1886-1983) worked in obscurity as he made a visual record of life in New York City's Harlem neighborhood. Through his sensitive and moving images, he captured the likes of both the famous and the ordinary residents of this community. His meticulous darkroom techniques allowed him to not only present his community at its best for posterity but to add a psychological and ethereal dimension to many of his everyday images. This exhibition of over 30 of Van Der Zee's photographs will open on October 15 and run through November 23, 2003.
Out of the Studio
Hudson Valley Artists 2003
Each summer, the Samuel Dorsky Museum of Art at SUNY New Paltz mounts an exhibition of emerging, mid-career, or under-recognized Hudson Valley artists. This year, several prominent and established artists in the New Paltz area have been asked to recommend an artist who lives and works in the region for exhibition. For this look at contemporary Hudson Valley artists, the painter Jake Berthot of Accord selected the painter Ruth Leonard of Cairo; the photographer Lynn Davis of Hudson chose the photographer Chad Kleitsch of Rhinebeck; the painter Al Held of Boiceville nominated the painter Gene Benson of New Paltz; the painter Al Loving of Kerhonkson picked the painter Ralph Fleming of Kerhonkson; the sculptor Judy Pfaff of Kingston designated the photographer Laura Gail Tyler of Tivoli; and the sculptor Martin Puryear of Accord proposed the sculptor and painter Jonah Meyer of Kingston. The 2003 Hudson Valley Artists exhibition will be on view this summer from June 21 through August 10, 2003, and will re-open during the fall semester from August 27 to September 25, 2003.
View 2 select images from this exhibition:
- Laura Gail Tyler. Untitled, 2001, Gelatin silver print, 22 1/2 x 28 1/8 inches. Collection of the artist.
- Jonah Meyer. Double Dutch, 2003. Oil on canvas, 96 x 72 inches. Collection of the artist.
Bolton Coit Brown: A Retrospective
April 5 - June 15, 2003
Bolton Coit Brown and the Woodstock Legacy
- Neil C. Trager
Bolton Coit Brown (1864 - 1936) was a remarkable man, driven by a single-minded obsession to excel at and master whatever he undertook to accomplish. This determination and ambition first manifested itself during his undergraduate and graduate studies at Syracuse University, and later in his position administering the art program at Stanford University in California (1891- 1902), where, in addition to his fame as a teacher, he earned national recognition as a skilled mountaineer. It was one hundred years ago that, on behalf of Ralph Whitehead, a wealthy Englishman who was seeking to establish a utopian Arts and Crafts community, Bolton Brown left California in search of the perfect location. Poet Hervey White, creating the triumvirate of utopians that would eventually establish the Byrdcliffe Arts and Crafts Colony in Woodstock, New York, soon joined whitehead and Brown.
Brown left California in the winter of 1902, and traveled East ultimately arriving in Windham, New York, a small town north of Woodstock. From there he set out, primarily on foot, to explore the Catskill Mountains. After what is described in his journals as a challenging and arduous journey (even for a mountaineer of his experience and skill) he eventually found himself on the north side of Mount Overlook (in Woodstock), which he recognized immediately as the site, he was searching for. It was there that according to Brown "that the story of modern Woodstock really begins."
Whitehead was summoned to Woodstock to inspect the property and after a brief stay in the area he authorized Brown to purchase seven farms comprising 1,500 acres, and the "colony" was born. Brown remained in Woodstock to help design and to supervise the construction of Whitehead's house (White Pines) as well as (Carniola) a home for himself and his wife and three children who joined him there in the spring of 1903.
Brown's relationship to the Byrdcliffe Art Colony was short-lived. Disaffected by Whitehead's personality and at odds with his vision for Byrdcliffe--in particular, his (Brown's) role in its future-Bolton Brown left the colony in October of that year. As is the fate of most utopian colonies, Byrdcliffe eventually became something quite different than what it was intended to be, but it is fair to say that it had a lasting and profound effect on the town of Woodstock. The artistic and creative spirit that was the impetus for the project continues to reverberate through the valleys and on the mountaintops of the town whose name has become synonymous with artistic expression, free will, and independent thought.
Upon Brown's departure, Whitehead sold him property in the village of Woodstock where Brown eventually settled and it is in the valley rather than on the mountain where the story of Brown's life as an artist and master printmaker really unfolds. Free of the confining limitations that he experienced at Byrdcliffe, Brown tirelessly dedicated himself to making art, which over time included formidable accomplishments as a painter and a printmaker-in particular lithography- the medium by which he ultimately distinguished himself.
In 1915, at the age of 50, Brown went to England to learn lithography, which he essentially taught himself. His quest for perfection led him to design and fabricate his own rollers, crayons, and graining techniques, all in service of his demanding artistic vision. He approached his chosen craft with what is best described as a missionary zeal. It was Brown's intention to resurrect in America the long-revered European tradition of expressive printmaking and the central role of the "master printer" in that process. Brown's intense personal investigation into lithography as an artist and a technician led to his authoring two books on the subject, inventing formulas for more than 500 crayons, and developing morel than 50 different techniques to prepare stones, which allowed the artist control over the medium heretofore not available.
Brown returned to America in 1916 and devoted the next ten years of his life exclusively to lithography. His voluminous knowledge and formidable expertise as a printmaker led to historic collaborations with George Bellows, Rockwell Kent, Arthur B. Davies, Albert Sterner, and John Taylor Arms, among others. These collaborations resulted in a unique and unprecedented flourish of expressive printmaking in America.
It is his unique artistic and technical contributions to American printmaking that has created the impressive legacy that rightfully earns Bolton Coit Brown long overdue recognition. On the occasion of the centenary of the founding of the Byrdcliffe Arts and Crafts Colony, it seems fitting that we honor Bolton Coit Brown and celebrate his long overlooked and under appreciated contributions to American art history, and once again bring his work before the public to be critically addressed, shared, and appreciated. It is Brown's unique and formidable contributions to American printmaking, as well as the seminal role that he played in bringing the arts to Woodstock, that first captured my interest in the artist and which ultimately became the primary impetus for this exhibition.
B.F.A./M.F.A. Student Thesis Exhibitions
April 26 - May 21
Openings from 6 - 8 p.m. on the following evenings:
April 25
May 2
May 9
May 16
Exhibitions are in the SDMA West Wing
Special Hours:
Monday - Wednesday from 1 - 4 p.m.
Saturday and Sunday 1 - 5 p.m.
Faculty Art
February 12 - April 13, 2003
Reanimating Matter: Raoul Hague's Sculptures and Robert Frank's Photographs
January 23 - March 9, 2003
A comprehensive survey exhibition featuring Hague's large-scale abstract sculptures carved from tree trunk., along with photographs of the work and artist by Robert Frank Hague's interaction with the massive trees that were his chosen material resulted in a compelling body of in-the-round sculpture inspired by both nature and the human body.
Sandow Birk: Incarcerated
January 29 - March 9
Landscape paintings depicting sites of New York State maximum security prisons
Museum Open House
Saturday March 8, 2003
2-3 p.m Raoul Hague's Sculptures: A Conversation with David Levi Strauss, Michael Brenson, and Gillian Jagger
3-4 p.m. Prisonation: A gallery talk by painter Sandow Birk
4-5 p.m. Reception to welcome Dr. Karl Willers, Curator to the staff of the SDMA
Andr'e Ruellan Selected Drawings
October 12 - December 20, 2002
Drawings done in a variety of media, spanning a creative legacy of almost 50 years (1920-1970), by the Woodstock based painter.
Reading Objects
October 30 - December 22, 2002
An interdisciplinary collection-based exhibition featuring selections from the museum's world study collection accompanied by interpretive label copy created by faculty from departments and schools across the campus. Faculty participants include Elisa D'vila, Simone Federman, Phyllis R. Freeman, Linda Greenow, Susan Ingalls Lewis, Ann Lovett, Douglas C. Maynard, Rose Rudnitski, Kristin Rauch, Jan Zlotnik Schmidt, John Sharp, Stacie Swingel Nunes, Richard J. Reif, Pauline Uchmanowicz, John Vander Lippe, and Sheila Yoshpe.
B.F.A./M.F.A. Student Thesis Exhibitions.
B.F.A./M.F.A. I December 6 - 11
Opening Reception December 6, 6 - 8 PM
B.F.A./M.F.A. II December 13 - 18
Opening Reception December 13, 6 - 8 PM
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Group exhibitions of work by students graduating with Bachelor of Fine Arts and Master of Fine Arts degrees.
Complexity: Art and Complex Systems *
September 14- November 24, 2002
A group exhibition organized by Ellen K Levy and Philip Galanter.
COMPLEXITY is the second major museum exhibition about complex systems. It creates bridges across many branches of science and also offers a revolutionary intellectual vector that has ramifications for other disciplines such as art and philosophy.
Included are prescient early works by Hans Haacke and Steina Vasulka that anticipated current science, plus contemporary works by Mauro Annunziato, Manuel Baez, Jonathan Callan, Remo Campopiano, Guy Marsden & Jonathan Schull, Nancy Chunn, Janet Cohen, Philip Galanter, Frank Gillette, David Goldes, Paul Hertz, Ellen K. Levy, Brian Lytel, Daro Montag, Jack Ox, Daniel Reynolds, Marianne Selsjord, John Simon Jr., Karl Sims, Nell Tenhaaf, and Leo Villareal.
Past to Present: Recent Acquisitions, Promised Gifts, and Selected Loans 1998 - 2002
June 22 - September 20
David Graham-In Defense of America
June 22 - September 20
A haunting, beautiful, and at time humorous photographic portrait of the nuclear test sites at Frenchman and Yucca Flats, Nevada. Graham created the portfolio in 1988 to accompany a congressional report on the relative safety of contemporary nuclear weapons testing techniques in the United States.
Oracle: Don Porcaro
Love In the Afternoon: Leslie Wayne
August 3 - September 20, SDMA Project Room
A collaborative installation juxtaposing Porcaro's sculpture with Wayne's paintings
W. Eugene Smith: Selections from the Classic Photographic essays
June 22 - July 27
Hudson Valley Artists 2002
June 22 - August 23
The museum's annual regional juried exhibition, featuring the work of emerging and mid-career artists living and working in the mid-Hudson Valley and Catskill region.
Juror: Sydney O. Jenkins, Director, The Galleries at Ramapo College, New Jersey
CPW: 25 Years of Imaging
June 22 - August 23
A series of thre student curated exhibitions developed to commemorate the 25th anniversary of the creation of the Center for Photography at Woodstock (originally, the Catskill Center for Photography). These thematic exhibitions feature work by regional artists represented in the collection, which came to the SDMA in 1995 through the creation of a community-based partnership with CPW.
BFA/MFA thesis exhibitions
May 4 - 22
All That Is Glorious Around Us
Paintings from the Hudson River School
October 21, 2001 - December 15, 2001
Re-opens January 30 and runs through May 18, 2002
The Hudson River began to figure prominently in the artistic consciousness of the nineteenth century when the painter Thomas Cole journeyed up its waters in the summer of 1825. He settled at Catskill on the Hudson and became the model for other American landscape painters, thus launching the Hudson River School and its romantic, idealized vision of the American Landscape. This unique exhibition explores the richness and diversity of nineteenth-century American landscape painting. Drawn from a comprehensive private collection, the exhibition includes important works by artists well-known for their association with the School; Thomas Cole, John F. Kensett, Sanford Gifford, Frederic Church, William Trost Richards, and Worthington Whittredge. Of particular interest is the work of many lesser-known artists including that of women such as Eliza Greatorex, Mrs. A. T. Oakes, Laura Woodward, ; forgotten masters John H. Carmiencke and Regis Gignoux; and the most illustrious African-American artist associated with the school, Robert Duncanson.
Leonore Schwarz Neumaier - A VOICE SILENCED
April 6 - May 18
Opening reception April 10, 7-8 p.m.
This exhibition depicts the life of the Viennese-born Frankfurt opera
singer, Leonore Schwarz Neumaier, who was killed by the Nazis at Majdanek
concentration camp in Poland in 1942.
The story is told with photographs of Leonore Schwarz in the roles she sang with opera companies in Graz, Nuremberg, Magdeburg, and Frankfurt am Main. The exhibition is augmented with interpretive works, documents, and a collection of family snapshots taken by her son John which reflect the values and experiences of a young Jewish boy growing up in Nazi Germany. There are also opera posters and programs of concerts organized by Jewish groups in the 1930s after the Hitler regime forced the isolation of Jewish artists.
A VOICE SILENCED was created by Diane Leonore Neumaier, professor of art at Rutgers University, in collaboration with her father, Dr. John J. Neumaier, emeritus professor of philosophy and former president of the State University of New York at New Paltz.
Student Thesis Exhibitions
B.F.A./M.F.A.
Openings are from 6 - 8 P.M. on the Fridays listed:
April 26
May 3
May 10
May 17
At the end of each semester, students graduating with Bacherlor of Fine Arts or Master of Fine Arts degrees exhibit art work created as part of their thesis projects in the museum's west wing. Exhibitions are designed and installed by the students, under the supervision of the Curator of Exhibitions and the museum Preparator. Works from the following options are included: Ceramics, Graphic Design, Metals, Painting, Photography, Printmaking, Sculpture, as well as multi-media installlations.
Lesley Dill: A Ten Year Survey
March 9 - April 21
Opening reception March 9 6-8 pm
It is impossible to categorize Lesley Dill. She is at once a painter, printmaker, sculptor, photographer, and performance artist. Working both small and large, she shifts with ease from the intimacy of a book to the far more public format of a billboard. But no matter what the size or medium, Dill continues to explore the elusive boundaries between mind, body, and spirit. One of the most identifiable facets of her work is the way she examines the function of language and its relationship to the physical. In 1990 Dill was given a book of Emily Dickinson's poems and, for her, it was like a revelation. Since then, language has played a major role in her artwork. Words, at times legible and at times illegible, spill from mouths, are written across bodies, and cascade from body parts. Language bridges the private world of thought with the public discourse of shared experience, and Dill uses it in combination with image to evoke the spiritual content of human experience. This exhibition, the second in an annual exhibition series that highlights the work of prominent artists who currently live and work in the Hudson Valley and Catskill regions, presents important work from the last ten years that demonstrates Dill's depth of subject matter as well as her breadth of creativity.
Markers In Contemporary Metal
January 30 - March 15
Opening reception Tuesday, January 29, 6-8 p.m.
This exhibition, developed from the SDMA's permanent collection and augmented with important loans by notable artists, teachers, and mentors in the field addresses the intellectual and aesthetic influences that formal education has had on the art and craft of metalsmithing. The artists in "Markers" represent a closely-knit group of practitioners whose shared academic experience, while genealogically succinct, reveals an impressive breadth of individual creative expression. For some, the body is the locus for physical, visual and conceptual engagement, whether through jewelry or objects. Others negotiate historical and contemporary concepts related to the nature of utilitarian objects. The exhibition enables the viewer to consider how objects are marked by their associations, by the intent of the artist, and by their existence in a particular time and context.
Faculty Art
January 30 - February 24
Opening reception Tuesday, January 29, 6-8 p.m.
Artists are influenced by a wide variety of sources. In this exhibition SUNY New Paltz studio art faculty will exhibit works of art that they have created, along with objects that have influence and inspired them, enabling viewers to gain insight into the creative process. The exhibition celebrates the rich diversity of vision and the artistic sensibilities that distinguish the art department faculty.
Robert Morris
(October 6 - November 18, 2001)
Robert Morris has been described as one of the most influential artists
of the last forty years. This exhibition will include a survey of drawings
from the 1960s through the 1990s as well as a video projection of his
re-staged early performances. It will be the first in an annual series
of one-person exhibitions that will highlight the work of prominent
artists who currently live and work in the Hudson Valley and Catskill
regions.
Presenting work by Robert Morris is an appropriate beginning for this unique series because of his central role in contemporary art history. As a pioneer in early Minimalism, Conceptual Art, and Process Art, he has produced work in a wide range of media including sculpture, performance, earthwork, drawing, and painting. Morris' work over the past few decades has explored such issues as scale, perception, death, time, and the evolution of form. He continues to investigate these same ideas throughout his chosen mediums. According to Thomas Krens, Director of the Guggenheim Museum, Robert Morris' entire oeuvre is a single work. Beginning with his earliest work, such as Box with the Sound of Its Own Making (1961), Morris was grappling with issues relating to the role the of the artist, the process of making art, the physical presence of the material, the laws of nature, infinite regress, actuality, gestalt, and anti-form.
Morris' versatility is his strength. Early in his career he became involved in dance and was inspired by experimental work taking place in New York by dancers such as Yvonne Rainer. In response to the balletic gesture, Rainer studied ordinary movement and improvisation as a means to express a more populist form of communication in direct opposition to what she felt was a private, subjective, highly interpretive and therefore exclusive language. Morris' early performances, like his objects, examined the nature of being, anonymity, and the definition of self.
View selected images from this exhibition:
In Cold Blood (August 13 - September 23, 2001)
Every other year, the School of Fine & Performing Arts at SUNY New Paltz organizes a national Arts Now conference on an issue of contemporary art and culture. The next conference entitled Sites of Conflict: Art in a Culture of Violence, will take place September 20-22, 2001. The conference will examine and explore the relationship of art to violence including spectacle, witnessing and testimony, sites and memorials of conflict, sanctioned violence, and violence and race, class, and gender, and other topics. This companion exhibition will present work that uses the subject of violence to explore the fine lines that exist between provocation, documentation, celebration, and critique and will further examine the aesthetics of violence. The work included is unsettling because it is suggestive rather than merely graphic and its meaning is not easily discernable. The imagery is not necessarily conclusive and depending upon the viewer's personal perspective interpretation may shift.
WITH
MY PROFOUND REVERENCE FOR THE VICTIMS
Lithographs
and Drawings by George Bellows
August 13 - September 23
In the spring of 1918, the American painter, George Bellows began a series of lithographs that focused on the atrocities committed by the Germans in Belgium during the First World War. Although Bellows did not witness the crimes of war, he was moved to create this series in response to an article that appeared in the New York Times in 1914 (The Bryce Report, based on morel than twelve hundred eyewitness accounts of the invasion) and a series of articles by Brand Whitlock that appeared in Everybody's Magazine in 1918. Profoundly affected by these detailed reports, Bellows resolved to give visual expression to that which he read. After completing the suite of lithographs and related drawings, the artist also created five large-scale oil paintings derived from the works on paper. The entire war series comprises twenty lithographs, the five oils, and more than thirty related drawings
In an exhibition of the prints held in 1918 at Keppel & Co., Bellows prefaced the works with the following:
In presenting these pictures of the tragedies of war, I wish to disclaim any intention of attacking a race or a people. Guilt is personal not racial. Against that guilty clique and all its tools, who let loose upon innocence every diabolical device and insane instinct, my hatred goes forth, together with my profound reverence for the victims
This exhibition developed from the collection at Morgan Anderson Consulting. (NYC) and the artist's estate includes prints and drawings from the War Series, and six rarely seen lithographs by Bellows that comment strongly on personal and institutionalized violence experienced in the United States in the early twentieth century.
Adapted from an essay by Glenn C. Peck and Gordon K. Allison
View an image from this exhibition:
An Autobiography: Paintings by Thomas Nozkowski and Photographs by Judy Linn (July 21 - September 30, 2001)
Between 1992 and 1995, Thomas Nozkowski created a series of autobiographical abstract paintings based on geographic regions along the Hudson River. He writes: "Everything that I hold important to my life has happened along a hundred-mile stretch of the Hudson River valley." For each painting I would try to find visual images from my memories and in the physical reality of the place." The twenty works he created, each one representing a different five-mile increment of the area, will be displayed along with photographs by Judy Linn that interpret the same locations.
Eric
Lindbloom: The River That Runs Two Ways
(July 21 - September 20, 2001)
A selection of panoramic photographs of Hudson Valley landscapes, accompanied by poetry by Nancy Willard. The photographs and poems comprise a limited edition book recently published by the Brighton Press, which also will be on exhibition in the museum. To learn more about the history of panoramic photography follow this link http://memory.loc.gov/ammem/pnhtml/pnhome.html.
BUILDING FOR ART: Tradition,Transition, Vision
An exhibition surveying approximately sixty years of collecting art at SUNY New Paltz, Building for Art highlights some of the Museum's finest acquisitions. The exhibition traces the significant role that patronage has played in the creation of the permanent collection and the metamorphosis of the College Art Gallery into the Samuel Dorsky Museum of Art.
View selected images from this exhibition:
- George W. Bellows, "Roumanian Girl"
- Milton Avery, "Card Players"
- Robert W. Ebendorf, "Colored Smoke Machine Brooch"
Amazing Art: A Celebration of Consciousness (June 4 - July 20, 2001)
Gallery Talk by Bill Richards, Saturday, July 8, 1pm
This exhibition presents artwork made by Bill Richards - Director of the Art Studio Program - and artists from the Northeast Center for Special Care, an inpatient special-care facility designed to serve medically-complex and multiply-impaired individuals with brain injury, neurological diseases, neurobehavioral challenges, complex medical recovery, and ventilator dependency. The majority of the Center's artists have Traumatic Brain Injury and/or Spinal cord Injury, both of which are disorders of major public health significance often having lifelong impairment of physical, cognitive, and psychosocial functioning.
This exhibition is a powerful demonstration of art utilized, not as a tool of commerce, but as a vehicle for meaningful creative explorations. Richards believes that creativity is the flip side of tragedy and that meaning can be restored to the disabled through the accomplishment of creating art. Art produced by these individuals achieves a high level of accomplishment by manifesting profound experience into amazing visual expressions.
View selected images from this exhibition:
» View pictures from the opening reception.
September 1 -20 1998
7th Annual Hudson Valley/Catskill Mountain Regional Exhibitions
Chandler Gallery
FROM FUNCTION TO FORM: The Intersectionof Art and Craft
Betty Wilde- Biasiny, Curator
North Gallery
IVAR ELIS EVERS: New Paltz Watercolors, 1930-1950
October 10 - November 15
Chandler Gallery
Sacred Ancient Asia: Photographs by Kenro Izu
A special exhibition of large format platinum photographs of ancient
monuments and architecture in Burma, Cambodia, India, Indonesia, and
Laos. Mr. Izu will discuss his photographic work of South and Southeast
Asia;s sacred sights in the College Art Gallery on Friday October 16
at 5 p.m. the artist will also speak about the Angkor Hospital for Children
that is being built by Friends Without a Border, a non-profit organization
founded by Izu. The hospital will be located in Siem Reap, Cambodia,
the nearest city to Angkor. Helping victims of land mines and contagious
diseases, the hospital will also serve as an education center for medical
personnel and a cultural center for local children.
Generous funding for this exhibition provided by: The College at New Paltz Foundation, Inc. The India Fund, and the Howard Greenberg Gallery, NYC.
North Gallery
Opium Works
Barbara Broughel
Sculptural works that explore the 18th and 19th century opium trade, its coincidence with the declilne of the Chinese Empire, and the Western fascination for Asian goods and objects. Opium Works is influenced by Chinese objects and materials which were popular U.S. imports from 1800-1900.
Sojourner Truth Library
Chinese New Year Folk Prints
Professor Elizabeth Brotherton, Guest Curator
The Sojourner Truth Library will be the site for a special exhibition
of late 19th and early 20th century woodblock prints, largely nianhua
(New Year's Prints) that would once have hung in people's homes. The
hand colored prints were selected from the permanent collection of the
College Art Gallery. They include images of door guardians as well as
a wide range of auspicious symbols meant to bring happiness, childre,
wealth and success to families in the coming year. Also included are
prints depicting colorful scenes from popular novels and Chinese Opera.
The Kenro Izu , Barbara Broughel, and Folk Print exhibitions were developed in conjunction with the New York Conference on Asian Studies (NYCAS) which was held at SUNY New Paltz from October 15 - 17. NYCAS is the oldest of the eight regional conferences of the Association for Asian Studies (A.A.S.) the largest organization of its kind in the world. NYCAS holds an academic conference each fall on a campus in the State of New York and represents all those interested in Asian Studies in the state through its membership on the Council of Conferences of the A.A.S.
July 6 - 26, 1997
HUDSON VALLEY/CATSKILL MOUNTAIN
REGIONAL EXHIBITION SERIES
REGIONAL EXHIBITION SERIES
THE MOUNTAINS, THE RIVER and THE VALLEY
Woodstock Artists and the Regional Landscape
A survey of paintings, prints, and drawings created by Woodstock artists during the 50 years following the founding of the Byrdcliffe arts and crafts colony
WOODSTOCK ARTISTS: Photographs by Harriet Tannin
A portfolio, begun in 1981, of approximately 100 portraits of artists who have lived and worked in Woodstock
Clarence Schmidt
September 23 - October 19 1997
FACULTY ART
An annual exhibition of new work by current Art Department faculty members
October 28 - November 20 1997
THE BODY AND THE LENS: Photography 1839-to the Present. Exhibition organized by the Spencer Museum of Art at the University of Kansas, John Pultz, Curator
July 7 - 31 and September 1 - 20 1997
7th Annual Hudson Valley/Catskill Mountain Regional Exhibitions
Chandler Gallery
FROM FUNCTION TO FORM: The Intersectionof Art and Craft
Betty Wilde- Biasiny, Curator
North Gallery
IVAR ELIS EVERS: New Paltz Watercolors, 1930-1950
