Current Exhibitions

Time Travelers: Hudson Valley Artists 2018

Curated by Anastasia James

June 16 – November 11, 2018
Alice and Horace Chandler Gallery and North Gallery

Alison McNulty, Untitled (Hudson Valley Ghost Column 1), 2017, Historic Hudson Valley-made Lahey bricks salvaged from Newburgh and unprocessed Cormo sheep wool sourced from New Paltz fiber farm, courtesy the artist


Time Travelers,
 the 2018 edition of The Dorsky’s Hudson Valley Artists series, presents work that engages with the concept of time travel and embraces the slippery notions of time. The works  in the exhibition recognize the universal human desire to experience a time other than our own and act as locations for explorations of, or challenges to, the standard chronological sequence. 

Moving freely across artistic disciplines and mediums, including textiles, painting, installation, sculpture, performance, and photography, TIME TRAVELERS promises to transform the museum space-time continuum full of visual pleasures and conceptual delights.  

The 11 participating artists, selected from over 290 submissions, are: Michael Bernstein, Lynn Dreese Breslin, Kyle Cottier, Daniella Dooling, Harry Leigh, Mollie McKinley, Alison McNulty, Tony Moore, Yvonne Muller, Antonella Piemontese, and Greg Slick.


Timothy Greenfield-Sanders: The Trans List

Curated by Anastasia James

August 29 – December 9, 2018
Morgan Anderson Gallery and Howard Greenberg Family Gallery

Timothy Greenfield-Sanders, Laverne Cox, 2015, inkjet print, courtesy the artist

 

Featuring forty portraits by photographer and filmmaker Timothy Greenfield-Sanders (b. 1952 Miami, FL), The Trans List explores the range of experienced lived by Americans who identify as transgender (an umbrella term for people whose gender identity does not conform to that typically associated with the sex they were assigned at birth).  Through his portraiture, Greenfield-Sanders provides a platform to a diverse group of individuals to tell their stories of their experience with identity, family, career, love, struggle, and accomplishment.


Community and Continuity: Native American Art of New York

Curated by John Hart and Gwendolyn Saul

August 29 – December 9, 2018
Sara Bedrick Gallery

Fragment of highly decorated pot, Esopus territory, ca. AD 1300-1400, courtesy the New York State Museum

 

In 1996, the New York State Museum (NYSM) began an initiative to build a collection of contemporary artworks produced by Native American artists whose ancestry, heritage, and identity is affiliated with lands that now comprise New York. Over the past 22 years the collection has expanded with artwork reflective of the rich histories, ingenuity, and traditions of creating, central to Native American communities.

On view in this exhibition will be artwork rooted in Haudenosaunee histories of beadwork and basket-making, art that incorporates subject matter based on the epic narrative of the Creation Story, Algonquian histories, and commentary on what it means to be Indigenous today, expressed through a variety of mediums including photography, painting, and sculpture. Over thirty contemporary pieces of art, most collected during the past five years, will be on display introducing visitors to the diversity of Native American art in New York that exemplifies a thriving, vibrant and continuous Indigenous presence. Complementing the contemporary artworks and building on the theme of continuity, is a selection of archaeological artifacts of fired clay, bone, and shell from the NYSM collection and from Historic Huguenot Street that provide a glimpse into the prolific artistic traditions of indigenous peoples from the fifteenth through seventeenth centuries AD.

 


Alive & Yelling: Trans Zines and Radical Subcultures

Curated by Basil Bennett-Levy and Sam Trollo, guided by Madeline Veitch and Anastasia James

September 15 – December 9, 2018
Seminar Room

Jenna Braeger (editor), Femme a Barbe, after 2010, photocopy on paper


Zines, short for fanzines, are D.I.Y. publications that have historically been popular among marginalized communities as a means of self-expression and knowledge sharing. Unlike authors of mainstream publications, zinesters retain complete autonomy over what they can say; there are no editors, publishers, publication companies, or marketing departments to censor their work. Zines typically have a small print circulation and are traded or sold close to production cost, not for profit.


Zines have deep historical roots in the pamphlets and chapbooks of 19th and early 20th centuries’ social justice movements and subcultures—feminists, anti-lynching activists, and LGBTQ communities to name a few. Though we now have innumerable ways to share knowledge digitally, from YouTube videos to blogs and social media, zines still hold a unique power to amplify our voices—in analog, with no room for “comments” from anonymous readers.


The Dorsky Collects: Selections from the Permanent Collection

Curated by Wayne Lempka

Ongoing
Corridor Gallery

Avery

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.


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