Current Exhibitions

Dos Mundos: (Re)Constructing Narratives

Curated by Juanita Lanzo and Stephanie A. Lindquist

September 12 – November 22, 2020
Sara Bedrick Gallery

Cinthya Santos Briones, While living in Sanctuary, Sujitmo Sajuti, ankle monitor, Unitarian Universalist Church, Meriden, Connecticut, from the series "Living in Sanctuary," 2018

Dos Mundos: (Re)Constructing Narratives is a curated exhibition, organized to present the photographs of 12 artists of color who are recipients of En Foco's Photography Fellowships. The current Dos Mundos theme is inspired by the 1973 Dos Mundos exhibition, and hopes to not only capture the contemporary duality of traditions and cultures in immigrant and ethnic communities, but to also revisit and demonstrate the challenges of systemic exclusion from the mainstream as described by the 1973 exhibition.

Featuring: Damarys Alvarez | Laylah Amatullah Barrayn | Tau Battice | Yu-Chen Chiu | Anthony Hamboussi | Daesha Harris | Erika Morillo | Danny Ramon Peralta | Antonio Pulgarin | Roger Richardson | Cinthia Santos-Briones | Aaron Turner 

Jan Sawka: The Place of Memory (The Memory of Place)

Curated by Hanna Maria Sawka and Dr. Frank Boyer

February 8 – November 22, 2020
Morgan Anderson Gallery & Howard Greenberg Family Gallery

Jan Sawka, Post-Card #36 (from the series “Post-Cards”), 1987-89, printed 1990, collection Samuel  Dorsky Museum of Art, gift of the Dorsky Gallery Curatorial Programs, 2007.010.022


Jan Sawka (1946–2012) was a noted contemporary artist of Polish origin and global reach. His work is in the collections of over 60 museums worldwide. Sawka lived and worked in the mid-Hudson Valley from 1985 until his death, conceiving of and producing many of his most notable works in his High Falls, NY, studio.

This exhibition is made up of works that illuminate two aspects of his practice, his fascination with human consciousness, in this case, with memory, and his interest in place, and the places through which a human life passes. Sawka’s working method and artworks are truly visionary, in the sense that he always worked from mental images. Every work he did is open to his thoughts, his emotions, his mental associations, and, above all to memory.

Hudson Valley Artists 2020: New Folk

Curated by Anna Conlan

September 12 – October 25, 2020
Alice and Horace Chandler Gallery and North Gallery

Annie Raife, Untitled, 2018

This year’s annual Hudson Valley Artists juried show features twenty-nine local artists in a vibrant exploration of craft, cultural heritage, and the communities we create together. New Folk showcases artwork that distinctively captures the spirit of contemporary folk practice in the Hudson Valley today. It offers a vision of what folk art can be—highly skilled, locally-sourced, idiosyncratic, and resourceful. New Folk is also a catch-all for the long history of visitors and immigrants in our region, and the exhibition explores the inherited cultural traditions that “new folk” bring with them.

We Wear the Mask: Race and Representation in the Dorsky Museum Permanent Collection

Curated by Jean-Marc Superville Sovak

September 12 – November 22, 2020
Seminar Room Gallery

Combined: Unknown Dan (Mande) artist, Deangle Mask (detail), n.d., gift of Elaine Kniffen, and Carl Van Vechten, Claude Marchant (detail), 1946, gift of Howard Greenberg

Taking its cue from Paul Laurence Dunbar’s 1895 poem, We Wear the Mask pairs artwork from the Museum’s collection in a series of trans-historical, multi-cultural dialogues, using “remixing” as a strategy to unmask the ways racialized identities are presented and perceived.

The Dorsky Collects: Selections from the Permanent Collection

Curated by Wayne Lempka

Corridor Gallery


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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