Current Exhibitions

Collective Consciousness: New Work by SUNY New Paltz Art Faculty

Curated by Karlyn Benson

February 6 – April 11, 2021
Alice and Horace Chandler and North Galleries

Anat Shiftan, Still Life with Fruit and Twigs in Shades of Yellow, 2020, courtesy the artist   


The SUNY New Paltz Art Department faculty members show their collective strength through a range of approaches to contemporary art.

Collective Consciousness is an exhibition of work by SUNY New Paltz Art Department faculty. The title of the exhibition refers to the sense of community at the university and the faculty’s ability to come together for each other and their students during this difficult time.

The exhibition includes metalwork, ceramics, photography, printmaking, fiber art, film, painting, drawing, and several sculptural installations by twenty-one artists:

Robin Arnold  |  Michael Asbill  |  Lynn Batchelder  |  Bryan Czibesz  |  Aurora De Armendi  |  James Fossett  |  Andrea Frank  |  Matthew Friday  |  Anne Galperin  |  Kathy Goodell  |  Andrea Kantrowitz  |  Rena Leinberger  |  Myra Mimlitsch-Gray  |  Aaron Nelson  |   Itty S. Neuhaus  |  Jill Parisi-Phillips  |  Emily Puthoff  |  Nadia Sablin  |  Anat Shiftan  |  Suzanne Stokes  |  Cheryl Wheat

Kathy Goodell: Infra-Loop, Selections 1994—2020

Curated by Andrew Woolbright

February 6 – July 11, 2021
Morgan Anderson Gallery and Howard Greenberg Family Gallery

Kathy Goodell, Voyager, 2020


Infra-Loop
explores the artistic practice of Kathy Goodell, whose work remains a mysterious synthesis. Associated with many movements and contemporaries, Goodell’s career charts a path and fills in the gaps of what we think about art in the ‘90s, ‘00s, and the present. Her practice has determined itself through a kind of non-specificity, one that resists easy classification and interpretation. The meaning of her work, and context through which we are to understand it, is simultaneous and withheld—west coast spiritualism meets east coast abstraction; procedural non-objectivity blends with painterly biomorphism; protean theosophy informs post-modernist contemporary. This survey of work explores the through-lines in Goodell's practice as a moving target, examining an artist that is constantly challenging and reinventing her practice.

Support for this exhibition has been provided by a Foundation for Contemporary Arts Emergency Grant.

Lewis Hine, Child Labor Investigator

Curated by Anna Conlan and Amy Fredrickson

February 6 – July 11, 2021
Sara Bedrick Gallery

Lewis Hine, Sadie Kelly, 11 years old, Peerless Oyster Co., 1911, Samuel Dorsky Museum of Art

Using photography as a tool for social change, Lewis Hine’s (1874-1940) powerful photographs for the National Child Labor Commission proved the exploitation of young children working in unsafe conditions and ultimately led to American child labor law reform.

DIRT: Inside Landscapes

Curated by Emilie Houssart

February 6 – July 11, 2021
Seminar Room Gallery

John Pfahl, Salt Pile with Bagels, South Buffalo, NY, 1976, Samuel Dorsky Museum of Art

 

As part of the Dorsky Artist in Residence program, DIRT: Inside Landscapes will be the base for artist Emilie Houssart's explorations into how we relate to surrounding ecologies.

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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