Since the dawn of humanity, individuals have contended with the sublime and unforgiving power of nature. However, by the 20th century, modern issues, such as industrialization, urbanization, and war, had distanced humankind from the natural world that was once integral to their everyday lives.
This struggle between modern life and nature is a theme that was often explored by artists of the 20th century. The use of the old-world medium of woodcut prints to either depict scenes of modern society or the natural world added another dimension to the debate over which environment was superior.
Modernity vs. Nature: 20th Century Woodcut Prints explores the dialogue between the natural materials used in woodcut printing and the contrasting subject matters of modern life and nature utilized by 20th century artists.
This exhibition is curated by Teresa Ferguson, SUNY New Paltz Art History and Digital Media Production major, and intern at the Dorsky Museum.
Working in traditional black and white film, Michael Weisbrot tells the decades-long story of his nephew Alan and his family as they struggle with Alan’s serious illness, medical neglect, and institutional indifference. The work is an intimate personal diary, as well as an indictment of our health care and human services systems. Michael Weisbrot has used his photography to create a powerful work that stands alone as art and as a celebration of love, spirit, and family.
This on-line exhibition focuses on the Maverick Festival of Woodstock, an annual Bohemian carnival that was founded by Hervey White in 1915 and that ran until 1931. This exhibition presents 49 vintage photographs out of some 130 vintage photographs and other memorabilia documenting the Festival that were assembled by Jean Gaede and Fritzi Striebel of Woodstock in order to chronicle the Maverick Art Colony.
The Hudson River School, considered by many to be the first truly American school of landscape painting, flourished between 1825 and 1875. In this exhibition 114 paintings from a remarkble private collection are arranged in series so the viewer can see how 3 different generations of artists of the Hudson River School interpreted the majestic American landscape.
The arts of Asia comprise the largest category of non-western art in the collection of the SDMA. The works range in date from the 2nd millenium B. C. to the later 20th century and are representative of the arts of Japan, China, Korea, Indonesia, India, Afghanistan, Iran, and Syria. Prints, painting, sculpture, ceramics, glass, metals, and books make up the collection.
The works in this exhibition represent the tangible expression of the deeply-rooted spiritual beliefs and ancient mythologies of the peoples of sub-Saharan Africa. As varied as the 47 countries that comprise present sub-Saharan Africa with its clans, tribes, and kingdoms that have existed for millennia, what we call the arts of Africa collectively speak of a profound relationship to the family, the environment, and the cosmos.
Illegal Excavations Destroy the Archaeological Heritage
This exhibition was originally created as a documentary panel exhibition about the illicit traffic of cultural property in South Italy. This on-line version was adapted from the work of Daniel Graepler and Marina Mazzei and produced collaboratively by the Samuel Dorsky Museum of Art.
The posters that make up this exhibition were produced between 1953 and 1982. Displayed within the urban and rural landscapes of Puerto Rico, they were used to advocate for political action, cultural awareness, and social, educational, and health issues.