Upcoming Exhibition at the Re: Art Show featuring Faculty Grahame Weinbren, current students, and alumni.

Guest Curated by faculty member Wardell Milan and alum, Melvin Harper. The works in ‘Haphazard Paradigm’ (the 14th edition of the Re: Art Show) look to question the deep cultural identities a person invests in race, gender, and nationality.

A combination of video art, installation, sculpture, etc., the exhibition will feature work by Grahame Weinbren, a pioneer of interactive art and faculty member alongside projects by thesis student Johnnie Chatman and alums Sullivan Gardner, Melvin Harper, Anders Jones and the international women's collective Et.Alia (comprised of class of 2016 grads Ala d'Amico, Jiwon Choi, Netta Laufer, Kelsey Lynn and Sara Meghdari.)

The opening reception will take place on Saturday September 9th, 2017 from 6 to 10pm, with many of the artists expected to be in attendance. Running through October 8th, the Re: Art Show is open weekends from 12pm to 6pm at 630 Flushing Ave in Brooklyn.

For more information on Haphazard Paradigm please click here.

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The Re: Art Show is an ever-evolving, recurrent, curatorial project spearheaded by alumni of the program Erin Davis and Max C Lee. Housed within the now-defunct portions of the former Pfizer Pharmaceutical factory in Brooklyn, Re: Art Show brings together an abnormally wide breadth of artists in an abnormal environment.

For more information of the Re: Art show click here. 

 Image courtesy of the Re: Art Show.

Image courtesy of the Re: Art Show.

Alum, Sara Meghdari featured in upcoming Governor's Island Art Fair

 Image courtesy of 4heads. 

Image courtesy of 4heads. 

On September 2, 4heads (a New York City non-profit organization created by artists for artists) will open the 10th edition of the Governors Island Art Fair, featuring work by over 100 new and returning artists including our very own class of 2016 alum Sara Meghdari. For the first time the exhibition will be presented in the historic homes on Colonels Row and on the ground floor spaces of Liggett Hall. Touted as New York’s largest independent exhibition, GIAF welcomes over 40,000 visitors annually in New York Harbor.

The Art fair will run every weekend from Saturday September 2nd through October 1st, 2017 from 11am to 6pm. While admission is free, in order to arrive on the island you will need to take the ferry which costs $2.

For more information, please click here.

 Mommoni (2012). Image courtesy of Sara Meghdari

Mommoni (2012). Image courtesy of Sara Meghdari

Meghdari has described her practice as a "passion to create driven by my bicultural background as an Iranian-American. My work is a reflection of culture as well as the self, pursuing distinct and obscure emotions in an attempt to create a narrative and connect with humanity."

Congratulations Alumni Jaime Permuth on his winning image in Latin American Fotografia 6

Congratulations to class of 1994 alum Jaime Permuth on his winning image from his latest series The Street Becomes in this year's edition of American Illustration-American Photography (AI-AP)'s Latin American Fotografia 6. This prestigious competition highlights the best photography projects conducted in or about Latin America. For more details on the competition please click here.

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A selection of twelve images from the series is currently being showcased at El Museo del Barrio in the exhibition "Nasty Women / Bad Hombres" in New York City. The debut of the Uptown Triennial organized by Columbia University will be on display through November 5, 2017. For more information, please click here.

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Imagery courtesy of Jaime Permuth ©

Faculty and award winning filmmaker Simin Farkhondeh showcases latest documentary at the City College of New York

In the August installment of the TWN Evening Seminars, join filmmakers Al Santana, Laura L. Fowler and SVA MFA Photo faculty Simin Farkhondeh and their docufiction films, ONE PEOPLE and WHO GIVES KISSES FREELY FROM HER LIPS, with filmmaker Rico Speight leading a discussion on treading the line of documentary and dramatic work. Explore the possibilities of docufiction or docudrama- bringing together narrative fiction and cinéma vérité, in order in order to strengthen the representation of reality with artistic expression.

Thursday August 24th at 6:30pm

Documentary Forum at CCNY,

Room 291, Shepard Hall

259 Convent Ave. City College

New York, NY 10031

This work "offers an engaging introduction to this challenging subject, adeptly conveying the complexity of temporary marriage. WHO GIVES KISSES FREELY FROM HER LIPS provides a welcome complement to existing scholarly literature on temporary marriage, offering a rare glimpse into a fascinating aspect of the fast-changing landscape of Iranian sexual politics. This film is recommended for courses exploring issues of gender and sexuality in Islam and in the Middle East as well as those that consider feminism in a transnational perspective. The film would also contribute to courses on modern sex and sexuality, providing a neglected perspective on contemporary debates in feminist and queer theory concerning polyamory and other alternatives to traditional forms of heteronormative intimacy by challenging the idea of Western subjects as necessarily more "modern" or sexually liberated than others."

*-Juliet Williams, Films for the Feminist Classroom*

For more details please click here.

Alum, Shen Wei in solo exhibition Between Blossoms at SinArts Gallery and featured in other upcoming art fairs

 Between Blossoms by Shen Wei

Between Blossoms by Shen Wei

SinArts Gallery

Korte Vijverberg 2

2513AB, The Hague
Netherlands

Between Blossoms
September 2 – October 2, 2017

Opening Reception: September 2, 2017, 16:00 - 19:00

 Table for Two, 2014 courtesy of Shen Wei

Table for Two, 2014 courtesy of Shen Wei

Photo Shanghai
Shanghai, China
With Flowers Gallery
September 7 - 10, 2017
Public Program: A Color Explosion: The Rise of Contemporary Photography
Conversation: Friday, September 8, 2017, 13:30 - 14:15


Contemporary Istanbul
Istanbul, Turkey
With Flowers Gallery
September 14 - 17, 2017


Asia Now Paris
Paris, France
With SinArts Gallery
October 18 - 22, 2017
 

 House Frame, 2015 courtesy of Shen Wei

House Frame, 2015 courtesy of Shen Wei

Alum, Jeff Chien-Hsing Liao in Upcoming Solo Exhibition at Foley Gallery

CENTRAL PARK NEW YORK: 24 SOLAR TERMS | JEFF CHIEN-HSING LIAO SEPTEMBER 6 - OCTOBER 15, 2017

Foley Gallery is pleased to present Central Park New York - 24 Solar Terms, a solo exhibition featuring photographs by Jeff Chien-Hsing Liao.

The title of the show takes its name from the ancient Chinese luna a mr calendar, which divides the year into 24 segments, each segment given a specific solar term. This system provided a time frame for agriculture, everyday life and festivals. Jeff Chien-Hsing Liao was born in Taiwan in 1977, and immigrated in 1999 to the United States, residing in the Queens Borough of New York City. He lived in close proximity of the 7-subway line, and created his renowned “Habitat 7” series, which stated his claim and love for New York City.

Over the years, Liao has transitioned from large format film to digital photography. By digitally manipulating multiple exposures of Central Park while adapting a vertical format traditionally found in 17th century Chinese scroll paintings, Liao pays homage to both his Taiwanese heritage and identity as a New Yorker. Central Park New York, 24 Solar Terms looks at a dynamic and ever-changing landscape. At once familiar, the “lung of Manhattan” still reveals surprises. Liao invites us into mysterious enclaves primed for intimacy and reflection carefully hidden among the familiar public gathering sites and well-founded landmarks. In 2012, Liao won the Emerging Icon in Photography Award from George Eastman House. His series “Habitat 7” received critical acclaim, and in 2005, Liao was honored with the New York Times Magazine “Capture the Times” photography contest.

Liao’s work can be found in the permanent collections of the Museum of Fine Arts, Houston, Queens Museum, NY, Brooklyn Museum, NY, J. Paul Getty Museum, LA, George Eastman House-International Museum of Photography and Film, NY, the Norton Museum of Art and the Deutsche Bank art collection. Liao’s first monograph, Habitat 7, was published in 2008 by Nazraeli Press, which also published his second monograph, Coney Island, in 2013. In October of 2014, Aperture Foundation published his third monograph, Jeff Chien-Hsing Liao: New York, encompassing his work in New York for the past 10 years. In September 2017, Nazraeli Press will publish his fourth monograph, Central Park New York that will coincide with his solo exhibition, of the same name at Foley Gallery.

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For more information regarding this upcoming exhibition, please click here

Alum, Maureen Drennan interviewed and featured on Art21 Magazine

Highway to the Sun: Truth and Fiction in Maureen Drennan’s Photography

by Jacquelyn Gleisner | Aug 15, 2017

In Montana, the Going-to-the-Sun Road traverses Glacier National Park along hairpin turns, where mountain goats live, and crosses the Continental Divide at Logan Pass. Titled after this road, the series Highway to the Sun by the New York City–based photographer Maureen Drennan is a metaphor for an epic journey: In the summer of 1951, four friends departed from Hanover, New Hampshire, on a five-thousand-mile trip to Alaska, passing through Glacier National Park and countless other notable places. They kept a travel log and took photos of the sites they saw. One of the young men on this road trip was Drennan’s stepfather. While she was growing up, his coming-of-age tale was recounted to the point of becoming a myth.

 Maureen Drennan.  Clear Creek, Montana , 2013. Digital c-print; 24 x 30 inches. Courtesy of the artist. © Maureen Drennan.

Maureen Drennan. Clear Creek, Montana, 2013. Digital c-print; 24 x 30 inches. Courtesy of the artist. © Maureen Drennan.

Drennan described how she imagined these four friends “moving toward an endlessly bright future.”1 Working with an archive of photos and written descriptions, Drennan began to recreate images from the expedition, using a medium-format film camera. Initially her photographs were too illustrative, so Drennan changed her strategy. She envisioned herself on a parallel journey with an uncertain ending. In the resulting work, the places and people in the photos are not literal representations of characters or locations in the travel log; Drennan was more interested in blending the past and present. The images depict her understanding of the trip as a journey of exploration and invention.

On the road, the four men took turns contributing to the log, which varies in tone from factual to poetic. One writer diligently states the mileage and location in the text, and another describes at length a comely waitress. Drennan noted that more than one person asked to join the road trip. The four friends remained unaccompanied by others, yet Drennan believes the strangers’ enthusiasm reveals the idea of the road trip as part of the zeitgeist. Six years after this journey, in 1957, Jack Kerouac’s novel On the Road was published. Being on the open road—as Kerouac, his characters, and Drennan’s stepfather were—continues to inspire similar journeys now accepted as quintessentially American.

 Charles Russell.  Hanover, New Hampshire , 1951. Silver gelatin print; 5 x 7 inches. Courtesy of the artist.

Charles Russell. Hanover, New Hampshire, 1951. Silver gelatin print; 5 x 7 inches. Courtesy of the artist.

Click here for the full Art21 article. 

Maureen Drennan was also recently featured in an interview on Musée magazine. Please click here for the article. 

Alum, Liz Zito featured in the New York Times

Turning the Perverse Nature of ‘The Bachelor’ Into Art

By AMANDA HESS AUGUST 2, 2017

Love “The Bachelor” but hate yourself? Duck into SleepCenter’s cramped Chinatown basement art space on Wednesday for “Here for the Right Reasons,” an endearingly scrappy one-night show where artists will try to process the disquieting implications of their “Bachelor” fandom.

“I think in a healthy society, ‘The Bachelor’ would be illegal,” Artie Niederhoffer, a curator of the show, writes in an artist’s statement penciled on one of the gallery’s walls. She adds: “Gotta get my fix while society’s still sick.”

Ms. Niederhoffer, a freelance writer, and Janie Korn, an illustrator, both 29, started watching the show in 2012. At first, it was a joke. Then, it wasn’t. Their group texts with a mutual friend became consumed with “Bachelor” relationship analysis and speculation about behind-the-scenes producer manipulation. They found themselves drawn to the toxic hetero spectacle in the same way that some women read murder books to subconsciously deal with anxieties about violence. “It brought together this sisterhood,” Ms. Korn said.

These days, it’s easy to recognize “The Bachelor” franchise — the 13th season of “The Bachelorette,” featuring the series’ first black lead, is currently careering toward its inevitable rush-proposal ending — as a vacuous project complicit in various crimes against humanity. (Among them: the subjugation of women; the exploitation of the mentally ill; the perpetuation of racial stereotyping; and the advancement of corporate synergy.) But it’s even easier to blow two to three hours a week watching it.

“We want to examine why people like us watch the show,” Ms. Niederhoffer said. “The things they put the women through are horrible, at times. It’s kind of nice to watch, in a perverse way.”

In “Here for the Right Reasons,” more than a dozen New York artist-fans exorcise their own “Bachelor” issues. The video artist Liz Zito slips into the persona of an obsessed fan, painting the erstwhile bachelor Nick Viall as a merman on a seashell-lined canvas, then trying to sell the portrait to Mr. Viall over Instagram for $10,000. Her direct message to Mr. Viall, displayed alongside the piece, investigates the show’s aggressive rebranding of the Wisconsin software salesman into America’s most enduring eligible bachelor. (Mr. Viall has starred in four seasons of the franchise, including “Bachelor in Paradise,” appearing increasingly beefy in each iteration.)

“It projects a majestic aesthetic, which falls in line with your television persona,” Ms. Zito writes in her sales pitch, adding, “I’m not a weird psycho fan, I’m just a really good artist.” He does not respond.

 The artist Mur performs his song “I Should Not Watch the Bachelor” at “Here for the Right Reasons.”

The artist Mur performs his song “I Should Not Watch the Bachelor” at “Here for the Right Reasons.”

 The artists and curators Janie Korn and Artie Niederhoffer’s “Rose Installation,” featuring the “Bachelorette” Rachel Lindsay, on display at “Here for the Right Reasons.”

The artists and curators Janie Korn and Artie Niederhoffer’s “Rose Installation,” featuring the “Bachelorette” Rachel Lindsay, on display at “Here for the Right Reasons.”

Please click here for the full New York Times article 

Alumni, Erin Davis and Max C Lee at Invisible Exports

EXHIBITION:

ERIN DAVIS / MAX C LEE Ride Collision: Voice-Haptic On-Road Patio for Liaison Sessioning

DATES:
August 4 - 26, 2017

RECEPTION: Friday, August 4: 6-10pm

For the month of August, INVISIBLE-EXPORTS is surrendering the gallery to artists Erin Davis and Max C Lee.

Ride Collision: Voice-Haptic On-Road Patio for Liaison Sessioning is part of Erin Davis / Max C Lee’s Ride Collision series of environments built from discarded, disposable, and cheap materials. Each assemblage combines disparate items that, when viewed together, form a dialogue about cars, law, comfort products, and the transformation of bodies within these networks. With the installation presented here, Davis / Lee focus on the collision of personal and governed space.

These confrontations begin taking shape with styrofoam “rock” piles, painted black and coated with the same retro-reflective material used in road paint. Reminiscent of salt-worn asphalt, piled after a scene of impact, with surrounding bright spotlights of a forensic examination post-emergency. Elsewhere, diagrams of "impact attenuators" are rendered in thin lines on loose pieces of drywall. Also known as "crash cushions," impact attenuators are metallic or plastic barriers designed both to control traffic and brace for impact.

Collision determines the design of transportation space: in physical design (barriers, lights, symbols, and retro-reflective surfaces) and in abstract conceits (traffic law). The design of transportation systems also assumes motor-vehicle operators have bodies (for now). A hypothetical ideal functionality exists behind the safety systems devoted to these bodies: protect the body of the driver, deform everything around it should there be a crash. However, this ideal functionality is flawed. The crash deforms the bodies of drivers and are then rushed from transportation space to an environment similarly designed around the safety and survival of bodies: medical space. Here, breathing, fluid-filled bags act as organs sustained by a safety-system of objects that evoke both the medical and vehicular.

The design of transportation systems also assumes that drivers have internalized a set of codes (traffic laws) dictating their behaviors. This system, too, is constantly prepared for collision – between law and body, where the law is embodied by law enforcement. Much like the body’s role in designing roads and cars, its destruction is contingent to enforcing the law.


Erin Davis and Max C Lee both received their MFAs from the School of Visual Arts in 2016. They have been creating collaborative works for two years, this exhibition being their first solo show in New York. Davis / Lee are also the co-founders and curators of Re: Art Show, an ever-evolving group exhibition within the now-defunct spaces of the former Pfizer pharmaceuticals factory in Brooklyn. Both artists live and work in New York.

INVISIBLE-EXPORTS is located at 89 Eldridge Street, just south of Grand Street. Gallery hours are Wednesday through Saturday, noon—6pm, and by appointment. For more information, call 212-226-5447 or email: info@invisible-exports.com

Alum, Maureen Drennan in Group Show, Portals at Transmitter Gallery

Transmitter presents:

Portals Curated by Ashley Garrett and Anna Ortiz

AUGUST 4 – SEPTEMBER 10, 2017 OPENING RECEPTION FRIDAY, AUGUST 4, 6–9 PM

CHRISTOPHER BERTHOLF • KAT CHAMBERLIN • MAUREEN DRENNAN • SHARONA ELIASSAF • PAUL METRINKO • MEREDITH HOFFHEINS • JENNY LEE • JOSHUA SEVITS • SUSAN WIDES

"The self is only a threshold, a door, a becoming between two multiplicities." —Giles Delueze

"I never succeed in painting scenes, however beautiful, immediately upon returning from them. I must wait for a time to draw a veil over the common details."
—Thomas Cole

Portals considers the concept of landscape as a reflection of self. This range of paintings, drawings and photographs acts as a gateway into the experience of these nine artists. Depicted in personal, intimate scales, a range of real and invented imagery comprises a cross-section of approaches to the contemporary landscape. Energized and fantastical, dark and foreboding, these microcosms imply contradictory feelings of both safety and vulnerability. Creating spaces to peer into, but not necessarily through, these artists explore paths of escape while allowing us access to altered realities. As with the reflection from a portal’s glass, the viewer faces her own presence and occupation of space in the act of viewing.

Out of the shape and texture of a landscape emerges the first clue into an artist’s subjectivity. The works in Portals manipulate artificial proportions. These interpretations of the land break from traditional horizon-driven vistas into compositions that are jammed up, graphic, or ethereally floating. Spaces oscillate between perspectival depth and flattened surfaces, leaving the viewer in undefined territory full of potential. Through their imagined worlds, these artists transform memories and traumas into fantastical spaces; in some the results are haunting, while others are disarming.

Like a portal or passageway, technology can open uncharted mindscapes full of new kinds of energy and promise, while editing and shaping our experience. As we acclimate to experiencing life in conjunction with new technologies, we become further detached from our terrestrial surroundings, the physical space we occupy falling out of focus. We fight to stay present, often nostalgic for a recent past that did not include the digital mediation of our experience. In this increasingly digital world, the physicality of the landscapes in Portals is more vital than ever. Through brushstrokes, blurred and hard edges, these images test our attention, slowing down our consumption in spaces that pose more questions than answers.

 Maureen Drennan

Maureen Drennan

Transmitter Gallery: 1329 Willoughby Avenue, 2A, Brooklyn, NY 11237  

http://www.transmitter.nyc/