The School of Art+Design is pleased to announce the exhibition Revisiting Paradise, comprised of Art+Design alumna Julie Langsam’s paintings and drawings, on view at the Richard & Dolly Maass Gallery February 17- March 21, 2014. Thirty years after graduating from the School of Art+Design, Julie presents a new series of works that reflect on how the modernist architecture of the campus and its utopian ideals influenced her artistic practice. Langsam is best known for her paintings of iconic Modernist buildings designed by celebrated architects such as Walter Gropius, Mies van der Rohe, and Le Corbusier. Within these paintings, the isolated buildings are positioned on the horizon line between an expansive and lustrous sky at sunset, and abstract color fields derived from Ad Reinhardt’s paintings from the 1950s. Here, she brings these paintings full circle to Purchase College, where the grand scale and the flatness of the buildings highlight the architectural legacy of the college, designed by Edward Larrabee Barnes within a rural landscape in the early 1960s and ‘70s.
In Revisiting Paradise, Langsam will present a new series of watercolor paintings and graphite drawings based on images of the campus’ brutalist brick buildings and the original blueprints from the 1971 MoMA exhibition and catalogue Architecture for the Arts: The State University of New York College at Purchase, curated by Arthur Drexler. In returning to Purchase College and the Visual Arts Building, Julie continues to introduce new structures to her body of architectural scenes. Langsam will feature a site-specific painting on the gallery walls based on the original blueprints of the Neuberger Museum, layered and transformed by abstract color fields, selected randomly by chance. In further conversation with the architecture of the gallery and wall painting, she will unveil a site-specific floor piece made out of carpet based on the original designs of the Visual Arts Building.
Julie Langsam is currently an Assistant Professor of Drawing at Rutgers University’s Mason Gross School of the Arts. Recent solo exhibitions include Now(here) at 532 Gallery Thomas Jaeckel, NY; Building & Blueprints at Espai 8, Spain; and Floor Plan Prototypes, Reykjavik Art Gallery, Iceland. She is the recipient of the Pollock- Krasner Foundation Award, and is represented in collections throughout the United States. Julie received her BFA from Purchase College, SUNY in 1983 and a MFA from Queens College, CUNY in 1985.
The School of Art+Design, part of the School of the Arts at Purchase College, SUNY, offers premiere programs that prepare students for careers in the visual arts and design, as well as lives informed by aesthetic experience. The school honors tradition, encourages experimentation & collaboration, develops critical thinking, and embraces new concepts, materials, and technologies. A faculty of working artists is committed to creating a supportive climate in which students are passionate about learning to see, to think, to make, and to reflect. Our graduates are leaders in cultural production throughout the world.Located within the School of Art+Design, the Richard & Dolly Maass Gallery presents exhibitions that provide professional context for students and interact with their daily classroom experience. The gallery’s program focuses on emerging artists, A+D alumni, current faculty, and student work.
School of the Arts exhibitions and programs in the Richard & Dolly Maass Gallery are supported, in part, by the Purchase College Foundation and through an endowment from Richard and Dolly Maass.
Middle Gate Geel ‘13, Belgium, September 29- December 22, 2013.
Middle Gate Geel ’13 is an international art event, curated by a renowned curator Jan Hoet and exhibited at numerous historical locations throughout the city of Geel. The exhibition, displaying the work of more than fifty artists from around the world, tries to come to grips with the complex and multi-layered interaction between myths, psychiatry and the arts. Rather than pinpointing the differences, the exhibition undertakes to reveal the connections and links, commonplaces and parallels of these phenomena. The historic and present-day context of the city of Geel, world-famous for its unique psychiatric care system based on home nursing, adds an extra dimension to this exhibition, so much so that the interaction between Geel and this exhibition will be palpable and visible in every aspect.
Middle Gate Geel ‘13 concentrates on three main categories: myth, psychiatry, and art. More specifically, it sets out to analyse the mutual interaction between mythical or magic-religious art, outsider art and art-as-art, ignoring differences and focussing instead on connections and links, affinities and parallels with respect to these three phenomena. This exhibition wants to do more than just “compile” a number of works that somehow refer to the three main phenomena. It has no intention of providing clear-cut answers—it merely wants to disorder and disturb what we thought we knew. Through the combination of myths with psychiatry and art, this exhibition seeks to create a mental space capable of yielding insights about the assumption of what art is—or could be.
Middle Gate Geel ‘13 is obviously not the first exhibition that zooms in on the relationship between psychiatry, myths and art, yet through its intrinsic link with the city of Geel, it acquires a uniquely rich dimension. Geel’s “foster homes” have been welcoming psychiatric patients of the Public Psychiatric Nursing Centre (OPZ) ever since the 13th century. This integration has contributed to the inclusion of patients in families’ daily lives and in the city’s activities. Geel’s home nursing system still enjoys a special status in the field of caring for the mentally disturbed. The integration of psychiatric patients in families used to be frowned upon. Today, home nursing is considered a monument (so much so that the official psychiatric term is now “rehabilitation”). This approach has aroused interest the world over—even Michel Foucault wrote about it. Geel’s home nursing system is considered a valuable model with a special ethical value. Dialogues and shared experiences of patients and non-patients abound in Geel. Middle Gate Geel ‘13 capitalises on this context and attempts to continue and intensify this dialogue.
Armando Marino presented at VOLTA 9, Basel
The axis of Armando Mariño’s recent work flows from the ethical dilemma implied by aestheticizing or domesticating a violent event — from the moment it becomes “breaking news” and is then converted into art through painting. He appropriates images whose authorship and authority become less important and more “everyday”, to which the public has instance access to via the web or print media, and from these Mariño launches a new kind of neo-historicism.
click on cover to view the book online free:
May 17 -June 30, 2013
Avenues recent visits to the Paint and Memory exhibit by English painter John A. Parks was a fun experience with the children immediately responding to the finger paintings. They also toured the map paintings of London, pointing to places they knew or recognized by name.
In praise of the revolution May 4th, 2013
” I think Marino is one of the great artists of modern times. Look at the passion, the energy, the drive, the rage, the imagery: it’s magnificent.” Donald Rubin
Zum guten Schluss die Volta. In neuem Quartier auf der Mercer Street (ein Wechsel, der gut tat) schlug sich die Einladungsmesse wacker. Obwohl aus Soloshows bestehend, hatte man den Eindruck, dass die Volta so ist, wie die Independent es gern wäre. Großerfolg für die 532 Gallery Thomas Jaeckel, der dem artmagazine.cc sagte: „Fantastische Messe! Bei uns läuft es unglaublich gut. Wir haben viele Sammler schon in die Galerie mitnehmen können.“
Einen starken Aufritt hatte auch die Galerie Thomas Jaeckel aus New York (auch auf der Context vertreten) mit den New Painterly Images von Ian Hughes.
Bideodromo festival is screening //KIDS// at Museo de Reproducciones in Bilbao on Oct 24th.
“Kids” 13’18. Nadja Verena Marcin (USA)
Nadja Verena Marcin narrates through a conceptual revision of the cult film “Kids” (New York, 1995, Larry Clark) the interaction of a group of young adults; the smooth transition between shocking rituals and its adaption as lifestyle.
ARCHITECTURE OMI PROJECTS SKYLINE ADRIFT
Cuban Art and Architecture at Architecture Omi
September 16, 2012 – May, 2013
Artists Reception: Sunday, September 16, 12 noon-3pm
* The artists will give a presentation on their work at 1:30 during the opening
Architecture Omi presents SKYLINE ADRIFT: Cuban Art and Architecture, a politically and aesthetic ground-breaking show of multi-disciplinary, site-specific installations by two Havana based architects and two internationally established Cuban artists. SKYLINE ADRIFT will be on view September 16, 2012 through May, 2013 at Omi International Arts Center in Ghent, New York. An artists reception will be open to the public on Sunday September 16th from 12 Noon to 3 PM.
SKYLINE ADRIFT is curated by Rachel Perera Weingeist, Advisor and Curator, The Shelley and Donald Rubin Private Collection and Peter Franck, Director, Architecture Omi, with Ricardo Porro, the seminal Cuban architect and educator who provided unparalleled access to the brightest young architectural talent in Havana.
SKYLINE ADRIFT presents large-scale architectonic installations by Cuban architects Yilena Lourdes Feitó Echarri and Yoandy Rizo Fiallo and internationally renowned Cuban visual artists Alexandre Arrechea and Armando Mariño Calzado. The two architects, who had never before left Cuba, were awarded a six-week residency at the Vermont Studio Center for creative development and production of their site-specific installations. They travelled to Omi early in the summer to survey the site for their installations, which will be transported and installed on the grounds of Architecture Omi in early September.
Artists Alexandre Arrechea and Armando Mariño Calzado are well known on the international arts scene. Mariño recently took up residence near Omi in Athens, New York. Arrechea splits his time between Madrid and Havana. They both participate in global art fairs and exhibit in elite museums and galleries around the world and will contribute sophisticated sculptural pieces to the exhibition.
SKYLINE ADRIFT reflects current Cuban creative sensibilities across a broad spectrum of sculpture, architecture and installation art. Although the artists and architects emerge from very different professional pressures, they share the centuries-old traditions in which Cuba’s visual arts are deeply rooted. In creating four site-specific works in the picturesque landscape of Omi International Art Center’s 300-acre campus in New York’s Hudson Valley they will confront the quintessential rural context of New England, far removed from the ecological, political and cultural praxis of Havana. According to Architecture Omi Director Peter Franck, “this exhibition will introduce the current state of architectonic discourse in Cuba to the world outside Havana.”
“We wanted to offer Cuban architects the same opportunity more commonly granted to painters, ballet dancers and musicians in their country. This program is a great example of the power of international cultural exchange and we expect for it to have a ripple effect on Cuba’s architecture community upon their return” added Weingeist.
Reflecting on the project, Ricardo Porro remarked “in architecture, we always begin with the problem of function and add poetry to that function. For this project, the architects are being asked to respond poetically to the landscape without the restriction of function….I do believe that an architect should be a painter and a sculptor and this, in essence is what this show is asking these young architects to be.”
SKYLINE ADRIFT is made possible by the JM Kaplan Fund, The Shelley & Donald Rubin Foundation, Elise Jaffe + Jeffrey Brown, The Vermont Studio Center and Omi International Arts Center. Very special thanks to Francis Greenburger, Jon Gregg, Roxana González, María Elena Martín Zequeira, Alysa Nahmias, Mario’s Home Center (Valatie, NY), Ricardo Porro and Shelley and Donald Rubin.
Alexandre Arrechea sketch
Yoandy Rizo Fiallo
Per Adolfsen, Anna Borowy, Peggy Bates, Joergen Geerds, Ian Hughes, Nadja Marcin, Armando Marino, John A. Parks,Tanja Selzer.
Joergen Geerds is opening his first solo show in Europe in June 1st. 2011 at the Pousada de Palmela, about 30km south of Lisbon, Portugal.
He will be showing 15 of his large scale night panoramas until the end of August 2011. The show is open to the public.
“WESTEND?” June 16th, 2011 http://www.mots.org.il/Eng/Exhibitions/west-end-info.asp
MUSEUM ON THE SEAM, JERUSALEM, ISREAL
“Krieg im Frieden” May 12th – 12th June 2011
Curator Vittorio Sgarbi invited the artist representing the Lombardia Region at the Italian Pavillion during the 54th BIENNALE VENICE
June 4th- November 27, 2011
April – June 29, 2011 solo exhibit at Schuebbe Projects, Düsseldorf
Lucky Draw 2011
Wednesday, April 13, 2011
Lucky Draw – a one of a kind art raffle – guarantees that each and every ticket holder walks home with a work of art! This fast-paced one night event offers first time and seasoned collectors access to more than 180 artworks by top emerging and established talent. All proceeds benefit SculptureCenter.
Oil Enamel, Spray Paint on Canvas 20″ x 24″
Courtesy of 532 Gallery Thomas Jaeckel