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DTSTART;VALUE=DATE:20240606
DTEND;VALUE=DATE:20240715
DTSTAMP:20260428T134040
CREATED:20240603T151259Z
LAST-MODIFIED:20240603T151259Z
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SUMMARY:Eyal Danieli: A Man of Parts
DESCRIPTION:NYSS is pleased to present Eyal Danieli: A Man of Parts\, the first survey of the late artist’s work\, curated by Robert Storr. The exhibition highlights Danieli’s explorations of a series of motifs over three decades\, featuring works in oil paint; drawings in ink\, charcoal\, and conte crayon; and prints\, including monotypes\, etchings\, and linoleum cuts. An opening reception will be held on Thursday\, June 6 from 6 to 8pm. \nEyal Danieli was born in Pittsburgh in 1961 and spent the next seven years in the United States and Canada. He came of age and was educated in Israel\, where he completed his required military service in the Israel Defence Forces before embarking on his artistic training at Bezalel Academy of Arts & Design. Danieli chose to leave Israel and make his life in New York City\, where he continued his art education at the New York Studio School.  \nAs Robert Storr writes in his curatorial essay\, “He was an uncommonly brilliant thinker about the most vexed questions of cultural identity that have dominated art criticism and artistic creation in recent years\, as well as a painter and draftsman wholly and unapologetically committed to his vocation.” \nDanieli’s work encompasses silhouetted likenesses of an array of metamorphic motifs that symbolize a wide range of aesthetic\, historical\, and spiritual preoccupations. “The images that obsessed him did so because his attitudes toward and thoughts about them were inexhaustibly unresolved\,” observes Storr. Among his imagery are ethnic stereotypes that become ever more enigmatic with each iteration and a figure with a raised arm whose multitude of poses collapses a span of history from the 1940s to our own. Danieli worked both from models in the studio and from photographic and media sources. Storr writes\, “The bluntness of his graphic touch is the foil for his ambivalent regard for the specific subjects he repeatedly addressed and over which he labored long and hard example-by-example. Ceaseless reiteration was his basic methodology\, as if grinding pigments into a ground would release their latent capacities to speak fragile existential truths to blindly belligerent power. And\, as if stating and restating a form would free its buried spiritual content\, which almost alchemically it did in series after series.” \nA Man of Parts includes the abstract stripe and grid paintings that Danieli produced in 2021-2022. Storr writes that the stripes\, which Danieli referred to as surrogates\, “quiver and quicken with diffusing stress\, and some are pulled askew by unknown forces\, making them unique in the lexicon of geometric abstraction.” \nAll of the works in the exhibition\, as Storr explains\, are inflected with Danieli’s “unmatched gift for graphic condensation along with the darkest\, grittiest of gallows humor\, whilst pairing his characteristic dialectical generosity of feeling with bone-chilling dread.” \nOn Wednesday\, June 12\, at 6:30pm\, NYSS will host a screening of “Some Restrictions Apply\,” a 2022 discussion between Danieli and art critic Michael Brenson. \nOn Wednesday\, June 26\, at 6:30pm\, curator Robert Storr will be joined by Michael Brenson\, Elizabeth Hazan\, Elena Sisto\, and Alexi Worth in a discussion of Danieli’s work. The event will be held both in person and live-streamed via Zoom. To attend virtually\, please register by clicking here.  \nNYSS will host an alumni event on Thursday\, July 11 from 6 to 8pm to celebrate the School’s robust community of dedicated alums. \nAn exhibition catalogue will be available in fall 2024.  \nEyal Danieli (1961–2023) lived and worked in Queens and Brooklyn. He studied painting at the Bezalel Academy in Jerusalem and the New York Studio School (1985–1990). He exhibited his work in solo and group exhibitions in the U.S.\, Israel\, and Europe. Recent exhibitions include Eyal Danieli: Late Works at the Elizabeth Harris Gallery and Preoccupied at at 57W57 Arts. Danieli was a recipient of The New York Foundation for the Arts Award in Drawing\, the Pollock-Krasner Foundation Award\, and a Key Holder grant from The Lower East Side Printshop. Danieli’s work has been reviewed in Two Coats of Paint\, The Brooklyn Rail\, Art Critical\, and The New Yorker. The Brooklyn Rail published a tribute to the artist in the April 2024 edition. \nThe School extends a special thank you to Michael Brenson\, Amanda Guest\, and Robert Storr.
URL:https://artinamericaguide.com/event/eyal-danieli-a-man-of-parts/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="new york studio school":MAILTO:rrickert@nyss.org
GEO:40.7329524;-73.998005
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240516T170000
DTEND;TZID=America/New_York:20240516T200000
DTSTAMP:20260428T134040
CREATED:20240503T144948Z
LAST-MODIFIED:20240503T144948Z
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SUMMARY:2024 MFA Thesis Exhibition Opening Reception
DESCRIPTION:New York Studio School is proud to present the 2024 MFA Thesis Exhibition. The first and second floors of the School will be transformed into exhibition spaces to showcase new bodies of work from our eight graduates: Sutton Allen\, Nate Antolik\, Walter Brown\, Claire Burner\, James Kozlik\, Zipporah Norton\, Narelle Sissons\, and Nicholas Skoug. We hope you will join us to view and celebrate the new work of the class of 2024.
URL:https://artinamericaguide.com/event/2024-mfa-thesis-exhibition-opening-reception/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/05/Nate-Antolik_2.jpg
ORGANIZER;CN="new york studio school":MAILTO:rrickert@nyss.org
GEO:40.7329524;-73.998005
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240425T180000
DTEND;TZID=America/New_York:20240425T200000
DTSTAMP:20260428T134040
CREATED:20240314T155605Z
LAST-MODIFIED:20240314T155605Z
UID:107447-1714068000-1714075200@artinamericaguide.com
SUMMARY:2024 Certificate Completion Exhibition III Opening Reception
DESCRIPTION:New York Studio School is thrilled to present the work of our Certificate graduates in three exhibitions: March 18 – April 7: Robin Kelsey and Sarah Valeri; April 11–21: Catherine Bickford\, Freya Jones\, and Lenore Wolf; April 25 – May 5: Carolina Brunet\, Katherine Edwards\, Samantha Howard\, and Paula Wachsstock. Join us for the final Opening Reception on Thursday\, April 25\, 6-8pm.
URL:https://artinamericaguide.com/event/2024-certificate-completion-exhibition-iii-opening-reception/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="new york studio school":MAILTO:rrickert@nyss.org
GEO:40.7329524;-73.998005
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240411T180000
DTEND;TZID=America/New_York:20240411T200000
DTSTAMP:20260428T134040
CREATED:20240314T155606Z
LAST-MODIFIED:20240314T155606Z
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SUMMARY:2024 Certificate Completion Exhibition II Opening Reception
DESCRIPTION:New York Studio School is thrilled to present the work of our Certificate graduates in three exhibitions: March 18 – April 7: Robin Kelsey and Sarah Valeri; April 11–21: Catherine Bickford\, Freya Jones\, and Lenore Wolf; April 25 – May 5: Carolina Brunet\, Katherine Edwards\, Samantha Howard\, and Paula Wachsstock. Join us for the Opening Reception for Catherine Bickford\, Freya Jones\, and Lenore Wolf on Thursday\, April 11\, 6-8pm.
URL:https://artinamericaguide.com/event/2024-certificate-completion-exhibition-ii-opening-reception/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240409T183000
DTEND;TZID=America/New_York:20240409T193000
DTSTAMP:20260428T134040
CREATED:20240116T143207Z
LAST-MODIFIED:20240116T143207Z
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SUMMARY:Jonathan Lyndon Chase: Home + Body and private liminal public spaces
DESCRIPTION:Jonathan Lyndon Chase (b. 1989\, Philadelphia\, PA) is an interdisciplinary artist who works in painting\, video\, sound\, and sculpture to depict queer Black love and community. Rendered through layers of bright\, visceral paint\, make-up and glitter\, Chase’s figures are suspended in various forms of articulation amidst the backdrop of urban and domestic spaces. These dynamic compositions blend emotional and physical\, internal and external states of being to challenge and subvert canonical misrepresentations and exclusion of the Black body. 
URL:https://artinamericaguide.com/event/jonathan-lyndon-chase-home-body-and-private-liminal-public-spaces/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/01/JLC706_High_01-768x862-1.jpg
ORGANIZER;CN="new york studio school":MAILTO:rrickert@nyss.org
GEO:40.7329524;-73.998005
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240327T183000
DTEND;TZID=America/New_York:20240327T193000
DTSTAMP:20260428T134040
CREATED:20240116T143207Z
LAST-MODIFIED:20240116T143207Z
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SUMMARY:Prudence Peiffer: The Artists of Coenties Slip
DESCRIPTION:In the 1950s and ’60s\, Coenties Slip—an obscure little street at the lower tip of Manhattan overlooking the East River—was home to several extraordinary\, then-struggling artists: Robert Indiana\, Ellsworth Kelly\, Agnes Martin\, James Rosenquist\, Delphine Seyrig\, Lenore Tawney\, and Jack Youngerman. For just over a decade\, this street of dilapidated sail-making lofts and maritime warehouses would serve as the unlikely site of eclectic and influential works of art and spark a singular moment of community and creativity. In the group biography The Slip\, Prudence Peiffer pays homage to the locale that inspired this singular group of artists and changed the course of American art. This talk will explore the long history of one of the oldest streets in New York\, the work that these artists made at the Slip from the wreckage of the city’s many former lives\, and how we are shaped by our environment and how it in turn shapes our work. \nPrudence Peiffer is an art historian\, writer\, and editor\, specializing in modern and contemporary art. She is Director of Content at MoMA\, New York. She received her PhD from Harvard University. Following a postdoctoral fellowship at Columbia University\, she was a Senior Editor at Artforum magazine from 2012-2017\, and Digital Content Director at David Zwirner in 2018. Her writing has appeared in the New York Times\, New York Review of Books\, Artforum\, and Bookforum\, among other publications. Her book THE SLIP: The New York City Street That Changed American Art Foreverwas longlisted for the National Book Award.
URL:https://artinamericaguide.com/event/prudence-peiffer-the-artists-of-coenties-slip/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Event
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ORGANIZER;CN="new york studio school":MAILTO:rrickert@nyss.org
GEO:40.7329524;-73.998005
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240326T183000
DTEND;TZID=America/New_York:20240326T193000
DTSTAMP:20260428T134040
CREATED:20240116T143207Z
LAST-MODIFIED:20240116T143207Z
UID:106659-1711477800-1711481400@artinamericaguide.com
SUMMARY:Michele Oka Doner: A Seed Takes Root
DESCRIPTION:Michele Oka Doner is an artist whose work is fueled by a lifelong study and appreciation of the natural world\, from which she derives her formal vocabulary. Her artistic production includes sculpture\, drawing\, public art\, functional objects\, video\, artist books\, and costume and set design. She has created numerous permanent art installations throughout the world\, including Radiant Site at the Herald Square MTA station in New York; A Walk on the Beach at Miami International Airport; and the entrance to the new Astronomy Museum in Shanghai. \nHer work is found in the collections of MoMA\, the Met\, Whitney\, Art Institute of Chicago\, Detroit Institute of Arts\, The Louvre\, and the Victoria and Albert Museum\, as well as Michigan\, Oxford\, Yale and Harvard university art museums\, among others. She has received many awards\, including those given by UN Society of Writers and Artists\, Pratt Institute\, New York State Council of the Arts and the Knight Foundation. She was first Artist in Residence at the New York Botanical Garden and received an Honorary Doctorate from the University of Michigan\, where she earned her undergraduate and MFA degrees. Oka Doner is the author or subject of numerous books\, including Natural Seduction\, Miami Beach: Blueprint of an Eden\, Human Nature\, Everything Is Alive\, and Into the Mysterium. \nBorn in Miami Beach\, Michele Oka Doner was recently designated Guardian of the City of Miami Beach’s Great Banyan Tree and represents Miami Beach as Ambassador for Arts and Culture.
URL:https://artinamericaguide.com/event/michele-oka-doner-a-seed-takes-root/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/01/Adam-from-Roots-4-of-4ev-536x1024-1.jpg
ORGANIZER;CN="new york studio school":MAILTO:rrickert@nyss.org
GEO:40.7329524;-73.998005
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240321T180000
DTEND;TZID=America/New_York:20240321T200000
DTSTAMP:20260428T134040
CREATED:20240314T155606Z
LAST-MODIFIED:20240314T155606Z
UID:107443-1711044000-1711051200@artinamericaguide.com
SUMMARY:2024 Certificate Completion Exhibition I Opening Reception
DESCRIPTION:New York Studio School is thrilled to present the work of our Certificate graduates in three exhibitions: March 18 – April 7: Robin Kelsey and Sarah Valeri; April 11–21: Catherine Bickford\, Freya Jones\, and Lenore Wolf; April 25 – May 5: Carolina Brunet\, Katherine Edwards\, Samantha Howard\, and Paula Wachsstock. Join us for the first opening reception on Thursday\, March 21\, 6-8pm.
URL:https://artinamericaguide.com/event/2024-certificate-completion-exhibition-i-opening-reception/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/03/Do-you-recognize-us-when-we-are-fire-2023-graphite-on-paper-4822-x-7222-665x1024-1.jpg
ORGANIZER;CN="new york studio school":MAILTO:rrickert@nyss.org
GEO:40.7329524;-73.998005
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240320T183000
DTEND;TZID=America/New_York:20240320T193000
DTSTAMP:20260428T134040
CREATED:20240116T143207Z
LAST-MODIFIED:20240116T143207Z
UID:106657-1710959400-1710963000@artinamericaguide.com
SUMMARY:Veronica Roberts: Day Jobs
DESCRIPTION:Veronica Roberts is the John and Jill Freidenrich Director of the Cantor Arts Center at Stanford University. She joined the Cantor in July 2022 after holding curatorial positions at the Blanton Museum of Art\, MoMA\, and the Whitney Museum. Day Jobs\, an exhibition she curated\, will open at the Cantor in March 2024. Conceived as a corrective to traditional art historical narratives\, Day Jobs encourages us to openly acknowledge the precarious and generative ways that economic and creative pursuits are intertwined. The exhibition features emerging and established artists\, including Mark Bradford\, Lenka Clayton\, Matthew Angelo Harrison\, Tishan Hsu\, Margaret Kilgallen and Lillian Schwartz. \nVeronica is a San Francisco native. She was a 2021 fellow of the Center for Curatorial Leadership. She received her MA from UC Santa Barbara and her BA in art history from Williams College.
URL:https://artinamericaguide.com/event/veronica-roberts-day-jobs/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/01/Day-Jobs-1-768x1024-1.jpg
ORGANIZER;CN="new york studio school":MAILTO:rrickert@nyss.org
GEO:40.7329524;-73.998005
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240313T183000
DTEND;TZID=America/New_York:20240313T193000
DTSTAMP:20260428T134040
CREATED:20240116T143207Z
LAST-MODIFIED:20240116T143207Z
UID:106655-1710354600-1710358200@artinamericaguide.com
SUMMARY:Ann Reynolds: Moving Statues: Parker Tyler’s Rodin
DESCRIPTION:Ann Reynolds teaches art history at the University of Texas at Austin. She is currently completing a book entitled Imagining an Altogether\, a history of intergenerational relationships among New York artists and writers that were shaped by shared\, if heterogeneous\, commitments to Surrealism and its legacy\, primarily through a love of film. She is also the author of Robert Smithson: Learning from New Jersey and Elsewhere (MIT Press\, 2003).
URL:https://artinamericaguide.com/event/ann-reynolds-moving-statues-parker-tylers-rodin/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Event
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2024/01/image001.png
ORGANIZER;CN="new york studio school":MAILTO:rrickert@nyss.org
GEO:40.7329524;-73.998005
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240312T183000
DTEND;TZID=America/New_York:20240312T193000
DTSTAMP:20260428T134040
CREATED:20240116T143207Z
LAST-MODIFIED:20240116T143207Z
UID:106653-1710268200-1710271800@artinamericaguide.com
SUMMARY:Nathaniel Mary Quinn: Work Ethic & Faith
DESCRIPTION:Nathaniel Mary Quinn‘s practice operates within a world of visual metaphor\, in which identifiable forms and features are mobilized to reveal aspects of character. Images taken from online sources\, fashion magazines\, and family photographs come together to form composite portraits that are at once neo-Dada and adamantly realist\, evoking the intimacy and intensity of a face-to-face encounter. In combining his autobiographical history with an exhaustive range of source materials\, Quinn’s figures strike a balance between the grotesque and the beautiful.
URL:https://artinamericaguide.com/event/nathaniel-mary-quinn-work-ethic-faith/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Event
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ORGANIZER;CN="new york studio school":MAILTO:rrickert@nyss.org
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240306T183000
DTEND;TZID=America/New_York:20240306T193000
DTSTAMP:20260428T134040
CREATED:20240116T143208Z
LAST-MODIFIED:20240116T143208Z
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SUMMARY:Sasha Davis: Chaim Gross: The Idea and the Block
DESCRIPTION:Sasha Davis is Executive Director of the Renee & Chaim Gross Foundation\, the historic home and studio of American sculptor Chaim Gross (1902-91) and his wife Renee (1909-2005). Davis previously held internships at MoMA\, MoMA PS1\, and the Newark Museum. Davis received a BA from New York University in Art History with a minor in Studio Art and a certificate in Arts Administration and Collections Management\, also from NYU.
URL:https://artinamericaguide.com/event/sasha-davis-chaim-gross-the-idea-and-the-block/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Event
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ORGANIZER;CN="new york studio school":MAILTO:rrickert@nyss.org
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240228T183000
DTEND;TZID=America/New_York:20240228T183000
DTSTAMP:20260428T134040
CREATED:20240116T143208Z
LAST-MODIFIED:20240116T143208Z
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SUMMARY:Emerson Bowyer: Canova: Sketching in Clay
DESCRIPTION:Emerson Bowyer is Searle Curator\, Painting and Sculpture of Europe\, at the Art Institute of Chicago. A specialist in 18th- and 19th-century French and British art\, he has previously worked at the Frick Collection\, the Fine Arts Museums of San Francisco\, and the Metropolitan Museum of Art in New York. His exhibitions include David d’Angers: Making the Modern Monument (Frick Collection\, 2013)\, and Like Life: Sculpture\, Color\, and the Body (Met Breuer\, 2018). The Art Institute is currently presenting two exhibitions co-conceived by Bowyer\, Canova: Sketching in Clay (November 19\, 2023–March 18\, 2024) and Camille Claudel (October 7\, 2023–February 19\, 2024).
URL:https://artinamericaguide.com/event/emerson-bowyer-canova-sketching-in-clay/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Event
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240227T183000
DTEND;TZID=America/New_York:20240227T193000
DTSTAMP:20260428T134040
CREATED:20240116T143208Z
LAST-MODIFIED:20240116T143208Z
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SUMMARY:VIRTUAL ONLY—Polina Barskaya: On Painting
DESCRIPTION:Polina Barskaya (b. 1984\, Cherkassy\, USSR) received an MFA from Pratt Institute\, Brooklyn\, NY\, and a BA from Hunter College\, NY. Barskaya received an Artist Fellowship in Painting from New York Foundation of the Arts (NYFA) in 2021\, and an Elizabeth Greenshields Foundation Grant in 2023\, 2022\, and 2020. Recent exhibitions include Taymour Grahne Projects\, London; Althuis Hofland Fine Arts\, Amsterdam; DC Moore Gallery\, NY; Marianne Boesky Gallery\, NY; and Monya Rowe Gallery\, NY. Her work has been featured in Artforum\, Artnet\, The Brooklyn Rail\, New York Magazine (“The Best New York Art Shows of 2021”) and Hyperallergic\, among others. The artist lives and works in Brighton Beach\, Brooklyn\, NY\, and Citta Della Pieve\, Italy. Barskaya is represented by Monya Rowe Gallery\, NY.
URL:https://artinamericaguide.com/event/virtual-only-polina-barskaya-on-painting/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Event
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ORGANIZER;CN="new york studio school":MAILTO:rrickert@nyss.org
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240221T183000
DTEND;TZID=America/New_York:20240221T193000
DTSTAMP:20260428T134040
CREATED:20240110T191111Z
LAST-MODIFIED:20240110T191111Z
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SUMMARY:Alison de Lima Greene\, Karen Wilkin\, Andrea Woodner: Building on a Collection
DESCRIPTION:Alison de Lima Greene is the Isabel Brown Wilson Curator of Modern & Contemporary Art at the Museum of Fine Arts\, Houston. A 2010 Fellow at the Center for Curatorial Leadership\, she has organized numerous exhibitions\, and her recent projects have profiled Mark Rothko\, Mike and Doug Starn\, and Pipilotti Rist. Working closely with Harry Cooper\, Kate Nesin\, and Mark Godfrey\, she co-curated the traveling Philip Guston Now exhibition. \nKaren Wilkin is an independent curator and critic. The author of monographs on Stuart Davis\, David Smith\, Anthony Caro\, Kenneth Noland\, Helen Frankenthaler\, Giorgio Morandi\, and Hans Hofmann\, she has organized exhibitions of their work internationally. She is a regular contributor to Hudson Review\, New Criterion\, and Wall Street Journal. Wilkin teaches in the New York Studio School’s MFA program. \nAndrea Woodner is a sculptor\, cellist\, collector of drawings and horsewoman. She received a Bachelor of Arts from Bennington College\, and served apprenticeships with sculptors Isaac Witkin and Anthony Caro\, and with metal fabricator Bob Walcott in the 1970s and 80s while making sculpture in White Creek\, NY\, London\, and New York City. She then attended Harvard University’s Graduate School of Architecture and Planning\, and received a Masters in Architecture from Columbia’s Graduate School of Architecture\, Planning\, and Preservation. In 1995\, Woodner founded the Design Trust for Public Space\, dedicated to the wellbeing and understanding of public space in New York City. Woodner was its first Director and served as its President until 2016. In 2016 Woodner launched the Hercules Art/ Studio Program\, with facilities in lower Manhattan\, providing affordable studio and meeting space for artists beginning their careers in New York City. Woodner lives in New York City and Millbrook\, NY.
URL:https://artinamericaguide.com/event/alison-de-lima-greene-karen-wilkin-andrea-woodner-building-on-a-collection/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Event
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240220T183000
DTEND;TZID=America/New_York:20240220T193000
DTSTAMP:20260428T134040
CREATED:20240110T191112Z
LAST-MODIFIED:20240110T191112Z
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SUMMARY:VIRTUAL ONLY: Rose B. Simpson and Brooke Kamin Rapaport: Sentinels in the City
DESCRIPTION:Rose B. Simpson (b. 1983\, Santa Clara Pueblo\, New Mexico; lives and works in Santa Clara Pueblo) has had solo exhibitions at The Fabric Workshop and Museum\, Philadelphia; Institute of Contemporary Art/Boston; Nevada Art Museum\, Reno; Wheelwright Museum\, Santa Fe; and Savannah College of Art and Design Museum of Art. Her work is in the collections of the Cleveland Museum of Art; Denver Art Museum; Hood Museum of Art\, Hanover; Institute of Contemporary Art/Boston; The Metropolitan Museum of Art\, New York; Museum of Contemporary Art Chicago; Museum of Fine Arts\, Boston; Nevada Art Museum\, Reno; Benton Museum of Art at Pomona College\, Claremont; Portland Art Museum; Princeton University Art Museum; San Francisco Museum of Modern Art; and Whitney Museum of American Art\, New York. \nBrooke Kamin Rapaport is the Artistic Director and Martin Friedman Chief Curator\, Madison Square Park Conservancy. Since joining the Conservancy in 2013\, Rapaport has organized and overseen its program of commissioned public art exhibitions\, including projects by Diana Al-Hadid\, Leonardo Drew\, Teresita Fernández\, Hugh Hayden\, Maya Lin\, and Shahzia Sikander. In 2019\, she served as Commissioner and Curator of the U.S. Pavilion at the Venice Biennale\, showcasing artist Martin Puryear. Rapaport has previously held positions at the Brooklyn Museum\, The Jewish Museum\, and the Whitney Museum of American Art.
URL:https://artinamericaguide.com/event/virtual-only-rose-b-simpson-and-brooke-kamin-rapaport-sentinels-in-the-city/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Event
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240214T183000
DTEND;TZID=America/New_York:20240214T193000
DTSTAMP:20260428T134040
CREATED:20240110T191112Z
LAST-MODIFIED:20240110T191112Z
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SUMMARY:Life\, Time\, and Performances: Tehching Hsieh in Conversation with Kejia Wu
DESCRIPTION:Tehching Hsieh was born on December 31\, 1950 in Nan-Chou\, Taiwan. Hsieh dropped out from high school in 1967 and took up painting. After finishing compulsory army service (1970-73)\, Hsieh had his first solo show at the gallery of the American News Bureau in Taiwan. Shortly after\, Hsieh stopped painting. He made a performance action\, Jump\, in which he broke both of his ankles. He trained as a seaman\, which he then used as a means to enter the United States. In July of 1974\, Hsieh arrived at a small port near Philadelphia. He was an illegal immigrant in the States for fourteen years until granted amnesty in 1988. \n\n\nStarting in the late 1970s\, Hsieh made five One Year Performances and a Thirteen Year Plan\, inside and outside his studio in New York City. Using long durations\, making art and life simultaneous\, Hsieh achieved one of the most radical approaches in contemporary art. Hsieh’s One Year Performances included One Year Performance 1978-1979 (Cage Piece)\, in which he was locked inside a cell-like cage; One Year Performance 1980-1981 (Time Clock Piece)\, in which he punched time cards with a punch clock (time clock) every hour for a year; One Year Performance 1981-1982 (Outdoor Piece)\, in which he stayed outdoors for one year without entering any building\, subway\, train\, car\, airplane\, ship\, cave\, tent; Art/Life One Year Performance 1983-1984 (Rope Piece)\, in which Hsieh and the artist Linda Montano spent one year bound together by an eight-foot rope tied around their waists without touching each other; and One Year Performance 1985-1986 (No Art Piece)\, in which he did not do art\, talk art\, see art\, read art or go to art gallery and museums for one year. \n\n\nDuring Hsieh’s Thirteen Year Plan\, Tehching Hsieh 1986-1999\, he made art but did not show it publicly. \n\n\nThe first four One Year Performances made Hsieh a regular name in the art scene in New York; the last two pieces\, intentionally retreating from the art world\, set a tone of sustained invisibility. Since the Millennium\, released from the restriction of not showing his works during the thirteen-year period\, Hsieh has exhibited his work in North and South America\, Asia and Europe. Hsieh’s recent exhibition Doing Time was presented by Taiwan Pavilion at 57th Venice Art Biennale\, 2017; One Year Performance 1978-1979 (Cage Piece) was exhibited at MoMA\, 2009\,M+ Museum\, Hong Kong\, 2021-2023. One Year Performance 1980-1981 (Time Clock Piece) was exhibited at the Guggenheim Museum\, New York\, 2009\, at Tate Modern\, London\, 2017-2018\, at the Staatliche Museen zu Berlin\, 2023\, and at National Taiwan Museum\, 2023. \n\n\nHsieh lives in Brooklyn\, New York. \nKejia Wu is an art historian\, columnist for the Financial Times Chinese Edition and a trustee of New York Studio School of Drawing\, Painting and Sculpture. She authored The European Fine Art Foundation’s Art Market Report in 2019. Her book A Modern History of China’s Art Market was published in 2023 by Routledge. Kejia was presented the Asia Art Pioneers Award by ArtReview Asia\, LEAP magazine\, and The Art Newspaper China Edition in 2019. \nShe was a member of the faculty at Claremont Graduate University and Sotheby’s Institute of Art\, and previously oversaw Asia projects and strategy at Sotheby’s in the office of the CEO while based in New York. \nPrior to moving to New York\, Kejia worked in Asia for more than a decade advising various art organizations including the British Museum\, the Victoria and Albert Museum\, the first Gerhard Richter retrospective at the National Art Museum of China\, the Chinese Pavilion at the 53rd Venice Biennale\, Art Dubai\, and ArtSingapore. She was co-founder of the East Modern Art Center (EMAC)\, the first nonprofit contemporary art center in Beijing\, and was in charge of its contemporary art programs and operations. The art performance created at EMAC\, Dancing with Farmers\, was featured at the Chinese Pavilion of the 56th Venice Biennial in 2015. \nKejia has lectured and spoken about art at numerous institutions including Columbia University\, NYU\, NYU Shanghai\, Tsinghua University\, The European Fine Art Foundation (TEFAF) Maastricht and New York\, The City University of Hong Kong\, Bilgi University in Istanbul\, Guardian Fine Art Asia\, The Foreign Correspondents Club of Thailand and the Ullens Center for Contemporary Art in Beijing. Her research and viewpoints have been quoted and reported on by the New York Times\, Bloomberg\, New York Review of Books\, South China Morning Post\, The Art Newspaper\, Gazette Drouot\, Financial Times\, etc. \nKejia is a graduate of Yale University and Renmin University.
URL:https://artinamericaguide.com/event/life-time-and-performances-tehching-hsieh-in-conversation-with-kejia-wu/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Event
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240213T183000
DTEND;TZID=America/New_York:20240213T193000
DTSTAMP:20260428T134040
CREATED:20240110T191112Z
LAST-MODIFIED:20240110T191112Z
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SUMMARY:The Worlds of Chuck Bowdish—A Panel Discussion
DESCRIPTION:A panel discussion will be held in conjunction with our exhibition The Worlds of Chuck Bowdish\, on view at NYSS’s Main Gallery from January 19 to March 10\, 2024. Artists Sasha Chermayeff\, Bruce Gagnier\, Ernie Sandidge\, and Lisa Steiner will be in conversation about the life and work of Chuck Bowdish. \nPainter Sasha Chermayeff studied at NYSS with Chuck Bowdish from 1983-86. She lives and has painting studios in upstate New York and on Deer Isle\, Maine. From 1991 to 2000\, she worked as consultant and art expert for Fred Hughes\, President of Andy Warhol Enterprises and later Executor of the Andy Warhol Estate. She has taught Taoist philosophy\, yoga\, and meditation at Sadhana Center for Yoga and Meditation in Hudson\, NY\, for 15 years. She recently completed a two-year Master’s program in science-informed trauma healing. Chermayeff is represented by BCB Gallery in Hudson\, NY. \nBruce Gagnier’s clay sculptures are made using anatomical pieces recalled from mental fragments of figures in painting\, sculptures\, and drawings\, as well as from his experiences working from the live model or simply walking down the street. He received his BA from Williams College\, studied at Skowhegan School of Painting & Sculpture\, and received his MFA at Columbia. His honors include awards from the Ingram Merrill Foundation and the Institute of Arts and Letters\, election to membership in the National Academy of Design\, and a Guggenheim Fellowship. He has had solo exhibitions at Lori Bookstein Fine Art\, NY; John Davis Gallery\, Hudson\, NY; and Thomas Park Gallery in Seoul\, South Korea\, and New York. Gagnier\, a mentor of Bowdish\, has taught at NYSS since 1986. \nErnie Sandidge was born in Memphis\, TN. He began his studies at the Minneapolis College of Art and Design while still a high school student at the Minneapolis Children’s Theater. He studied at the Instituto Nacional de Bellas Artes while living in San Miguel de Allende\, Mexico\, where he met Bowdish. He received his BFA from the School of the Art Institute of Chicago and his Graduate Certificate from NYSS. Sandidge is a founder of the Governor’s Island Art Fair in New York and is a scenic artist for film\, television\, and theater. \nIn addition to studying at the Art Institute of Chicago\, Lisa Steiner received a BA from American University and an MFA from the University of Oregon. Steiner finds inspiration from observing the world around her. Her work aims to examine volume\, form\, and scale within the confines of two-dimensional painting. She has exhibited internationally in New York\, Chicago\, Oregon\, Wyoming\, and Villa de Leyva near Bogota\, Colombia. She has been awarded residencies at the Edna St. Vincent Millay Colony\, the Tyrone Guthrie Center in Ireland\, and El Hayuelo\, Colombia. Steiner\, a longtime friend of Bowdish\, currently lives and works in Brooklyn\, NY.
URL:https://artinamericaguide.com/event/the-worlds-of-chuck-bowdish-a-panel-discussion/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Event
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240207T183000
DTEND;TZID=America/New_York:20240207T193000
DTSTAMP:20260428T134040
CREATED:20240110T191112Z
LAST-MODIFIED:20240110T191112Z
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SUMMARY:Andrea Achi and Michelle Al-Ferzly: Africa & Byzantium: A Multicultural World
DESCRIPTION:Andrea Achi is the Mary and Michael Jaharis Associate Curator of Byzantine Art at the Met\, and holds a PhD from New York University. Dr. Achi’s scholarship and curatorial practice focus on late antique and Byzantine art of the Mediterranean Basin and Northeast Africa. She has brought this expertise to bear on exhibitions like Art and Peoples of the Kharga Oasis (2017)\, The Good Life (2021)\, and most recently\, Africa & Byzantium (2023) at the Met. \nMichelle Al-Ferzly is Research Associate in the Department of Medieval Art at the Met. She holds a PhD from the University of Michigan\, and is a specialist in Islamic art. In addition to her contributions to the Met exhibition Africa & Byzantium\, Al-Ferzly has worked on exhibitions at the Aga Khan Museum in Toronto\, the Dallas Museum of Art\, and the Museum of Fine Arts\, Boston.
URL:https://artinamericaguide.com/event/andrea-achi-and-michelle-al-ferzly-africa-byzantium-a-multicultural-world/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Event
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ORGANIZER;CN="new york studio school":MAILTO:rrickert@nyss.org
GEO:40.7329524;-73.998005
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240206T183000
DTEND;TZID=America/New_York:20240206T193000
DTSTAMP:20260428T134040
CREATED:20240110T191112Z
LAST-MODIFIED:20240110T191112Z
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SUMMARY:Jammie Holmes: Make the Revolution Irresistible
DESCRIPTION:Born and raised in Thibodaux\, Louisiana\, Jammie Holmes (b. 1984) is known for his paintings that portray intimate and poignant scenes of distinctly American communities\, families\, and traditions. Holmes draws heavily on his own recollections to depict the stories and experiences of Black life in the deep American South\, capturing moments of celebration and struggle. The artist\, who works intuitively and without formal artistic training\, creates expressive tableaux that incorporate portraiture\, symbols\, text\, and objects to reveal universal truths through personal narratives. \nJammie Holmes is a self-taught painter. Following his graduation from high school\, Holmes spent more than a decade working in an oil field. He relocated to Dallas in 2016. His work has most recently been presented in exhibitions at Library Street Collective\, Detroit; Deitch Projects\, Los Angeles; Marianne Boesky\, New York; Nassima-Landau Projects\, Tel Aviv; Dallas Museum of Art; and Dallas Contemporary\, among others. His work is also included in the permanent collections of the Aïshti Foundation\, Brooklyn Museum\, Dallas Museum of Art\, Hammer Museum\, ICA Miami\, Museum of Fine Arts\, Houston\, Nasher Museum of Art at Duke University\, New Orleans Museum of Art\, Perez Museum of Art\, X Museum\, and The Xiao Museum of Contemporary Art.
URL:https://artinamericaguide.com/event/jammie-holmes-make-the-revolution-irresistible/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/01/JHO-20375-image-768x768-1.jpg
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GEO:40.7329524;-73.998005
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240119T180000
DTEND;TZID=America/New_York:20240119T200000
DTSTAMP:20260428T134040
CREATED:20240108T180824Z
LAST-MODIFIED:20240108T180824Z
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SUMMARY:The Worlds of Chuck Bowdish
DESCRIPTION:An opening reception of NYSS’s exhibition The Worlds of Chuck Bowdish will take place on Friday\, January 19\, which will include a screening of Peter Wareing’s documentary film\, Chuck Bowdish: Painter (2001).
URL:https://artinamericaguide.com/event/the-worlds-of-chuck-bowdish/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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GEO:40.7329524;-73.998005
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20240119
DTEND;VALUE=DATE:20240311
DTSTAMP:20260428T134040
CREATED:20240110T191112Z
LAST-MODIFIED:20240110T191112Z
UID:106624-1705622400-1710115199@artinamericaguide.com
SUMMARY:The Worlds of Chuck Bowdish
DESCRIPTION:New York Studio School is pleased to present a solo exhibition of work by the late artist Chuck Bowdish. Organized in collaboration with the artist’s estate\, The Worlds of Chuck Bowdish draws on several decades of work to explore the various facets of Bowdish’s highly personal and enigmatic paintings\, watercolors\, collages\, drawings\, and sculptures. An opening reception will take place on Friday\, January 19\, which will include a screening of Peter Wareing’s documentary film\, Chuck Bowdish: Painter (2001). \nBowdish’s career is marked by an ethos of experimentation\, in search of what he described as “grace and honesty” in the face of the “darkness of human character.” The subject matter of Bowdish’s works emerges from both keenly observing the world around him and probing the depths of his subconscious. The Worlds of Chuck Bowdish is organized around the specificity of place that informed his artmaking in subject matter\, palette\, and materials\, even as he became increasingly preoccupied with the landscapes and narratives of the imagination. Diagnosed with bipolar disorder\, Bowdish found solace in the act of painting. “When I am behind the easel\,” he explained\, “I can feel the forms and shapes in my physical body coming out in a very concrete way. It is truly therapeutic.” \nBowdish flourished while attending the Ringling School of Art in Sarasota\, Florida\, from 1977 through 1980. There he studied figure painting and drawing\, concentrating his efforts on watercolor—a medium that remained central to his practice throughout his career. Motifs inspired by Florida\, such as palm trees\, boats\, and shorelines\, recur across his bodies of work. \nBowdish’s years in New York evidence a dedicated interest in form while studying illustration and figuration at the Art Students League and figural sculpture at NYSS. He continued to refine his draughtsmanship and developed a singular sense of color\, which\, he observed\, was “considerably brightened” by the “color\, light\, and culture” of San Miguel de Allende\, where he lived from 1986 to 1991. Returning to New York\, he pursued figure painting and anatomical studies at the New York Academy of Art\, a period of intensive study that resulted in large\, haunting oil paintings of nudes in imagined landscapes inhabiting unknowable narratives. The surfaces of his gestural oil paintings are marked by scratches and scrapes\, themselves becoming objects with storied histories of erasure\, change\, and discovery\, like Roman frescoes. In his later oil paintings\, watercolors\, and collages from New York and\, finally\, Hendersonville\, North Carolina\, he worked primarily from his imagination and dreams\, reformulating themes and narratives of innocence\, violence\, loss\, and sexuality central to the human condition. His inventive deployment of scale underscores the emotional and psychological tenor of much of his work\, as does the high-contrast\, stage-like lighting. \nBowdish’s work signals a profound and expansive familiarity with the history of art. His angular forms at times evoke the timelessness of Archaic sculpture\, his landscapes the dreamlike scenes of the Fauves. His winged figures conjure Fra Angelico’s and his nudes Balthus’s. Yet\, Bowdish’s work complexly intertwines his personal lived experience with broader national and international events through these familiar art historical forms. Allusions to a midcentury childhood defined by the American idealism of John F. Kennedy’s presidency and the brutality of the Vietnam War haunt scenes populated by recurring motifs of Greek amphoras\, military tanks\, ballet dancers\, Judeo-Christian symbols\, fedora-wearing mobsters\, and Gauguin-inspired nudes. Artist Bruce Gagnier\, with whom Bowdish studied at NYSS\, highlights the metaphoric nature of Bowdish’s work\, explaining that “he fashions forms that project feelings that lie within us all. Here\, as in all great painting\, life comes to the canvas with the urgency of the painter’s brush.” This exhibition explores the cosmologies he experienced\, remembered\, and imagined. \nThe Worlds of Chuck Bowdish serves as an important critical examination of an artist whose prolific output has yet to be fully considered. Bowdish’s expansive body of work searches for innocence and transcendence in a post-industrial\, fragmented\, and\, at times\, perilous world. As the artist himself wrote\, “One of the responsibilities of an artist is to reaffirm our humanity which is basically our capacity to love.” Also on view in the exhibition is Peter Wareing’s thirty-minute film Chuck Bowdish: Painter (2001) that chronicles Bowdish’s artistic journey. \nFollowing its presentation at NYSS\, the exhibition will be on view at the Ringling College of Art and Design\, Sarasota\, FL\, during their 2025-2026 season. \nOn February 13\, NYSS will host an Evening Lecture Series panel discussion on Bowdish’s work featuring Sasha Chermayeff\, Bruce Gagnier\, Ernie Sandidge\, and Lisa Steiner. The event will start at 6:30 pm ET and will be held in person and livestreamed on Zoom and YouTube Live. The occasion will also mark the launch of the illustrated exhibition catalogue\, The Worlds of Chuck Bowdish\, which will include remembrances by friends and fellow artists\, such as SoHyun Bae\, Chris Carone\, Marianne Gagnier\, and Nels Pierce\, among others. \nChuck Bowdish (1959-2022) was born in Dayton\, Ohio. His peripatetic childhood was defined by his fighter pilot father’s tours of duty in the Vietnam era. He first learned to draw from his mother\, a painter and schoolteacher. He attended the Ringling School of Art and Design in Sarasota in the late 1970s\, followed by the Art Students League and NYSS in the early 1980s. In New York he joined the downtown art scene and began working as an illustrator with The New York Times and Fortune. After several years in Mexico\, he returned to New York and enrolled at the New York Academy of Art. His awards include the Edgar Whitney Scholarship (1981)\, “Best of Show” at the 1993 Ringling alumni exhibition\, the Wynn Newhouse Award (2012) and the Hassam\, Speicher\, Betts\, and Symons Fund Purchase Award from the American Academy of Arts and Letters (2015). He showed often with steven harvey fine arts projects\, New York\, and Galerie Timothy Tew\, Atlanta\, GA\, among several other galleries\, and his work is in the collection of The Butler Institute of American Art\, Youngstown\, Ohio; Western Carolina University Art Museum\, Cullowhee\, North Carolina; and the William Louis-Dreyfus Foundation\, Mt. Kisco\, New York. Recent exhibitions include Chuck Bowdish: Complete Works\, Art at Kings Oaks\, Newtown\, PA\, and the group exhibition The Way I’m Wired: Artist Reflections on Neurodiversity\, Western Carolina University Fine Art Museum\, Cullowhee\, North Carolina. \nThe School extends a special thank you to the family of Chuck Bowdish.
URL:https://artinamericaguide.com/event/the-worlds-of-chuck-bowdish-2/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20220414
DTEND;VALUE=DATE:20220509
DTSTAMP:20260428T134040
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SUMMARY:Certificate Completion Exhibition 2022
DESCRIPTION:April 14-24\, 2022: George Petrides & Galit Zeif \nApril 28 – May 8\, 2022: Nikheel Iyer & Leon Toro
URL:https://artinamericaguide.com/event/certificate-completion-exhibition-2022/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220314T100000
DTEND;TZID=America/Halifax:20220410T180000
DTSTAMP:20260428T134040
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SUMMARY:LOURDES BERNARD: The Women of April
DESCRIPTION:  \nIt begins when the first bombs were fallen on our home. American foreign policy is the beginning of American citizenship for so many of us. – Ocean Vuong \nThe New York Studio School presents The Women of April\, a research-based group of works on paper by Lourdes Bernard that commemorate the 57th anniversary of the April 1965 revolution and US invasion of the Dominican Republic\, on view March 14 – April 10\, 2022. \nThe narrative images celebrate and highlight the role of “The Women of April\,” untrained civilian resistance fighters who fought against the 42\,000 US Marines ordered by LBJ to invade the small Caribbean nation. In 2017\, shortly after attending the DC Women’s March and as the previous administration rolled out controversial immigration policies\, artist Lourdes Bernard began to research her family’s migration journey from the Dominican Republic in 1965. It was through this research that she discovered “Las Mujeres de Abril” (“The Women of April”)\, and learned of the US invasion that displaced thousands of Dominicans\, including her family. The Women of April were attorneys\, journalists\, artists\, teachers\, academics\, housewives\, and students. Bernard excavates this hidden history through her work\, re-imagining their stories and struggle for freedom. \nThe research became a three-part Dominican Migration series\, speaking directly to the issues of American militarism and Dominican resistance that were specific to April 1965. Yet the artwork moves beyond Bernard’s personal story\, engaging in contemporary questions about the impact of US foreign policy and the cost of displacement\, immigration\, and imperialism\, as well as the heroic power of the collective. The depictions\, created with bold outlines and blocks of washy color in watercolor\, acrylic flash paint\, and pen and ink on paper\, invite the audience to engage with this history so it no longer lives only in the memory of those who lived it. “This art is about remembrance and reclaims stories I did not know I carried\,” the artist explains. “Memories offer us a basis for meaning and integration. Remembrance is a path to discovery\, and I learned that the aftershock of the US invasion in April 1965 is still with us in the form of the Dominican diaspora\, now the fourth largest Latino community in the US.” \nAs honed down as Bernard’s drawings are\, the specificity of physiognomies\, poses\, body language\, demeanor\, age\, and apparel\, and the brilliantly selected details of these portraits\, which is what these pictures ultimately are\, transmit with enormous precision readily recognizable types and individuals. Moreover\, the images have been made more compelling and captivating through the acuity of Bernard’s adroit graphism: she knows how to draw. Her seemingly rapid sketches precisely transmit a pose\, an expression\, a scene\, the dress\, the gestures\, the props—and draws the viewer as well into the world she depicts. – Aimée Brown Price\, 2020 \nLourdes Bernard is a Dominican-American artist raised in Brooklyn\, a graduate of Syracuse University School of Architecture and The New York Studio School. Her work has been exhibited in El Museo del Barrio\, the New York Public Library\, PS1 Contemporary Art Center\, Boston College\, The Wilmer Jennings Gallery\, and Five Myles Gallery. She is also the recipient of a Yaddo Foundation Fellowship and a Wurlitzer Foundation Fellowship. \nThis exhibition is made possible by a fiscal sponsorship with the New York Foundation for the Arts. \n\n(5) Lourdes Bernard\, Love Is Resistance\, 2022 Giclee print on H. German Etching 11″ x 15”. Courtesy of the Artist.
URL:https://artinamericaguide.com/event/lourdes-bernard-the-women-of-april/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20220209T183000
DTEND;TZID=America/Halifax:20220209T200000
DTSTAMP:20260428T134040
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SUMMARY:Virtual Lecture: Lobsters\, Butterflies\, and Dreams: Stephanie D’Alessandro on Surrealism Beyond Borders
DESCRIPTION:Stephanie D’Alessandro joined The Met in 2017 as Leonard A. Lauder Curator of Modern Art and is curator of Surrealism Beyond Borders (closed January 2022). She has organized numerous exhibitions\, including Matisse: Radical Invention\, 1913–17 (2010)\, Magritte: The Mystery of the Ordinary\, 1926–38 (2014)\, and Tarsila do Amaral: Inventing Modern Art in Brazil (2017). An expert on international modernism\, she received her PhD from the University of Chicago.
URL:https://artinamericaguide.com/event/virtual-lecture-lobsters-butterflies-and-dreams-stephanie-dalessandro-on-surrealism-beyond-borders/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Event,Virtual Events + Viewing Rooms
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DTSTART;VALUE=DATE:20210907
DTEND;VALUE=DATE:20211011
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SUMMARY:Gracie DeVito: Recent Paintings
DESCRIPTION:The New York Studio School is pleased to announce its first solo presentation of works by Los Angeles-based artist Gracie DeVito. Gracie DeVito\, Recent Paintings includes new paintings from 2020 and 2021. The exhibition will be on show from September 7 to October 10\, 2021. \nDeVito’s recent works recall a sort of painterliness that has historically been founded on two key precepts: the understanding of painting as a form of primary process thinking and the practice of transcription. With regards to the former notion\, Donald Kuspit writes about the paintings of Leon Kossoff—an important source of inspiration for DeVito’s work—that they “inflame our subconscious.” In addition to being a proponent of the sort of “gestalt-free” painting alluded to by Kuspit here\, Kossoff was also an avid practitioner of transcription. Neither copying nor reinterpretation\, the practice of transcription that Kossoff swore by—as does now DeVito—was technical and analytical. It was a process of reverse engineering carried out for the sake of the betterment of the transcriber as a painter. \nThe paintings included in the present exhibition are not transcriptions\, but they engage with the history of painting in a similar way. Hectic churns of blues and greens recall the use of metaphors of aquatic depth and organic growth in modernist abstraction. Yet\, in DeVito’s paintings\, any allusion to the metaphysical is shot through with flashes of silliness and banality. While very rarely figurative in the traditional sense of the term\, they are littered with little jokes. A cosmic swirl is punctuated by a spillage that can only be described as unedifying. The virtuosity of the handling of color and paint is undercut by the intermittent use of familiar devices and effects. \nThe inner experience mobilized by these paintings is a contaminated one\, and the titles of the paintings serve as hints as to by what. They liken the vertiginous depths with which the paintings confront us to the vortexes of meandering Reddit-threads and free-wheeling podcasts. They compare the catharsis toward which the paintings seem to prod us to the sort of transformations one might experience when following a three-day juice diet\, physical and psychological. This is the sensibility and contingency that DeVito brings to the tradition of painterliness that she operates within and beyond. \nDeVito (b. 1985) lives and works in Los Angeles. Her work has been the subject of solo exhibitions at Tif Sigfrids\, Overduin and Co. and Nicelle Beauchene and has been reviewed in Artforum and The New York Times. She received her MFA from CalArts in 2012 and has been participating in classes at The New York Studio School since 2003. \n-Niels Henriksen\, August 2021 \n\nImage: Gracie DeVito\, Situationist Hiker\, 2020\, Oil on panel\, 26 x 21 1/2 in.
URL:https://artinamericaguide.com/event/gracie-devito-recent-paintings/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20200130T180000
DTEND;TZID=America/Halifax:20200130T200000
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SUMMARY:Roger Tibbetts: Recto/Verso Opening Reception
DESCRIPTION:The New York Studio School presents recent works by Roger Tibbetts in Recto/Verso\, January 27 – March 1\, 2020\, with an Opening Reception Thursday\, January 30\, 6-8pm. The paintings of Roger Tibbetts at first insist a poetic\, hard edge finality\, but closer inspection reveals their weathered\, shifting surfaces; geometric painting that survived battle. \nThe worked acrylic surfaces present silky\, meditative fields\, punctuated by moments where Tibbetts snaps us back to the reality of the making; with constellations of drawn lines\, dots\, and physical holes. Large shapes of color are balanced with these thin\, mathematical components\, exposed amongst the layers. The linear elements reinforce the flatness of the surface\, while also creating illusions of prisms and oblongs in space. \nTibbetts works\, which range from ten inches to almost ten feet\, are created with expanses of muted colors built up by limited palettes. Black and white often dominate the entire surface\, with touches of reds\, pinks\, blues\, and purples. The areas of color may seem singular\, but the compounding of decisions builds milky films of fluctuating color and opacity. \nRecto/ Verso includes Tibbetts’ drawings and works on paper that reveal more directly the architectural line work and unlikely prisms layered in the paintings. They provide a key to the mysterious schematics revealed between and on top of the stratum of built up color\, while still not giving away the structures they map. Pencil\, ink\, and acrylic are worked into plastic and paper with a combination of precision and chance. \nRoger Tibbetts received an MFA from Yale University School of Art (1975)\, as well as completing studies at the Chelsea School of Art\, London\, England (1972) and Wolverhampton College of Art\, England (1971). Exhibitions of his work include solo and group shows at Bannister Gallery Rhode Island College\, The Museum of Fine Arts Boston\, Bernard Toale Gallery\, Boston\, Mercer Street Gallery NYC\, Ruggiero Gallery NYC\, and the Bakalar and Paine Galleries at MassArt. Tibbetts is the recipient of a Guggenheim Fellowship (1999)\, a Louis Comfort Tiffany Grant (1986)\, and grants from the Connecticut Commission on the Arts\, and from the National endowment for the Arts. Public collections include the Museum of Fine Arts\, Boston\, Cleveland Museum of Art\, Davison Art Center\, Wesleyan University\, Fogg Museum\, Harvard University\, Rhode Island School of Design Museum\, Rose Art Museum\, Hood Museum of Art Dartmouth College\, and the Yale Art Museum. Tibbetts is based in Connecticut and currently teaches at the Massachusetts College of Art & Design.
URL:https://artinamericaguide.com/event/roger-tibbetts-recto-verso-opening-reception/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20200115T183000
DTEND;TZID=America/Halifax:20200115T193000
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SUMMARY:Pat Passlof: Fifty Years on Paper\, Gallery Talk with Curator Geoffrey Dorfman
DESCRIPTION:Join us for a Gallery Talk with curator Geoffrey Dorfman to discuss Pat Passlof: Fifty Years on Paper\, on Wednesday\, January 15\, at 6:30pm. This event is free & open to the public. \nPat Passlof: Fifty Years on Paper\, on view through January 19\, 2020.
URL:https://artinamericaguide.com/event/pat-passlof-fifty-years-on-paper-gallery-talk-with-curator-geoffrey-dorfman/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20191212T180000
DTEND;TZID=America/Halifax:20191212T200000
DTSTAMP:20260428T134040
CREATED:20191118T174135Z
LAST-MODIFIED:20191118T174135Z
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SUMMARY:Pat Passlof: Fifty Years on Paper\, Opening Reception
DESCRIPTION:Pat Passlof: Fifty Years on Paper\nCurated by Geoffrey Dorfman\nPresented by the Milton Resnick and Pat Passlof Foundation\nDecember 9\, 2019 – January 19\, 2020\nOpening Reception: Thursday\, December 12\, 2019 \nThe art of Pat Passlof (1928 —2011) is being featured this year in three separate exhibitions\, of which this one at the New York Studio School — the last — focuses on her work on paper and vellum. Firstly there are the early drawings she made as a twenty-year-old prodigy\, and protégé of Willem de Kooning. They can be roughly dated to 1949 or 1950 and have never been shown before. These are coupled with the main body of the show\, gouaches (sometimes enhanced with more intensely pigmented acrylic\,) painted in the 1980’s. All the work in the show is figurative. \nPat’s sensibility was inimitable\, impossible to mistake for another’s. As is so evident in her early drawings\, she already could boast natural facility\, an exacting eye\, and an educated\, deft line which\, as evident in her pencil study of her hands\, is frankly worthy of Ingres. But as a mature painter in her fifties\, and especially on paper\, she tended to court the fey\, fanciful\, and whimsical aspects of her art\, in which the brush appeared to create diaphanous effects seemingly by chance. \nI’ve chosen to concentrate on dream landscapes\, often peopled and sporting not a few wild horses. Pat had strong feelings for animals\, and a fascination with the American Indian\, on which she had amassed a small library\, boasting of books going back to the 1840’s. Her little summer house and studio in the Shawangunk mountains where many of these gouaches were made or begun\, was surrounded by white birch\, and one found oneself whimsically conjuring the Lenape spirits amongst them in the early morning mist. (The ‘Schawan’ in Shawangunk is Lenape for ‘There is smoky air.’) \nPat Passlof was an absorbing personality; a well read\, thoughtful\, industrious\, and critically exacting woman. But she also seemed to me a bit ‘witchy.’ Back in the 1950’s she befriended a family of Gypsies that had moved overnight into the storefront of her building on 10th street. She regarded fortune-telling as no more than a parlor game\, yet paradoxically later became a serious adherent of astrology. Almost anyone coming into her orbit was likely to have his or her chart done\, an irresistible all-purpose icebreaker. (She could also read palms.) Once I asked Milton Resnick — her more famous painter-husband — whether he\, himself\, believed in these occult practices. He thought about it for a few seconds before replying\, “Well\, I believe in Pat.” Occultism is only now gradually becoming an acknowledged influence in early modernism in art\, music and other arts\, and the sybil — the female seer — is an ‘office’ extending back to antiquity\, present on all continents. At the very core of art practice is the transformation of base materials into spiritualized incarnate entities\, in part by means of thought. That has always been true. And that of course shares generalized roots with magical practice. \nYet\, one must understand that fortune-telling is not transformative. It seeks to read signs of a future that in some limited sense has already occurred. Nevertheless\, it always begins with a ‘throw\,’ something entirely random. It might be a literal throw of stones\, sticks or intestines\, the spooking of a flock of birds\, the pick of a card\, the albumen in a cracked egg\, the crack in the scapula of an ox\, the line in a palm\, or the date\, time and place of one’s birth\, that catalyzes the reading. And when conceiving a painting\, Pat\, Milton and others of their counterparts (including myself) prefer a flying start\, employing similarly sudden and haphazard means. Opening up a canvas is not unlike a break shot in pool\, spreading the table so as to open up myriad possibilities. \nWhat seemed entirely separate\, merely a social lubricant\, now can be reevaluated on a more elevated aesthetic plane\, as Pat — and the memory of Pat — recedes into the sands of time. \n— Geoffrey Dorfman
URL:https://artinamericaguide.com/event/pat-passlof-fifty-years-on-paper-opening-reception/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20191125T183000
DTEND;TZID=America/Halifax:20191125T193000
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SUMMARY:Hermine Ford: Toward the Beginning\, Gallery Talk
DESCRIPTION:Join us for a Gallery Talk with exhibiting artist Hermine Ford\, in conversation with Stephanie Buhmann & Nora Griffin\, to discuss Ford’s exhibition “Toward the Beginning\,” on view at the New York Studio School through December 1\, 2019.
URL:https://artinamericaguide.com/event/hermine-ford-toward-the-beginning-gallery-talk/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Event
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END:VCALENDAR