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Faculty Exhibition: Art of Our Century, “Forget What You Know”

“So the work of art resembles the perceived object: it is seen or heard and no definition or analysis, however valuable it may be afterwards as a way of taking stock, can ever replace the direct perceptual experience” – Maurice Merleau-Ponty

Art of Our Century gallery is thrilled to present a group show,  Forget What You Know, curated by expert art consultant Kourosh Mahboubian.

Participating artists include Chambliss Giobbi, Anthony Haden-Guest, Blake Hiltunen, M. Henry Jones, Dindga McCannon, Tyrone Mitchell, Marjan Moghaddam, Zahra Nazari, Sudi Sharafshahi and Khari Turner.

Forget What You Know is an exhibition about seeing,” says Mahboubian. “It’s about seeing with our eyes and our senses as an act of innate perception, without the constraints of conscious thought. The art’s meaning is presented to us in our experience of it, with no need for further critical analysis to appreciate it.”

The socially distanced opening reception will take place over three afternoons, Thursday October 15th, Friday October 16th and Saturday October 17th, from 4 to 7 pm each day. Masks are a must. Wine and hand sanitizer will be available to gallery guests.

This exhibition brings together the disparate oeuvres of ten artists working in different media into an environment intended to stimulate and please the viewer’s senses, much as would happen if one were to take a walk in a beautiful garden.  Each artist’s work is somehow connected to that of one or two others in the group, but not to all of them. There is also the ever present sense of a collective unconscious that we are all connected to. When the pieces are seen together in one space, the perception given is that of a unified, cohesive body of work that inherently makes sense.

Chambliss Giobbi’s collages and melted Crayola paintings capture impressions of our  unconscious perceptions of things. We can delight in his melted crayon miniature copies of famous paintings even as we struggle to recall the appearance of the original works. His collages capture impressions of their subjects from different angles and moments in time, causing our eyes to keep scanning in search of new expressions.

Anthony Haden-Guest incorporates humorous social commentary into cartoons. He self-avowedly tries to express the inexpressible and sometimes the unspeakable by making it funny and good to look at.  Placing his cartoons on mirrors, he forces us to laugh at ourselves as we envision our failures and shortcomings.

Blake Hiltunen’s surreal sculptures reinterpret figurative objects as though they have been subjected to the collapsing time, space and gravity of an alternate reality. The works, which begin as whole, detailed figurative objects, have some of their original material removed, warped, or altered in such a way as to reflect the imagined outcome of a transformation through a natural catastrophic event.

M. Henry Jones’ work exists on the threshold of perception. His Fly’s Eye imagery shows us the world through technology that imitates aspects of the image recognition mechanism of a dragonfly. Using arrays of lenticular optics, he fragments visual reality in order to reconstruct it in a different place, allowing us to see three-dimensional photographic imagery without the use of special glasses or goggles.

Dindga McCannon incorporates unconventional materials into textile constructions that draw their subject matter from the history of unsung African-American women heroes. Her art is part quilting, part sculpture, part collage, part painting, part beading and part embroidery, bringing together the traditional life skills she was taught as a young woman with those she acquired through her lifelong commitment to being an artist.

Tyrone Mitchell’s sculpture comes from an abstract tradition, shared with artists like David Hammons and Martin Puryear, in which the story of the African American experience, rather than its imagery, is the key to everything. He manipulates forms and materials, using combinations of distinct everyday objects and abstract shapes made of wood, metal, fabric or other materials, in such a way that it pulls one into the story.

Marjan Moghaddam’s computer generated scenes of transmogrifying digital humanoid creatures interacting with the real world challenge our ideas of what is and what can be. Her work explores Being, through digital embodiments.

Zahra Nazari curves and twists calligraphic-like lines of light and darkness into translucent, airy, seemingly living and breathing paintings and sculptures that depict very real architectural structures. Her works are further characterized by a twisting of space that leaves us feeling like we are visiting her structures in our dreams.

Sudi Sharafshahi uses stylized figuration in her paintings, multimedia images and ceramic sculptures to dramatize the humanness that binds us together when we experience the joys, struggles and tedium of daily life. She imbues her subjects with universally understood emotional expressions that make them instantly relatable.

Khari Turner’s multimedia paintings on paper, wood or canvas engage us in a search for missing connections. They do this both literally in the abstract spaces we see connecting the figurative elements of his images, and figuratively in the implied desire for a bridge connecting the past we have experienced to a future we hope for.

– Kourosh Mahboubian, October 2020

Forget What You Know runs through November 15. Regular hours are Thursday to Sunday 2 pm to 6 pm, and by appointment. Masks always a must.

Faculty Exhibition: “Claytopian New York”

‘Claytopian New York’
Curated by Matt Nolan
Exhibition on View:
February 20 – March 15, 2020
Curators Talk: Saturday, February 22, 6-7pm​
​Opening Reception: Saturday, February 22, 7-10pm
The Plaxall Gallery, 5-25 46th Ave, LIC NY 11101
7 train to Vernon Blvd / E and G train to Court Square

New York City has been defined as “an experiment in world peace”. The diversity of its residents closely interacting in the density of urban living inspires a deeper understanding, appreciation and sense of greater community amongst all. NYC attracts, accepts and celebrates otherness.

Claytopian New York invites ceramicists to apply whose work express the beauty, diversity and wonder of life in an idealized metropolis.
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Artists include: Ron Baron, Sin-ying Ho, Julia Kunin, Sana Musasama, Steven Montgomery, Melissa Stern, Derek Weisberg, Adams Puryear, Eun-Ha Paek, Elise Siegel, Peter Goldwater and many more!

About the Curator:

Matt Nolen is a studio artist living and working in New York City and Narrowsburg, NY. Nolen’s work has been written about and reviewed in the New York Times, American Ceramics, Ceramics Art and Perception, Masters of Craft, Confrontational Clay, Postmodern Ceramics, Painted Clay and more…He has recently served as President of the Board of Trustees for Watershed Center for the Ceramic Arts in Newcastle, Maine, is currently serving as Trustee of the Robert M. MacNamara Foundation and is Adjunct Professor of Art at New York University, Hunter College, and Ceramics Area Coordinator at Pratt Institute.

In the News: Chloë Bass and Glenn Goldberg, “Quiet War”

Studio professors Chloë Bass and Glenn Goldberg recently spoke at Lafayette College about their upcoming collaboration, a book project entitled “Quiet War,” which was inspired by the children’s card game “War.” In the game, two players flip a card over at the same time and whoever has the card with the highest value wins that round.

To pick the materials for Quiet War, Bass and Goldberg individually selected twenty pieces of media from their personal collections without consulting one another and showed them to each other in the style of ‘War” – that is, by revealing them at the same time.

“I wouldn’t say there could be a winner,” Bass said, clarifying a difference between Quiet War and the card game that inspired it. “But it was an interesting way to see how two unknown collections could interact.”

The professors addressed students at Lafayette and will be utilizing their Experimental Print Institute to create the work. Read more about the project at the Lafayette student newspaper!

Faculty Event: “Creative Mosaic II” at Flushing Town Hall

Long Island City Artists present a group exhibition that draws a broad landscape of artistic voices emerging from Queens. Selected by Queens-based independent curator and art writer Osman Can Yerebakan and coordinated by Cristian Pietrapiana, the artists working in painting, photography, sculpture, collage, and performance respond to the borough’s multifaceted texture, infused with sounds, flavors, colors, and traditions of innumerable cultures across the globe.

FEB 28 – MAR 15 | 12-5 PM | EXHIBITION

 

Opening Reception: FRI, FEB 28, 6-8 PM

Closing Party: SUN, MAR 15, 3-5 PM

Gallery Dates: SAT, FEB 29 – SUN, MAR 15

Gallery Hours: SAT & SUN, 12-5 PM; weekdays by appointment

 

$5 Suggested Donation/FREE for Members, Students & Teens

 

Queens’s cultural impact as the most ethnically-diverse borough in the United States is undeniable, with institutions dedicated to representing the borough’s prevalent artistic essence to a broader audience as well as bringing visual narratives from elsewhere to the Queens audience. Creative Mosaic aims to shed light on themes, concerns, media, and techniques local artists are currently invested in to convey their experience.

From urban vistas capturing Queens’s equally metropolitan and suburban habitat to intimate renderings of human experience to experiments with new media, the works in this exhibition display an ample range, tapping into different experiences and lives permeating the borough’s intertwined neighborhoods and its multigenerational roster of artists, whose visual lexicons weave a vibrantly colorful and thoughtful mosaic, true to the borough’s inherent dynamism and tireless flux of cultural multiplicity.

Long Island City Artists, Inc. is a nonprofit, 501(c)(3) arts advocacy organization with a mission to increase the development and visibility of professional and emerging artists in Long Island City, New York. We are based out of The Plaxall Gallery, a 12,000–square–foot fine art community center in LIC.

Osman Can Yerebakan is a curator and art writer based in New York. His writing has appeared in T: The New York Times Style MagazineParis ReviewArtforumNew York MagazineObserverBrooklyn Rail, and BOMB. He organized exhibitions at the Queens Museum, Radiator Gallery, UrbanGlass, Leslie Lohman Project Space, Center for Book Arts, La MaMa Galleria, Equity Gallery, and elsewhere.

For more information, please visit https://www.licartists.org/

In the news: Chloë Bass on PBS’s “Box Burners”

Congrats to our very own professor Chloë Bass for her feature on PBS’s program Box Burners!

The clip above discusses Chloe’s work with the Studio Museum in Harlem. In 2018, The Studio Museum closed its longtime home to begin construction on a new building. In the absence of a permanent gallery, the museum launched in Harlem, a site-specific series that bring art directly to the community through displays in public spaces, libraries and parks. Conceptual artist Chloë Bass guides St. Nicholas Park on a wayfinding journey.

Faculty Event: Group Faculty Exhibition

Join the QC Art Department for a group exhibition of current works by our faculty, including a variety of media by the professors of Design and Studio Art! The show will be open in the Klapper Hall Student Gallery from November 4th-17th, with an opening reception on Thursday, November 7th 6:30-8:30.

Faculty Event: NY Comics and Picture-story Symposium with Matthew Thurber

The 255th meeting of the NY Comics & Picture-story Symposium will be held on Tuesday,  Oct 22 at 7pm at Parsons School of Design, University Center, 63 Fifth Avenue, room UL 105 (lower level). This event is free and open to the public.

The symposium will feature a film by Queens College professor Matthew Thurber with a Q&A to follow. The film FLEEGIX is “a science-fiction film set on Earth, although some of the population have become convinced that they are in fact living on the planet Mars. The film investigates the nature of belief systems which overlap, co-exist, and create conflict in any human society. It takes place in a recognizable world of parks, parking lots, gas stations and video stores, which makes the episodes stranger and more tangible. It does not create a fantasy world: the extraordinary is mapped onto a recognizable landscape.
The film is inspired by and loosely adapted from on a Young Adult novel by Daniel Pinkwater, Alan Mendelsohn, the Boy From Mars, in which alienated high school students Leonard and Alan escape boredom through developing telepathic powers and learn to travel to other dimensions overlapping their own.”
For more information about the New York Comics and Picture-story Symposium and other events, visit their website!

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