Gordon Parks, “Mrs. Jefferson,” from the series Fort Scott Revisited (Photo courtesy of The Gordon Parks Foundation)

“Homeward to the Prairie I Come” features more than 75 of Parks’ images, examining his wide-ranging artistic ideas. The exhibition not only includes Parks’ documentary photography such as the series Paris Fashions, Fort Scott Revisited and The Redemption of the Champion��(featuring images of Muhammed Ali), but also his thoughts on photography as a fine art medium and his engagement with celebrated paintings and sculptures.

Most significantly, the photographs instigate cultural change by challenging viewers to imagine a more inclusive culture than the one they know: a world where Black skin represents ideal beauty, where an African American athlete embodies the exemplary hero and where an artist of African heritage has a place within the lineage of excellent artists in Western art history.

“This exhibition leverages the power of art to catalyze dialogue about the wide range of issues that Parks engaged with in his photography, from systemic racism to the labor and ethics of the global fashion industry to ideas of celebrity and home,” says Melissa Yuen, the ���ܲ���ܳ�’s interim chief curator.

Interim director of the museum Emily Dittman says, “Gordon Parks was a visionary interdisciplinary artist whose work had a lasting impact on the world. His dedication to continually tell the stories of individuals that were—and still are—too often hidden and overlooked is clearly evident and inspiring throughout his artistic work.”

In this spirit, the museum is taking steps to creating an accessible, diverse and multilingual space for all communities and families. The interpretive text in the exhibition is bilingual, providing both English and Spanish text for visitors, large-type text will be available and a family guide is provided to help youth and families explore the exhibition. An open access digital exhibition catalog for the exhibition will be available for visitors in the reflection area, as well as reading materials on Gordon Parks and his multifaceted career. The exhibition will be accompanied by a dynamic slate of public programming, all free and open to the public.

Co-curated by Aileen June Wang, Ph.D., curator, and Sarah Price, registrar, at the Marianna Kistler Beach Museum of Art, Kansas State University, the tour is organized by Art Bridges. The exhibition and related programs have been made possible by generous support from Art Bridges, the Wege Foundation and the Humanities Center (���ϲ����� Symposium).

About the Artist

Parks, one of the greatest photographers of the twentieth century, was a humanitarian with a deep commitment to social justice. He left behind an exceptional body of work that documents American life and culture from the early 1940s into the 2000s, with a focus on race relations, poverty, civil rights and urban life. Parks was also a distinguished composer, author and filmmaker who interacted with many of the leading people of his era—from politicians and artists to athletes and celebrities.

Born into poverty and segregation in Fort Scott, Kansas, in 1912, Parks was drawn to photography as a young man when he saw images of migrant workers taken by Farm Security Administration (FSA) photographers in a magazine. After buying a camera at a pawn shop, he taught himself how to use it. Despite his lack of professional training, he won the Julius Rosenwald Fellowship in 1942; this led to a position with the photography section of the FSA in Washington, D.C., and, later, the Office of War Information (OWI). Working for these agencies, which were then chronicling the nation’s social conditions, Parks quickly developed a personal style that would make him among the most celebrated photographers of his era. His extraordinary pictures allowed him to break the color line in professional photography while he created remarkably expressive images that consistently explored the social and economic impact of poverty, racism, and other forms of discrimination.

Featured Events

• Opening Reception and Keynote—Sept. 6, 4-6:30 p.m.; keynote: 4-5 p.m., 160 Link Hall; reception: 5-6:30 p.m., ���ϲ����� Art Museum
• The Duke Ellington Orchestra presented in partnership with the Malmgren Concert Series—Sept. 22, 4 p.m.; Hendricks Chapel, with reception to follow at the ���ϲ����� Art Museum
• Community Screening of “Shaft” (1971), directed by Gordon Parks—Oct. 4, 7 p.m.; The Westcott Theater, 524 Westcott St., ���ϲ�����
• Community Day—Oct. 5, noon-4 p.m.; ���ϲ����� Art Museum
• Art Break: Gordon Parks with Nancy Keefe Rhodes—Oct. 16, noon;�����ϲ����� Art Museum
• Celebrating the Legacy of Gordon Parks—Nov. 9, noon-4 p.m.; ���ϲ����� Art Museum;��1 p.m.: Art Break with contemporary photographer Jarod Lew; 2:30 p.m.: screening of “A Choice of Weapons: Inspired by Gordon Parks” (2021)
• Gordon Parks Community Gathering/Showcase—Dec. 7, timing TBD;��Deedee’s Community Room, Salt City Market, 484 S. Salina St., ���ϲ�����

Visit the for event information. Members of the media may contact Emily Dittman, interim director of ���ϲ����� Art Museum, for more information or to schedule a tour.

[Featured image: Gordon Roger Alexander Buchanan Parks, “Mrs. Jefferson,” from the series Fort Scott Revisited, 1950, printed in 2017, gelatin silver print, 20 x 16 inches. Kansas State University, Marianna Kistler Beach Museum of Art, gift of Gordon Parks and the Gordon Parks Foundation, 2017.373. Image courtesy of and copyright by The Gordon Parks Foundation]

Peter Jones, “Twins,” 1989 Everson Museum of Art

A new exhibition of clay sculptures by acclaimed and highly innovative artist Peter B. Jones (Onondaga) will open at the on Aug. 24 and will be on view through Dec. 15. “Continuity, Innovation and Resistance: The Art of Peter B. Jones” comments on and actively resists the impact of colonialism on Haudenosaunee communities, past and present. His art presents Haudenosaunee culture as a continuum that has resisted and persisted despite serious attacks on Haudenosaunee lands, sovereignty and cultural identity.��

Under the direction of professors and (Akwesasne Mohawk Nation), this exhibition was co-curated by students at ���ϲ����� including Charlotte Dupree (Akwesasne Mohawk Nation), Eiza Capton (Cayuga Nation), Anthony V. Ornelaz (Diné), Ana Juliana Borja Armas (Quechua) and Jaden N. Dagenais. “It has been a distinct pleasure to co-direct this project with professor Stevens and to see the students who shaped the exhibition—Charlotte, Eiza, Anthony, AJ and Jaden—grow as scholars, curators and storytellers,” says Scott. “I am proud of the work they have done, which honors Peter Jones as a groundbreaking artist and has created space for teaching the ���ϲ����� and local communities about Haudenosaunee culture, history and vibrant present.”��

The exhibition features ceramic works lent from the National Museum of the American Indian (Washington, D.C.), the New York State Museum (Albany, New York), the Fenimore Art Museum (Cooperstown, New York), the Everson Museum of Art (���ϲ�����, New York), the Longyear Museum of Anthropology at Colgate University (Hamilton, New York), the Iroquois Museum (Howes Cave, New York) and private collectors.��

About the Exhibition��

Peter B. Jones’s work is a testament to Haudenosaunee cultural continuity despite cataclysmic and overt challenges to Indigenous sovereignty owing to waves of colonialism, first by European powers and later by the United States and Canada. His traditional vessels revive ancient Haudenosaunee pottery techniques and styles, which were almost lost as Indigenous peoples adopted European trade goods and owing to profound disruptions by displacement, war and epidemics. Many of Jones’s innovative figurative sculptures celebrate Haudenosaunee worldviews and social organization, while others address��the negative impacts of missionary activities, Indian removal, assimilationist policies and capitalism. His sculptures of storytellers, wampum readers, medicine women, warriors and elders, remind viewers that, in the face of these tremendous pressures and challenges, Haudenosaunee peoples have maintained their culture, which is still thriving today. “Peter Jones has been recognized as the leading Haudenosaunee artist working in clay for over three decades and this exhibition gives us a great overview of his remarkable career,” says Stevens. ��

The exhibition and related programming has been made possible by generous support from a Humanities New York Action Grant, a mini-grant from the Engaged Humanities Network, which included access to a network to seed, support, and foster exchanges for the project, ���ϲ����� SOURCE grants, as well as co-sponsorship from the Humanities Center (���ϲ����� Symposium), College of Arts and Sciences, College of Visual and Performing Arts, Hendricks Chapel, Office of Diversity and Inclusion, Office of Strategic Initiatives, Office of Multicultural Affairs, the Native Student Program, Department of Art and Music Histories, and the Native American and Indigenous Studies Program.��

About the Artist��

Peter B. Jones was born an Onondaga citizen (Beaver Clan) in 1947 and grew up on the Cattaraugus Seneca Reservation in western New York, where he now operates a pottery workshop and studio. He studied under Hopi artist Otellie Loloma while attending the Institute of American Indian Art in New Mexico. His pottery, which has revived traditional Haudenosaunee pit firing, hand-built coiling, and slab construction, is admired and collected by community members, art collectors, and museums across the country and internationally. Reminiscent of early Haudenosaunee pottery, Jones’ art both speaks to cultural continuity and directly reflects the issues that have impacted Haudenosaunee people. Jones works mostly in stoneware and white earthenware clay. He is currently teaching young potters at the Seneca Nation Sully, building a traditional arts and Seneca language facility on the Cattaraugus reservation.��

Featured Events��

Opening Reception: “Continuity, Innovation, and Resistance: The Art of Peter B. Jones”
Thursday, Sept. 14: 4:30 to 6:30 p.m.
���ϲ����� Art Museum��

Peter B. Jones Artist Talk
Friday, Sept. 15: Noon to 1:30 p.m.
���ϲ����� Art Museum��

Community Day
Saturday, Oct. 14: Noon to 4 p.m.
���ϲ����� Art Museum��

Art Break: A Conversation with the Curators of Continuity, Innovation, and Resistance
Wednesday, Nov. 15: Noon to 12:45 p.m.
���ϲ����� Art Museum��

website for more public programs surrounding the exhibition. Members of the media, please contact Emily Dittman, interim director of ���ϲ����� Art Museum, at ekdittma@syr.edu for more information or to schedule a tour.��

The workshop will examine food culture, production and consumption through the interrelated lenses of diaspora and rice, a staple food around the globe. Along with staff from the museum, participants will examine and discuss Shih’s ceramic rice bag sculptures and related objects associated with rice culture from the ���ܲ���ܳ�’s permanent collection. The workshop also includes a hands-on art-making activity.

Participants are invited to join the larger community for a public reception at 3 p.m. featuring rice snacks and tea immediately following the workshop. This program is generously co-sponsored by the and the in the Maxwell School of Citizenship and Public Affairs.

About Stephanie H. Shih

Shih

Shih’s painted ceramic sculptures explore the way cultural identities transform as they migrate with a diaspora. She has had solo exhibitions in New York, Los Angeles, Miami, San Francisco and at the ���ϲ����� Art Museum. Her practice has received support from the American Museum of Ceramic Arts, Lighthouse Works and Silver Art Projects. Activism is central to Shih’s practice, and since 2017 she’s raised over $110,000 for marginalized communities experiencing instability related to home through her art and platform.

About Lily Wong

Lily Chishan Wong joins the School of Architecture at ���ϲ����� as the 2022-23 Harry der Boghosian Fellow. As a transplant between Asia and America, she is interested in how global systems shape building cultures and vice versa.

Wong

Her project “Producing Nature” explores the use of plants in architecture and its planetary effects. It considers vegetation as atmospheric design—grown, stored and shipped globally—and charts the spaces and species involved in the production of “nature.” Inherently interdisciplinary, this exploration seeks to foster cross-pollination between architecture and other fields and to speculate on new environmental engagements.

Wong received a master of architecture from Columbia University Graduate School of Architecture, Planning and Preservation and was nurtured with the Kohn Pedersen Fox Traveling Fellowship, Award for Excellence in Total Design, Lucille Smyser Lowenfish Memorial Prize, William Kinne Fellows Travelling Prize and Fred L. Liebmann Book Award. She cofounded : (pronounced “colon”), a publication and workshop dissecting the rhetoric and media that are rooted in the field of architecture.

For additional information or images, please contact Emily Dittman, interim director, at 315.443.4097 or ekdittma@syr.edu.

Rob Swainston and Zorawar Sidhu, “July 4th 2020” (2021), museum purchase

“Dreams Deferred: Reflections on Liberty, Equality and Sovereignty in U.S. Art” is now on view at the . The exhibition examines the idea of freedom in the United States as expressed in art, including its possibilities, its oversights, its uneven implementation and its attacks on Indigenous sovereignty.

Curated by incoming master of arts students in art history and under the direction of Associate Professor , the exhibition is on view through May 14.

Featuring work drawn from the museum’s extensive permanent collection, including newly acquired artwork, the exhibition highlights how structural inequities, oppressive histories, disenfranchisement and degradation of personhood are variously perpetuated, elided and disrupted in U.S. art.

“Dreams Deferred” also highlights art that advocates for equality, accentuates personhood and unmasks structural racism and histories of misogyny, enslavement and dispossession—violences that are still felt today.

Associate Professor Scott says, “It was a pleasure to guide this project, as the first-year graduate students in art history honed their research, writing and interpretive skills throughout the fall semester. The student-curators of ‘Dreams Deferred’ offer compelling interpretations of artworks produced in the United States from the 19th century to the present, addressing the possibilities, exclusions and failures of concepts of freedom in the United States.”

Featured Event

Lunchtime Lecture: “Dreams Deferred” tour with the curators
March 23, 1 p.m.
���ϲ����� Art Museum, Shaffer Art Building

Alesandra (Sasha) Temerte

Through the philanthropic gift of ���ϲ����� alumni and prominent artists Luise ’46, G’51 and Morton Kaish ’49, the Kaish Fellowship program was established in 2021. The program provides funding for undergraduate students from every discipline to undertake original research on the permanent art collection and to work with museum staff on exhibitions, scholarly publications and public programming.

Temerte is a senior at ���ϲ�����, double majoring in economics and writing and rhetoric studies, with minors in Spanish and strategic management. She is a Coronat Scholar, a member of the Renée Crown Honors Program and a 2022-23 Remembrance Scholar.

As a writer, Temerte has been interested in the concept of storytelling through fragments. Through her courses at ���ϲ�����, her fragmented storytelling approach continues to take shape in prose, depicting stories through the lens of passing moments and snippets of meaning that tell a greater narrative.

Recently, she has explored writing in multimedia forms, often combining prose, poetry, images, and video together. Temerte’s interest in the abstract and the surreal drew her to apply for the Kaish fellowship, and she envisions creating a small booklet of poems for her final project.

Through this opportunity, Temerte plans to work alongside interim Chief Curator Melissa Yuen to explore works of art by both Luise and Morton Kaish, as well as other artists in the permanent collection, which engage with collision and interruption.

Featuring works from more than 30 artists from across the country including MaPó Kinnord, Amy Elkins, Lee Diegaard, L. Kasimu Harris, Devin Reynolds, Jackie Sumell, Carl Joe Williams and Cherice Harrison-Nelson, “Per(Sister)” runs through March 11.

“These artworks, with their wide range of media, highlight the power of storytelling and foreground their ability to spark interdisciplinary conversations about not only the complexities and inequities of the American justice system but also the continued and generational impact of incarceration,” says Melissa Yuen, curator of the ���ϲ����� Art Museum.

We look forward to sharing the PerSisters’ lived experiences and the art they inspired with the ���ϲ����� campus community. —Melissa Yuen, ���ϲ����� Art Museum curator

Amy Elkins, “Mother and Young Children,” 2019

“Per(Sister)”�� is a traveling exhibition produced by the in New Orleans, Louisiana. The exhibition was curated under the leadership of former museum director Monica Ramirez-Montagut (current executive director of Michigan State University’s Broad Art Museum) and assisted by curator Laura Blereau. It was developed in equal partnership with Syrita Steib and Dolfinette Martin with additional support provided by Operation Restoration and Women with a Vision.

The exhibition presents works from more than 30 artists based on the personal stories of 30 formerly and currently incarcerated women as interviewed by museum staff. “Per(Sister)” aims to look beyond the statistics and bring their stories to light as a way to comprehend the injustice of the criminal justice system in the United States.

The exhibition is divided into four sections that explore the causes of female incarceration, the impact of incarcerating mothers, the physical and behavioral toll of incarceration and the challenges of and opportunities for reentry for formerly incarcerated women.

These themes bring together diverse works—including voice recordings, photographic portraits, informative illustrations, sculptures, paintings, songs and performances—to create an exhibition that incorporates the voices of the Persisters and artists while highlighting statistics collected from the Vera Institute of Justice, Prison Policy Initiative, the Sentencing Project, the Bureau of Justice Statistics and others. Individuals from Tulane’s faculty and students, individuals directly impacted and community stakeholders contributed time and knowledge to the exhibition.

Special Upcoming “Per(Sister)” Events

• Per(Sister) Curator Talk with Monica Ramirez-Montagut
  Saturday, Jan. 29, 1-2 p.m. ET
  
• Per(Sister) In Conversation
  Melissa Yuen and PerSister co-producers of the exhibition Dolfinette Martin and Syrita Steib
  Wednesday, Feb. 9, 3 p.m. ET
  
• Collaging Community: Art Making as a Restorative Practice
  Thursday, Feb. 10, 6 p.m. ET
  
  AND
• Thursday, Feb. 24, 6 p.m.
  ���ϲ����� Art Museum
  Shaffer Art Building
• Women’s Incarceration and Prison Reform Priorities
  Thursday, Feb. 17, 5:30 p.m.
  214 Slocum Hall
  Reception to follow at ���ϲ����� Art Museum

David Prince

The ���ϲ����� Art Museum of Art announced that David Prince, the ���ܲ���ܳ�’s curator, will retire on Jan. 4.

During his 34 years of service to the museum and the University, Prince introduced thousands of students, faculty, staff�� and community visitors to the ���ܲ���ܳ�’s permanent collection.

Through his outreach and teaching, he provided important access tools to examine art in detail and engage in important dialogues across campus and the wider central New York community.

Prince earned a B.A. in art history from the University of Massachusetts, Amherst, in 1977. He received an M.F.A. in museology from ���ϲ����� in 1982, where he completed his graduate thesis on the artwork of Skaneateles-based artist John Barrow, bringing new attention to the American artist considered a “second generation” Hudson River School style artist.

Three years later, Prince returned to his graduate school alma mater and began his professional career at the then ���ϲ����� Art Collection (now ���ϲ����� Art Museum) as curator. That same year, Prince embarked on what would be a 20-year teaching appointment in the College of Visual and Performing Arts where he taught Intro to Museum Studies and Curatorship courses in the Museum Studies Graduate Program. In 2017, he revisited his teaching with a special six-week course offered through University College exploring the Etching Revival.

Additionally, over the years Prince has presented an extensive amount of public and University course connected tours and special displays, and was the museum liaison to faculty in integrating the permanent art collection in their curriculum and teaching.

Sascha Scott, associate professor of art history, says, “It has been a pleasure to work with David Prince over the last ten years. He has been dedicated to giving art history students at all levels hands-on experience with art objects, working with them as they write papers, wall labels, and curate shows. He has been generous with his time and encouraging of the many ideas me and my students have brought his way. I will truly miss having him as a colleague.”

During his tenure, he curated or co-organized numerous exhibitions, including “Water & Light: James McNeill Whistler’s Etchings and Drypoints of Venice and Amsterdam,” Winslow Homer’s “Empire State: Houghton Farm and Beyond,” “Jeff Davies: Straight from the Heart” and “Forbidden Fruit: Yasuo Kuniyoshi’s America.” Prince is currently curating his final exhibition as a staff member, “The Howling Infinite: ��Moby Dick, Art, and the Environment,” which will premiere as a virtual exhibition on the museum website in January.

Vanja Malloy, director and chief curator, says, “Since arriving at ���ϲ����� in 2019, I’ve had the privilege of working with David on his last curatorial project at the museum. David’s enthusiasm for cross-disciplinary research and love of art has shined through in this project. He has a remarkable ability to connect with people and applies his love of the arts to forge new collaborations across campus that generate discussion and excitement. I am very excited for this exhibition to launch virtually next spring semester!

“David has been an important presence at ���ϲ����� for over 34 years and he will be greatly missed. All of us at the museum wish him the very best in his retirement and hope that it is filled with many great memories and adventures!”

Louis B. Schlivek, “Grand Central Bookstore,”circa 1956. George R. Rinhart Collection.

“Black Subjects in Modern Media Photography: Works from the George R. Rinhart Collection” is on display through March 13 at the ���ϲ����� Art Galleries in the Shaffer Art Building. The exhibition of 145 photographic images includes work by news photographers working for Underwood & Underwood Publishers, as well prints by noted artists Henri Leighton, Herbert Gehr, Charlotte Brooks and Carl Van Vechten.

Gallery hours are Tuesdays and Wednesdays through Sundays from 11 a.m. to 4:30 p.m. and Thursdays from 11 a.m. to 8 p.m. The gallery is closed University holidays and Mondays.

On loan from the extensive George R. Rinhart Collection, one of the largest private collections in the nation, and curated by Joan Bryant, associate professor in African American studies in the College of Arts and Sciences, this presentation offers a glimpse of the complexity and paradoxes of black visual modernity.

As stated by Bryant: “The exhibition is an occasion to consider what counts as a modern black image in the first half of the 20th century–a period marked by state-sponsored white supremacy, a growing push for black self-determination and equality, and technological changes that expanded the accessibility of photographs….I think the assortment points to divergent social currents that shaped American visual culture.”

A fully illustrated catalog with a scholarly essay by Bryant will accompany the exhibition, available in the galleries in February.

Bryant will present a lecture on the exhibition on Thursday, Jan. 30, at 5 p.m. in 204 Slocum Hall. The lecture will be followed by an opening reception, co-sponsored by the ���ϲ����� Humanities Center in the College of Arts and Sciences from 5:30 to 7:30 p.m. at the SUArt Galleries. Patrons are welcome to view the exhibition until the gallery closes at 8 p.m.��The lecture and reception are free and open to all. Visitors are encouraged to bring a donation of canned or dry goods to the events to be donated to the Hendricks Chapel Food Pantry.

Joan Bryant is associate professor and undergraduate studies director of the Department of African American studies in the College of Arts and Sciences. Bryant is author of the forthcoming book “Reluctant Race Men: Black Opposition to the Practice of Race in 19th-Century America” (Oxford University Press). She previously co-curated the exhibition “Black Utopias” in 2015 for Bird library. She is a scholar in American religious studies and researches the relation between race and religion in modern America.

Related programs

All programs are free and open to all. For parking information, visit .

Lunchtime Lecture

“Black Subjects in Modern Media Photography” with exhibition curator Joan Bryant.

Wednesday, Feb. 19, at 12:15 p.m. in the gallery.

Film Program

Screening of “Through a Lens Darkly: Black Photographers and the Emergence of a People,” the first documentary to explore the role of photography in shaping the identity, aspirations, and social emergence of African Americans from slavery to the present.

Sunday, March 1, at 2 p.m. in Shemin Auditorium in the Shaffer Art Building.

Auguste Rodin, Meditation (with Arms), 1880_cast 1979

The ���ϲ����� Art Galleries is presenting “Rodin: The Human Experience/Selections from the Iris and B. Gerald Cantor Collections,” on view beginning Aug. 16 and continuing through Nov. 18 in the Shaffer Art Building.

Organized by Judith Sobol, curator of collections and exhibitions at the Iris & B. Gerald Cantor Foundation, this monumental exhibition features 28 bronze works by the French artist who, at the peak of his career, was regarded as the greatest sculptor since Michelangelo.

Rejecting 19th-century academic traditions that dictated what was “proper” in art, Auguste Rodin used sculpture made from hard marble and bronze to convey the vitality of the human spirit. His vigorous modeling emphasized his personal response to the subject, and he conveyed movement and emotion by inventing new poses and gestures.

“By bringing an exhibition of this caliber to campus, we hope to invite research, investigation and appreciation from across the campus,” says��Jeffrey Hoone, executive director of the Coalition of Museum and Art Centers (CMAC). “From philosophers to physicists and sculptors to sports enthusiasts, Rodin speaks to many aspects of the human condition and human potential. Our goal is that his work will resonate throughout the campus during this very special exhibition.”

Gallery hours are Tuesday through Wednesday and Friday through Sunday from 11 a.m.-4:30 p.m., and Thursdays from 11 a.m.–8 p.m.�� The gallery is closed on Mondays and University holidays. The SUArt Galleries will host a gallery reception from 5–7 p.m. on Thursday, Sept. 6. Patrons are welcome to view the exhibition until the gallery closes at 8 p.m.�� The reception is free and open to the public.

Exhibition Overview

“Rodin: The Human Experience/Selections from the Iris and B. Gerald Cantor Collections” presents 28 figures in bronze by Auguste Rodin (1840-1917), the French sculptor who left behind 19th-century academic traditions to focus on conveying the passion and vitality of the human spirit. Also included in the exhibition are three depictions of the artist by his artist friends, including Edward Steichen. Rodin exerted a tremendous influence on artists of subsequent generations, such as Matisse, Brancusi and Maillol. His vigorous modeling emphasized his personal response to the subject, and he captured movement and emotion by altering traditional poses and gestures.

Auguste Rodin, Fallen Caryatid with Urn, 1883_cast 1982

The bronzes on view are especially rich in portraiture. Included are Rodin’s renowned depictions of the writers Victor Hugo and Honoré de Balzac; the composer Gustav Mahler; the artist Claude Lorrain; and “The Creator,” which is likely a self-portrait. Also included in the exhibition is Jean de Fiennes, one of six figures that comprise Auguste Rodin’s monumental “The Burghers of Calais.”

Rodin’s deft skill in using the bronze-casting technique to represent living flesh and his interest in expressing extreme psychological states were highly influential upon younger artists, both in Europe and America. The exhibition reveals why the artist is considered the crucial link between traditional and modern sculpture.

This exhibition was organized by the Iris and B. Gerald Cantor Foundation, which promotes and recognizes excellence in the arts and enhances cultural life internationally through its support for art exhibitions and scholarship and for the endowment of galleries and sculpture gardens at major museums. Most unusual for a philanthropic foundation, the Cantor Foundation also owns this significant collection of Rodin sculpture. During the last four decades, it has loaned individual works and entire exhibitions to museums in more than 160 cities in Australia, Canada, Japan, Singapore and the United States. Nearly 11 million people have seen these shows.

Related Programs

Gallery Reception:

Thursday, Sept. 6, 5–7 p.m.

Join the SUArt Galleries to celebrate the opening of the newly installed exhibition “Rodin: The Human Experience,” on view in the galleries Aug. 16 through Nov. 18.

Art Conservation On Display

Wednesday, Sept. 12, 11 a.m.–4:30 p.m.

Come to the gallery to view art conservators at work. A team of conservators from the Iris and B. Gerald Cantor Foundation will be examining, documenting, cleaning, inpainting, waxing and preparing the sculptures for the fall exhibition, “Rodin: The Human Experience.”

Lunchtime Lectures:

Wednesday, Sept. 5, 12:15 p.m.

Join art history assistant professor Romita Ray for a gallery tour of “Rodin: The Human Experience.”

Wednesday, Oct. 10, 12:15 p.m.

Explore Auguste Rodin and his connections to the SUArt Collection with associate director/ curator David Prince through artwork installed on campus. Examine several sculptures by noted students of Rodin, including Ivan Meštrović, whom Rodin once called “the greatest phenomenon amongst sculptors.”

All events are free and open to the public. Visit for more information on parking and directions to the galleries.

Norman Barker, Agar petri dishes, 2008

The exhibition��is on view in the Shaffer Art Building. Gallery hours are Tuesday-Sunday, 11 a.m.-4:30 p.m.; and Thursdays 11 a.m.-8 p.m.�� The gallery is closed on University holidays.�� The SUArt Galleries will host a gallery reception from 5-7 p.m. on Thursday, Feb. 1. Patrons are welcome to view the exhibition until the gallery closes at 8 p.m. The reception is free and open to the public.�� A fully illustrated exhibition catalog will be available for sale in the Gallery Shop.

Exhibition Overview

Many have heard the phrase ”A picture is worth a thousand words.” This is no less true for images in medicine that are routinely used to diagnose disease. Images viewed by a radiologist relay critical information, such as the anatomy of internal organs or the presence of a lesion signifying disease. Those viewed by a pathologist indicate whether a tissue is normal or abnormal at the microscopic level, and if a tumor, whether it is benign or malignant.

Scientific images are equally informative and arguably are the most important component of a research study. These images allow simple visual representations of complex scientific datasets or illustrate how variations of an experimental condition can impact cellular behavior.

What is often not verbalized, or perhaps even realized, is how often medical and scientific images are pleasing to look at for their own inherent qualities. For example, colors are often used to highlight differences between normal and diseased tissues or to direct the reader’s attention to features of an image or experiment that are most important. However, the colors themselves and the patterns and shapes the colors form, can themselves be fascinating, even in the absence of knowledge of the underlying biology or pathology. Normal tissues are organized in extremely specific and reproducible ways, and in diseased tissues this organization is lost, leading to random and unique patterns that can be visually appealing.��“Hidden Beauty” has amassed an impressive collection of such images. They can be appreciated by scientists and clinicians for the stories that they tell. But they can be equally appreciated by anyone for the sheer beauty they convey and the wonders of nature that they illustrate.

Related Programs

All programs are free and open to the public. For parking information, please visit parking.syr.edu

Gallery Tour of “Hidden Beauty” with Domenic Iacono, director of the SUArt Galleries
Wednesday, Feb. 14, 12: 15 p.m.

“The Wonder of the Scientific Image”
Guest Lecture by Norman Barker
Thursday, Feb. 22,��5:30 p.m.
106 Life Sciences Complex

“Can Scientific Photographs be Art?”
Guest Lecture by Norman Barker
Friday, Feb. 23, 12:15 p.m.
SUArt Galleries

About ���ϲ�����

Founded��in 1870, ���ϲ����� is a private international research university��dedicated to advancing knowledge and fostering student success through teaching��excellence,��rigorous scholarship and interdisciplinary research. Comprising 11��academic schools and colleges, the University has a long legacy of excellence��in the liberal arts, sciences and��professional disciplines that prepares��students for the complex challenges and emerging opportunities of a rapidly��changing world. Students enjoy the resources of a 270-acre main��campus and��extended campus venues in major national metropolitan hubs and across three��continents. ���ϲ�����’s student body is among the most diverse for an��institution of its��kind across multiple dimensions, and students typically represent��all 50 states and more than 100 countries. ���ϲ����� also has a long legacy of��supporting veterans and is home to��the nationally recognized Institute for��Veterans and Military Families, the first university-based institute in the��U.S. focused on addressing the unique needs of veterans and their��families.

Kiki Smith, “Pool of Tears II,” 2000. © Kiki Smith / Universal Limited Art Editions

The exhibition will be on view through March 9, 2018, in the Shaffer Art Building at ���ϲ�����. Gallery hours are Tuesday-Sunday, 11 a.m.-4:30 p.m.; and Thursdays 11 a.m.-8 p.m. The gallery is�� closed on University holidays. The SUArt Galleries will host a gallery reception�� from 5-7 p.m. on Thursday, Feb. 1. Patrons are welcome to view�� the exhibition until�� the gallery closes at 8 p.m. The reception is�� free and�� open to the public. A fully-illustrated exhibition catalog will�� be available for sale in the Gallery Shop.

“Kiki Smith and Paper: The Body, the Muse and the Spirit” explores Smith’s fascination with the human body—and the female body in particular—alongside themes of birth, death and regeneration, through a selection of objects that represent the one medium with which Smith has consistently engaged: paper.

A multi-disciplinary artist, Smith is well known as a printmaker, having worked extensively in etching, lithography, screenprint, rubber stamp, tattoos and other techniques since the late 1980s. Drawing has also been fundamental to her printmaking, as well as a prolific expressive tool on its own.

However, it is her paper sculptures that project the pathos and fragility of the human spirit most poignantly, according to Weitman. Though Smith has constructed sculptures from many materials, Weitman says the humble status of paper, and its rare use in the medium of sculpture, is something Smith relishes.

Throughout her career, across a variety of media, much of Smith’s work has addressed the realms of human anatomy, the human condition in relationship to nature and the cycle of life and spirituality. However, the female figure in particular is something that has preoccupied Smith since the early 1980s.

Smith (American, b. 1954, Nuremberg, Germany) has been known since the 1980s for her multidisciplinary practice relating to the human condition and the natural world.�� She uses a�� broad variety of materials to continuously expand and evolve a body of work that includes sculpture, printmaking, photography, drawing and textiles.

Smith has been the subject of numerous solo exhibitions worldwide including over 25 museum exhibitions. Her work has been featured at five Venice Biennales, including the 2017 edition. She is a member of the American Academy of Arts and Letters and the American Academy of Arts and Sciences, and in 2017 was awarded the title of Honorary Royal Academician by the Royal Academy of Arts, London. Previously, Smith was recognized in 2006 by TIME Magazine as one of the “TIME 100: The People Who Shape Our World.”

Other awards include the Skowhegan Medal for Sculpture in 2000; the 2009 Edward MacDowell Medal; the 2010 Nelson A. Rockefeller Award, Purchase College School of the Arts; the 2013 U.S. Department of State Medal of Arts, conferred by Hillary Clinton; and the 2016 Lifetime Achievement Award from the International Sculpture Center, among others. She is an adjunct professor at NYU and Columbia University.

About ���ϲ�����

Founded��in 1870, ���ϲ����� is a private international research university��dedicated to advancing knowledge and fostering student success through teaching��excellence,��rigorous scholarship and interdisciplinary research. Comprising 11��academic schools and colleges, the University has a long legacy of excellence��in the liberal arts, sciences and��professional disciplines that prepares��students for the complex challenges and emerging opportunities of a rapidly��changing world. Students enjoy the resources of a 270-acre main��campus and��extended campus venues in major national metropolitan hubs and across three��continents. ���ϲ�����’s student body is among the most diverse for an��institution of its��kind across multiple dimensions, and students typically represent��all 50 states and more than 100 countries. ���ϲ����� also has a long legacy of��supporting veterans and is home to��the nationally recognized Institute for��Veterans and Military Families, the first university-based institute in the��U.S. focused on addressing the unique needs of veterans and their��families.

Right: Robert Cottingham, “American Hi-Fi”, 1971. On view in the Modern & Contemporary Galleries. Left: Sheila Pinkel, “Ilexoptical Co. Wide Open,” 2015. On view in the Photography Study Gallery.

Two of the exhibitions, on display in the Print and Photography Study Galleries through May 2018, were curated in concert with the main gallery exhibition “Meant to Be Shared: Selections from the Arthur Ross Collection of European Prints at Yale University.” Additional exhibitions are installed in the Study Cabinets, exploring the prints of James McNeill Whistler and the circus prints of Georges Rouault. New selections integrated into the Collection Galleries highlight the permanent collection, examining the academic interests and themes explored in ���ϲ����� fall curricula, allowing for new dialogues and art appreciation for students, faculty and the public.

The exhibitions opened Aug. 17 in the Shaffer Art Building. Gallery hours are Tuesday-Sunday, 11 a.m.-4:30 p.m.; and Thursdays 11 a.m.-8 p.m. The SUArt Galleries will host an opening night reception from 5-7 p.m. on Thursday, Sept. 7. Patrons are welcome to view the exhibition until the gallery closes at 8 p.m. The reception is free and open to the public.

“In Gratitude: The Museum Project,” on display in the Photography Study Gallery, examines the Museum Project, an artist collective formed by over a dozen pre-eminent American artists seeking a way to express their gratitude for the institutional support of, and commitment to, photography as an art form. This exhibition, curated by exhibition and collection manager Emily Dittman, features a multitude of contemporary perspectives and a rich diversity of styles, concepts and photographic materials as it explores the recent donation of artwork to the ���ϲ����� Art Collection.

“Americans in Venice: Late 19^th and early 20^th Century Prints,” curated by SUArt Galleries director Domenic Iacono, presents six prints by James McNeill Whistler from this period, placing them alongside the work of other Americans who were practicing in Italy in the late 19th and early 20th centuries. The juxtaposition of these works allows the viewer to appreciate Whistler’s innovations and his effect on the artists who followed him. Artists such as Mortimer Menpes, Frank Duveneck, Otto Bacher and Joseph Pennell owe much to Whistler’s innovative style and approach and, in turn, their work had an impact on the artists who made prints of Venice during the 20th century. On display in the Print Study Room, this exhibition will be on view through May 13, 2018.

The exhibition and programs are free and open to the public.�� Complete information and related programming is available by visiting the website at

Julio de Diego, River Patterns (platter), 1950. private collection

The ���ϲ����� Art Galleries has announced a special six-week lecture series beginning Thursday, Feb. 9, at 6 p.m. at the ���ϲ����� Art Galleries in Shaffer Art Building. The weekly lecture series will highlight the research interests of important print, painting and textile scholars and curators, alongside original artwork on display in the galleries. Organized by Domenic Iacono, director of the ���ϲ����� Art Galleries, the lecture series is presented in conjunction with the current exhibition “Art For Every Home: Associated American Artists, 1934-2000,” on view through March 19. Iacono will present the first lecture in the series on Thursday, Feb. 9, examining the graphic work on view in his presentation, “The Great Depression and the Rise of the American Print Sales Gallery.”

Other speakers scheduled to appear as part of the series are:

Feb. 16, 6 p.m.:
“The Persistence of Representation: American Paintings in the 1930s and ’40s”
David Prince, Associate Director/Curator of Collections, SUArt Galleries

Feb. 23, 6 p.m.:
“Costume, Fashion and Fabric: Associated American Artists Gallery”
Jeffrey Mayer
Associate Professor, School of Design, College of Visual and Performing Arts, and curator, Sue Ann Genet Costume Collection

March 2, 6 p.m.:
Gallery tour and talk: “Art for Every Home: Associated American Artists, 1934-2000”
Elizabeth G. Seaton,
Curator, Marianna Kistler Beach Museum of Art, Kansas State University

March 9, 6 p.m.:
“Thomas Hart Benton and Associated American Artists”
Sascha Scott
Associate Professor and director of Graduate Studies, Department of Art & Music Histories, College of Arts and Sciences

These events are free and open to the public. Parking for the event is available in the Quad 4 parking lot on a first come first serve basis. Please visit parking.syr.edu for further details.�� The SUArt Galleries will be open for visitors to view the related exhibition until 8 p.m. Complete information and related programming are available by visiting the website at

About the Exhibition

“Art For Every Home: Associated American Artists, 1934-2000” and its accompanying publications provide the first comprehensive overview of Associated American Artists (1934-2000), the commercial enterprise best known as the publisher of prints—sold via mail-order catalogue—by Thomas Hart Benton, John Steuart Curry and Grant Wood, among others.

The exhibition addresses not only AAA’s storied involvement in the popularization of American prints in the 1930s, but also its ongoing promotion of American art over six decades. Through aggressive marketing of studio prints, ceramics and textiles, and associations with corporate advertisers, AAA sought to bring “original” American art over the threshold of every American home. “From Studio to Doorstep — Wherever You Are,” the company promised in a 1945 mail-order brochure.�� “No longer would the would-be possessor of a beautiful picture have to go to town and visit an art dealer; or still harder, hire somebody to do it for him. Quite the contrary! Every American post office [is] to be like a branch agency for the creations of the pick of American artists.”

The exhibition’s co-curators are Liz Seaton of the Beach Museum of Art and Jane Myers, former curator at the Amon Carter Museum of American Art in Fort Worth, Texas. Scholar Gail Windisch, Los Angeles, is a third important contributor to the exhibition. Her original research served as the base for the project.�� Art for Every Home: has been organized by the Marianna Kistler Beach Museum of Art, Kansas State University.�� Major funding for the exhibition has been provided by The Henry Luce Foundation, Edward and Karen Seaton through the R.M. Seaton Endowment for Exhibitions, and The Ross and Marianna Kistler Beach Endowment for the Marianna Kistler Beach Museum of Art. Additional support has come from the International Fine Print Dealers Association, Russell Clay Harvey and Patricia McGivern, and Candyce Russell.

James Chapin, “Boy, That’s Tobacco!”, circa 1942. Courtesy of Virginia Tech, Reynolds Homestead, Critz, Virginia

The exhibition will be on view Jan. 12-March 19 in the Shaffer Art Building. Gallery hours are Tuesday-Sunday, 11 a.m.-4:30 p.m.; and Thursdays 11 a.m.-8 p.m.�� The gallery is closed on University holidays.�� The SUArt Galleries will host a gallery reception from 5-7 p.m. on Thursday, Feb. 2. Patrons are welcome to view the exhibition until the gallery closes at 8 p.m.�� The reception is free and open to the public.

“Art for Every Home” addresses not only AAA’s storied involvement in the popularization of American prints in the 1930s, but also its ongoing promotion of American art over six decades. Through aggressive marketing of studio prints, ceramics and textiles, and associations with corporate advertisers, AAA sought to bring “original” American art over the threshold of every American home. “From Studio to Doorstep—Wherever You Are,” the company promised in a 1945 mail-order brochure. “No longer would the would-be possessor of a beautiful picture have to go to town and visit an art dealer; or still harder, hire somebody to do it for him. Quite the contrary! Every American post office [is] to be like a branch agency for the creations of the pick of American artists.”

The exhibition’s co-curators are Liz Seaton of the Beach Museum of Art and Jane Myers, former curator at the Amon Carter Museum of American Art in Fort Worth, Texas. Scholar Gail Windisch, Los Angeles, is a third important contributor to the exhibition. Her original research served as the basis for the project.

A major catalog distributed by Yale University Press containing essays by scholars in the fields of American painting, printmaking, textiles, ceramics and interior design accompanies the exhibition. The exhibition catalog, “Art for Every Home: Associated American Artists, 1934-2000,” can be purchased from the SUArt Gallery Shop.

“Art for Every Home: Associated American Artists, 1934–2000” has been organized by the Marianna Kistler Beach Museum of Art, Kansas State University. Major funding for the exhibition has been provided by the Henry Luce Foundation, Edward and Karen Seaton through the R.M. Seaton Endowment for Exhibitions, and the Ross and Marianna Kistler Beach Endowment for the Marianna Kistler Beach Museum of Art. Additional support has come from the International Fine Print Dealers Association, Russell Clay Harvey and Patricia McGivern, and Candyce Russell.

In addition to the exhibition, the SUArt Galleries will host a special lecture series featuring a variety of scholars speaking on themes related to the exhibition’s contents. This five-week event, every Thursday at 6 p.m. starting Feb. 9, will feature special lectures by Domenic Iacono (director, SUArt Galleries), David Prince (associate director/curator, SUArt Galleries), Jeffrey Mayer (professor of fashion/curator, Sue Ann Genet Costume Collection), Liz Seaton (curator, Marianna Kistler Beach Museum of Art) and Sascha Scott (associate professor of art history).�� Please check the SUArt Galleries website for updated information on the lecture series, as well as additional programming including lunchtime lectures and a special SUKids event in February.

Items in the exhibition of West African textiles at the ���ϲ����� Art Galleries

Organized by Professor Michelle Gilbert, Department of Fine Arts at Trinity College, Connecticut, and featuring objects on loan from the collections of Gilbert and the Amyas Naegele and Eve Glasberg Collection in New York, this exhibition is sponsored in part by the Maxwell African Scholars Union, in the Moynihan Institute of Global Affairs.

The exhibition is on view from through Dec. 23 in the Shaffer Art Building. Gallery hours are Tuesday-Sunday, 11 a.m.-4:30 p.m.; and Thursdays 11 a.m.-8 p.m.�� The galleries will be closed for University holidays; please visit the website for updated information.

In all cultures, clothing does more than simply cover the body. It communicates subtle visual messages about the owner. What is worn and how it is worn can be interpreted as a statement of flamboyant ostentation or modest conservatism. It may signal the prominence of a wealthy and powerful king, the presence of a deity or the existence of a mad man.

The textile culture in West African is very old—weaving is documented at Igbo Ukwu, Nigeria in the 9^th and 10^th centuries, and by the 11th century weaving flourished in Mali. Used in a variety of ways, African textiles can be presented as gifts to the living and the dead; used in a bride’s dowry; displayed at weddings and funerals; used as blankets for protection from the cold and mosquitoes; spread on the ground for a chief to walk over or placed in layers to cover his palanquin or funeral bed. Textiles are worn to flatter or flirt, to display power or express silent insults, or to show common group identity. The artists’ aesthetic sensibility is revealed in the cloth’s intricate patterns, textures and technical flair.

Select programming associated with the exhibition includes a special gallery talk with Gilbert, on Thursday, Nov. 10, at 6 p.m. The exhibition and programs are free and open to the public. Complete information and related programming is available by visiting the website at

Gallery hours are Tuesday-Sunday, 11 a.m.-4:30 p.m.; and Thursdays 11 a.m.-8 p.m.�� The galleries will be closed for university holidays; please visit the website for updated information.

With over 1,000 cartoons published in The New Yorker since 1962, Koren’s distinctive style and relatable characters deftly articulate the neurosis of contemporary society.�� Touching on a diverse set of issues ranging from parenting to man’s relationship to nature, Koren creates succinct scenes that portray man’s awkward rapport to the environment. In contrast to other cartoonists’ aggressively political caricatures, Koren’s decidedly non-confrontational tone uses psychological acuteness and philosophical provocation to elicit laughs and stimulate thought.

“The Capricious Line” not only honors the accomplishments of this beloved cartoonist, but also asserts his status as an artist. The full-scale, heavyweight ink drawings that have up until now only been experienced as postcard-sized images in the pages of the New Yorker highlight his mastery of drawing. Koren’s art is all about drawing and the imaginative worlds it can unveil and record. Through this impressive collection of works, Koren shares the sheer fun and joy of drawing with his audiences. These innovative illustrations demonstrate the psychological, philosophical and comical talents of Koren’s pen.

Complete information and related programming is available by visiting the website at

About the Artist

Born in New York City, Koren attended the Horace Mann School and Columbia University. He did graduate work in etching and engraving with S.W. Hayter at Atelier 17 in Paris, and received an M.F.A. degree from Pratt Institute. Koren pursued his love of cartooning while on the faculty of Brown University for many years. He received a Doctor of Humane Letters Degree from Union College, and was a John Simon Guggenheim Fellow. In 2003, he was appointed Distinguished Visitor at the American Academy in Berlin. In 2007, Koren received the Vermont Governor’s Award for Excellence in the Arts. For over 24 years, he has actively participated in the Brookfield, Vermont, Volunteer Fire Department He lives in Vermont with his family.

An Illustration from Maurice Sendak’s “Where the Wild Things Are”

Sendak’s “Where the Wild Things Are” has sparked the imaginations of generations of readers since its publication in 1963. As an artist, illustrator and author, Sendak expanded the scope of children’s literature to acknowledge children as intelligent individuals with powerful emotions–boredom, anger, fear and of course, the need to be where someone loved them best of all. Sendak’s love of art and books began as a child, when he was often sick and confined to bed. He would later infuse his stories and illustrations with these early experiences of illness and family tragedy, but also the joy and magic of his astounding imagination.

Works included in the exhibition have been selected from private collectors, friends of the artist and numerous media sources to offer a survey of Sendak’s range as an artist and author, as well as his influence on generations of readers and young adults. Sketches and finished works in a variety of media offer insights into the artist’s biography and evolution of content.

The SUArt Galleries will host a variety of family programming centered on the exhibition, including two SUArt Kids events.���� On Saturday, Oct. 1, and Sunday, Oct. 2, at 2 p.m. the gallery will hold a Sendak Gallery Adventure & Art Activity. This interactive art gallery experience will include a guided exhibition tour and art related activities, designed specifically to engage families with the exhibition. SUArt will also offer a special “Where the Wild Things Are” Storytime and Scavenger Hunt on Saturday, Oct. 8, at 2 p.m. The SUArt Kids events are geared toward kids ages 5-10, and reservations are required. Please email suart@syr.edu, or visit suart.syr.edu for up to date information.

ABOUT THE ARTIST

Also from “Where the Wild Things Are”

Sendak (American 1928- 2012) illustrated more than a hundred picture books throughout his 60-year career. Some of his best-known books include “Chicken Soup with Rice,” “Where the Wild Things Are” and “In the Night Kitchen.” Born in Brooklyn in 1928 to Jewish immigrant parents from northern Poland, Sendak grew up idolizing the storytelling abilities of his father, Philip, and his big brother, Jack—as a child he illustrated his first stories on shirt cardboard provided by his father, a tailor. Aside from a few night classes in art after graduating high school, Sendak was a largely self-taught artist. Throughout his career, he took characters, stories and inspirations from his among his own neighbors, family, pop culture, historical sources and long-held childhood memories.

Sendak began a second career as a costume and stage designer in the late 1970s, designing operas by Mozart, Prokofiev, Ravel and Tchaikovsky, among others. He won numerous awards as both an artist and illustrator, including a Caldecott Award, a Newberry Medal, the international Hans Christian Andersen Award, a National Book Award, the Astrid Lindgren Memorial Award and a National Medal of Arts. His books continue to be read by millions of children and adults and have been translated into dozens of languages and enjoyed all over the world

The “About Prints” exhibition features “Sorcerer (Wizard),” 1953, by Stanley William Hayter, left, and “Composition,” 1928, by Jacques Villon.

The ���ϲ����� Art Galleries is presenting “About Prints: The Legacy of Stanley William Hayter and Atelier 17.”�� Curated by Domenic J. Iacono, director of the ���ϲ����� Art Galleries and member of the Print Council of America, this monumental exhibition brings together for the first time artists, and in many cases the actual print itself, illustrated in “About Prints,” the 1962 publication by Stanley William Hayter. The exhibition features over 80 original works on paper, highlighting a variety of printmaking techniques such as engraving, etching, aquatint and other experimental processes by master printmakers such as Mauricio Lasansky, Pablo Picasso, Karl Schrag, Henri de Toulouse-Lautrec and Stanley William Hayter.

The exhibition will be on view Aug. 18-Nov. 20 in the Shaffer Art Building. Gallery hours are Tuesday-Sunday, 11 a.m.-4:30 p.m., and Thursdays 11 a.m.-8 p.m. The gallery is closed on University holidays. The SUArt Galleries will host a gallery reception from 5-7 p.m. on Thursday, Sept. 8. Patrons are welcome to view the exhibition until the gallery closes at 8 p.m. The reception is free and open to the public.�� A fully illustrated exhibition catalogue, complete with new research by exhibition curator Domenic Iacono, will be available for sale in the Gallery Shop.

In addition to the exhibition, the SUArt Galleries will host “ on Sept. 23- 25. This three-day event includes a symposium that will bring leading print curators and scholars to ���ϲ����� to discuss the legacy of S. W. Hayter and Atelier 17.

Organized and operated by Hayter, the Atelier was driven to relocate to New York City during World War II, where it reshaped American thinking about the graphic arts. The symposium will feature special lectures by Iacono (director, SUArt Galleries), Joann Moser (former deputy chief curator, Smithsonian American Art Museum), Christina Weyl (freelance curator) and Andrew Raftery (professor, Rhode Island School of Design).

The symposium will also feature a print fair with leading galleries from the International Fine Print Dealers Association (IFPDA) in attendance.�� The exhibiters include Susan Teller Gallery (New York City), Dolan Maxwell (Philadelphia), The Annex Galleries (Santa Rosa, California), The Old Print Shop (New York City), Thomas French Fine Art (Fairlawn, Ohio), and Lake Effect Editions (���ϲ�����).�� One session of the symposium will be for students and other attendees to ask questions of the print dealers concerning the role they play for collectors and other issues that may be important to contemporary collecting. Organized by Iacono, the panel and print fair are presented in collaboration with the ���ϲ����� Humanities Center in the , organizer of the 2016 ���ϲ����� Symposium “Place.”

In 1962, Stanley William Hayter published his second major text on the graphic arts that he intended for “the intelligent layman” who might collect or have an interest in the contemporary printmaking. “About Prints” was reviewed extensively by art critics, historians and other printmakers and generally acclaimed as “a standard work both for the potential collector and anyone interested in modern art.” Hayter was the founder of Atelier 17 and by the early 1960s considered one of the most influential printmakers of the 20th century, in large part because of the environment he created in his Parisian and New York print studios. Working with some of the most important artists of the day, Hayter championed experimentation and the development of new printing techniques, while understanding that any form of printmaking is merely a tool for the expression of an artistic idea.

“About Prints” explores Hayter’s ideas about contemporary printmaking and the artists who created these works. Using Hayter’s own checklist of important prints, the exhibition looks at why these images are innovative or essential to understanding how the graphic arts were being transformed throughout the 20th century. Prints by recognizable artists such as Picasso, Marc Chagall and Henry Moore are examined, along with other important visionaries such as Andre Masson, Max Ernst and Joan Miro. Technical innovators like Karl Schrag, Arthur Deshaies and Krishna Reddy are also represented in the exhibition along with Helen Phillips, Mauricio Lasansky and S. W. Hayter.�� In addition to work included from the ���ϲ����� Art Collection’s vast works on paper holdings, there will be numerous works on loan to the exhibition from museums and private collections, including Yale University Art Gallery, Chazen Museum of Art, Brooklyn Museum, Minneapolis Institute of Art, Blanton Museum of Art, Frances Lehman Loeb Art Center, University of Michigan Museum of Art and Smith College Museum of Art.

The Print Cabinet, located in the Collection Galleries of the ���ϲ����� Art Galleries, is available for academic displays.

“Education through direct experiences with art objects has always been central to our mission at SUArt,” says Domenic Iacono, director of the galleries. “This new online system will allow us to engage with even more faculty and students across colleges and introduce the University’s permanent collection to new audiences.”

In 2015, the ���ϲ����� Art Galleries opened a newly renovated 2,500-square-foot space dedicated to the display of selections from the University’s permanent art collection. This renovation included a new Ethnographic Gallery, named for the late Alfred T. Collette, instrumental in the organization of the art collection in the 1970s. Also featured was the Print Cabinet, a study display based on a 19^th century design to exhibit large selection of works on paper on a single gallery wall. The Study Gallery and the Print Cabinet are devoted to temporary academic displays specifically assigned to ���ϲ����� courses.

“This online submission form builds upon the success we’ve had in the past few years with our new Collection Galleries and The Print Cabinets,” says Andrew Saluti, assistant director. “We already work with many faculty from art history and studio art, and with programs such as First Year Forum. We hope to reach out to those professors and student groups that might not be aware of what we have or hadn’t known this kind of experience was available for their curriculum.”

To submit a proposal for a display or exhibition, fill out the form located under the EDUCATION section of the SUArt Galleries website:��

Al Hirschfeld, “Charlie Chaplin,” 1981. © The Al Hirschfeld Foundation.

The SUArt Galleries is presenting “[Re] Framed: An Object’s Journey Into the Collections,” an exhibition that presents over 30 recently accessioned works in the ���ϲ����� Art Collection and ���ϲ����� Libraries to explain the curatorial process that is central to every display. By dividing the exhibition into four categories titled “Acquire,” “Preserve,” “Exhibit” and “Interpret,” the curators have been able to illustrate the complex process behind each object’s inclusion in an exhibition.

The exhibition was curated by graduate students in the museum studies graduate program course “Advanced Curatorship,” under the guidance of SUArt Galleries Senior Curator and Professor Edward A. Aiken.

The exhibition opened April 7 in the Shaffer Art Building. Gallery hours are Tuesday-Sunday, 11 a.m.-4:30 p.m.; and Thursdays 11 a.m.-8 p.m.

Although the curatorial team could explain the entire exhibition process by focusing on a single art object, a wider range of works has given them the opportunity to describe it in greater depth. All the objects follow a similar research and development process to become part of an exhibition, but there are differences in how each is acquired, preserved, exhibited and interpreted. These four categories are key to the development of each exhibition, but are not normally observed by the general public in the resulting exhibition. Since the curatorial and collection management processes mostly happen behind closed doors, “[Re] Framed: An Object’s Journey Into the Collections” allows visitors to peek into the specialized world of museum work and see the metaphorical life of an art object unfold.

Grant Miles Simon, “Ships,” 1940.

Select programming associated with the exhibition includes a Lunchtime Lecture with the curators on Wednesday, April 20, at 12:15 p.m. There will also be a special SUKids Event, on Friday, April 29, and Saturday, April 30, at 2 p.m. This event, geared towards kids ages 5-10, will cover themes from the exhibition that explore not just art appreciation, but also an introduction to the care and presentation of artwork by the professionals who work in museums and galleries. There will be a gallery tour and a guided art activity centered on creating your child’s own masterpiece, which will then be framed.

The exhibition and programs are free and open to the public. Complete information and related programming is available by visiting the website at

Press material, including exhibition press release, exhibition publications, checklist and press-ready images are available for download directly from the SUArt Galleries website at

Ozan Azalan, “Default Settings: Dasein,” 2016

The themes and concepts presented by the artists in this exhibition vary from illustrative mythology to functional pottery, but consistent threads among the artists’ work is apparent. “Many of these artists are dealing with an altered or augmented sense of reality through technology, site-specific environmental installations or manipulated imagery,” explains Andrew Saluti, assistant director for the ���ϲ����� Art Galleries, and coordinator of the annual exhibition. “They’re creating specific experiences that place the viewer, both physically and mentally, in a carefully crafted world of the artist’s vision and design.”

Artists Chongha Peter Lee and Nan Wang utilize Oculus Rift technology to suspend the spectator in a virtual world, while Alessia Cecchet, Jeremy Santiago-Horseman and Rachel Rosky create physical environs that are entered into and interacted with directly by the viewer. Psychological realities of memory and perception are explored by installations from Brent Erickson, Jacob Riddle and Shou Yu Chen, and are balanced by the reflection and exploration of personal realities of painter Stefan Zoller and photographer Nydia Blas.

In addition to the annual MFA exhibition, two exhibitions organized by ���ϲ����� students are open in the study galleries. “[Re] Framed: An Object’s Journey Into the Collections,” curated by students enrolled in the museum studies graduate program, uses recently accessioned works in the ���ϲ����� Art Collection and the ���ϲ����� Libraries to explain the curatorial process that is central to every display. “Women, War, and a Changing World:��Alan Dunn’s New Yorker Cartoons,” curated by student Tammy Hong ’18, examines Alan Dunn’s New Yorker cartoons portraying the changing role of women during World War II and its immediate aftermath.

Shou Yu Chen, “Here and out of nowhere,” 2016

The exhibitions will run through May 15 in the Shaffer Art Building.�� Gallery hours are Tuesday-Sunday, 11 a.m.-4:30 p.m.; and Thursdays 11 a.m.-8 p.m. The SUArt Galleries will host a free opening reception from 5-7 p.m. on Thursday, April 14. Patrons are welcome to view the exhibition until the gallery closes at 8 p.m.�� The reception is free and open to the public.

Select programming associated with the exhibition includes a Lunchtime Lecture with Saluti, on Wednesday, April 14, beginning at 12:15 p.m.�� The exhibition and programs are free and open to the public. Complete information and related programming is available by visiting the official exhibition website at Press material, including exhibition press release, exhibition publications, checklist and press-ready images are available for download at

An installation view of the exhibition “Poetry of Content”

Organized by David Prince, associate director of the ���ϲ����� Art Galleries and co-curator of the exhibition, the panel is presented in conjunction with the Humanities Center in the , organizer of the 2015 ���ϲ����� Symposium on “Networks.”

The panel includes Tim Lowly, Joel Sheesley, Robert Birmelin, Tim Murphy and Gillian Pederson-Krag. Their conversation will be moderated by exhibition co-curator Jerome Witkin, also a well-regarded artist and professor of art in the .�� This presentation will enable the five artists to share their thoughts on aesthetics, choosing subjects and media, and how their work relates to the contemporary art scene.

Ample time will be reserved for students and others in the audience to offer thoughts and ask questions of the participants. This event is free and open to the public.�� Parking for the event is available on a first come, first served basis, in the Q4 parking lot. Visit parking.syr.edu for further details. The SUArt Galleries will be open for visitors to view the related exhibition until 8 p.m. Complete information and related programming is available by visiting the website at

About the Panelists

Robert Birmelin
Birmelin was born in Newark, N.J., in 1933. After finishing his studies at Cooper Union, Yale, The Slade School of Art at the University of London and the American Academy at Rome, he settled in New York in 1964. Over the years he has had 5o one-man shows, including many in New York City.�� His work is included in 37 public collections, including The Metropolitan Museum of Art, the Museum of Fine Art, the Brooklyn Museum, the Hirshhorn Museum and the ���ϲ����� Art Collection. He has received 17 scholarships and grants, including a Fulbright Scholarship in 1960 and National Endowment for the Arts grants in 1976, 1982 and 1990, and the Carnegie Prize in 1987. He has been a visiting artist at 10 universities and colleges, and since 1964 he has taught at Queens College of CUNY as a full professor since 1974.

Tim Lowly
Chicago-based artist, curator, musician and teacher Lowly was born in Hendersonville, N.C., in 1958. As the son of medical missionaries (his father was a hospital administrator), he spent most of his youth in South Korea. He attended Calvin College and received a B.F.A. degree in 1981. In 1981, he married Sherrie Rubingh. Their daughter Temma, born in 1985, has been a central presence in much of Lowly’s work. Since 1995 Tim has been affiliated with North Park University in Chicago as gallery director, professor and artist-in-residence. He is represented by Koplin Del Rio Gallery in Los Angeles.

Bill Murphy
Murphy was born on Staten Island, N.Y., in 1952. He attended public school there, and later, Brooklyn College, the School of Visual Arts (B.F.A.), The Art Students League and Vermont College (M.F.A.).
At the School of Visual Arts he studied with, among others, Jim Kearns, Herb Katzman, Marshall Arisman, Louise Bourgoise and the illustrator Robert Weaver. Murphy’s work is included in numerous collections worldwide, including The British Museum, The Brooklyn Museum, The Library of Congress, The New York Transit Museum, Westinghouse Corp. and the ���ϲ����� Art Collection. He has taught at Wagner College on Staten Island since 1984.

Gillian Pederson-Krag
Pederson-Krag attended Rhode Island School of Design for her undergraduate studies, and Cornell University for graduate work. Initially an abstract painter, she found her calling as a representational artist in her senior year at RISD. She then taught herself observational drawing and painting using groups of small objects arranged in still life compositions. Eventually, landscapes entered her repertoire and included scenes of the area around Ithaca and later, the beaches along the West coast near Santa Cruz.

Joel Sheesley
Sheesley graduated from ���ϲ����� with a B.F.A. in painting and drawing in 1972. He continued his education at the University of Denver, where his graduate thesis on abstraction helped him earn an M.F.A. He continued to paint abstractly for several years, but eventually found the style unable to meet his aesthetic interests. He turned to figures and incorporated them into ambiguous suburban surroundings that were, in fact, his Wheaton, Ill., neighborhood. His style has evolved to a point where a recent series of puddle paintings blend abstraction’s interest in planar flatness with scenes of his rutted driveway after a rainstorm.��An active artist and exhibitor of his work, Sheesley currently shows his work at gescheidle in Chicago. Sheesley received Wheaton’s Senior Scholar Achievement Award in 2000 and an Illinois Artist Fellowship Grant in 2002. He is currently a professor of art at Wheaton College, serving on the faculty since 1974.

Robert Kipniss, “Four Houses,” 1991. © Robert Kipniss.
���ϲ����� Art Collection

“Quiet Intersections: The Graphic Work of Robert Kipniss,” curated by David L. Prince, associate director of SUArt Galleries, includes 35 works from the ���ϲ����� Art Collection from a generous gift by James F. White. The selected images represent Kipniss’ work in intaglio and lithography and illustrate the artist’s long held graphic interests.

“Dutch Master Prints and Drawings: Graduate Research Methods and Scholarly Writing” was developed by Wayne Franits, professor of art history in the , and includes 30 works on paper, selected from the University Art Collection and a private collection.

The exhibitions will be on display Jan. 26- March 20 in the Shaffer Art Building. Gallery hours are Tuesday-Sunday, 11 a.m.-4:30 p.m., and Thursdays 11 a.m.-8 p.m.�� The SUArt Galleries will host a gallery reception from 5-7 p.m. on Thursday, Feb. 18.�� The curators from both shows will be attendance, in addition to Kipniss collector White. Patrons are welcome to view the exhibition until the gallery closes at 8 p.m.�� The reception is free and open to the public.

Prince says Kipniss’ printmaking was initially spurred by ��commercial considerations, but over a relatively short time frame the artist developed an aesthetic interest and facility for the medium. “The prints in this exhibition examine subjects similar to his paintings, but offer different insights, often reflecting the print medium’s particular visual and technical characteristics of line and tone,” says Prince.

Jan de Bisschop, “Judgement of Midas,” c1665. Private collection.

“Dutch Master Prints and Drawings” presents etching, engravings and drawings by Northern Baroque masters including Rembrandt van Rijn, Jan van de Velde II and more.�� Scholarly research, including in-depth didactic labels, will be presented by graduate students Olivia Pek G’17 and Irene Garcia G’17. This exhibition was developed during the fall 2016 semester graduate-level course “Graduate Research and Scholarly Writing” in the Department of Art and Music Histories, College of Arts and Sciences.

A special Lunchtime Lecture gallery tour of “Dutch Master Prints and Drawings” will be presented by Franits, on Wednesday, Feb. 10, at 12:15 p.m. Complete information and related programming is available by visiting the website at

Robert Birmelin, “Penn Station, Lower Level- with Prodigal Forgiven,” 2008. Courtesy of the artist.

The ���ϲ����� Art Galleries will present “Poetry of Content: Five Contemporary Representational Artists,” co-curated by David L. Prince, associate director/curator at the SUArt Galleries, and internationally recognized artist and ���ϲ����� Professor Jerome Witkin. Featuring over 40 pieces of original artwork including paintings, drawings and prints, this exhibition displays a variety of imagery examining the work of renowned representational artists Bill Murphy, Gilliam Pederson-Krag, Joel Sheesley, Robert Birmelin and Tim Lowly.

The exhibition opens on Dec. 17 and will run through March 20, 2016, in the Shaffer Art Building.�� Gallery hours are Tuesday-Sunday, 11 a.m.-4:30 p.m.; and Thursdays 11 a.m.-8 p.m.�� The SUArt Galleries will host a free opening night reception from 5-7 p.m. on Thursday, Jan. 21. Patrons are welcome to view the exhibition until the gallery closes at 8 p.m. The reception is open to the public.

In the landscape of contemporary practice, imagery that incorporates a realistic visual space, modeled figures and natural surroundings is largely absent from the lexicon of art making. Over his more than 40 years as a painter and professor at the University, Witkin has championed representation and narrative in his work and his teaching. “Poetry of Content” is his examination and celebration of the work of five painters who share his interest in the subject.

“The ���ϲ����� Art Galleries invited me to create an exhibition of living artists important to me,” explains Witkin. “Flattered and excited, I spent the afternoon in deep thought and questions: which painters was I always rooting for, whose catalogs did I keep and show to my classes, whose exhibitions did I attend and whose phone calls made my day, since the conversations proved most agreeable and moving.�� The five artists I chose are painters of depth, in a time where the ‘celebrities’ of art frequently prove to be only shallow and brand driven.”

A fully illustrated catalog will be available at the SUArt Gallery shop. After the presentation in ���ϲ�����, the exhibition will travel to the Kalamazoo Institute of Art, in Kalamazoo, Mich., from Nov. 5, 2016-Feb. 19, 2017. Select programming associated with the exhibition includes a special preview tour/Lunchtime Lecture with Prince, on Wednesday, Dec. 16, at 12:15 p.m. The exhibition and programs are free and open to the public. Complete information and related programming is available by visiting the website at

James Rosenquist looking at a proof of the “GE logo” for Circles of Confusion I at Universal Limited Art Editions in 1965. Photo courtesy of ULAE.

“The Rosenquist Network” will be presented on Thursday, Oct. 22, at 7 p.m., in the Slocum Hall Auditorium.�� Organized by Andrew Saluti, assistant director of the ���ϲ����� Art Galleries, the panel is presented in collaboration with the Humanities Center in the , organizer of the 2015 ���ϲ����� Symposium on “Networks.”

The symposium panel assembles some of the most influential print publishers and scholars working in the graphic arts field,�� including longtime Rosenquist collaborators Bill Goldston, master printer and director of Universal Limited Art Editions; Donald Saff, founder of GraphicStudio; and Sarah C. Bancroft, co-curator of the artist’s full-career retrospective at the Guggenheim Museum in 2003. Presented in conjunction with the exhibition “James Rosenquist: Illustrious Works on Paper, Illuminating Paintings,” on view at the University Art Galleries through Nov. 22.�� A special Lunchtime Lecture with Sarah C. Bancroft precedes the symposium at 12:15 p.m.�� Bancroft, curator of the “Illustrious Works on Paper, Illuminating Paintings” exhibition, will lead visitors on a gallery tour of the exhibition at the SUArt Galleries.

This event is free and open to the public. Parking is available on a first come, first served basis, in the Q4 parking lot.�� Please visit for further details. The SUArt Galleries will be open for visitors to view the related exhibition until 8 p.m. Complete information and related programming is available by visiting the website at

Saff holds degrees from Queens College, Pratt Institute and Columbia University. He is emeritus dean and Distinguished Professor at the University of South Florida and was a curator at the Guggenheim Museum in New York. He has taught and authored books and numerous articles in the field of art history. His own work has been documented in a recently published book titled “Donald Saff: Art In Collaboration” (2010). Saff’s art is in the permanent collection of many major museums, including the Metropolitan Museum and the Museum of Modern Art in New York and the National Gallery in Washington, D.C.

Goldston is the director and master printer of the print workshop Universal Limited Art Editions. His long list of collaborators includes Jasper Johns, Robert Rauschenberg, Helen Frankenthaler, Jane Hammond and Rosenquist.

Bancroft is the associate director at Fluent~Collaborative/testsite, a contemporary art space in Austin, Texas. She was the co-curator of Rosenquist’s 2003 retrospective exhibition at the Guggenheim Museum in New York and is the curator of the current exhibition.

James Rosenquist, “Space Dust,” 1989. SUAC 2002.0052. Image courtesy of the artist. © 2015 James Rosenquist/Licensed by VAGA, New York. Used by permission of the artist. All rights reserved.

The ���ϲ����� Art Galleries will host the exhibition “James Rosenquist: Illustrious Works on Paper, Illuminating Paintings.” Developed in collaboration with the Oklahoma State Museum of Art and curated by Sarah C. Bancroft, co-curator of the artist’s 2003 retrospective at the Guggenheim Museum, “Illustrious Works on Paper, Illuminating Paintings” investigates the impact Rosenquist has had, and continues to have, on American art. The exhibition presents over 35 works from the artist’s long career, including examples of his earliest abstractions from the 1950s and his exploration and evolution into pop art.

The exhibition will be on view Thursday, Aug. 20, to Sunday, Nov. 22, in the Shaffer Art Building. Gallery hours are Tuesday-Sunday, 11 a.m.-4:30 p.m.; and Thursdays 11 a.m.-8 p.m. The SUArt Galleries will host a free opening night reception from 5-7 p.m. on Thursday, Sept. 10. Patrons are welcome to view the exhibition until the gallery closes at 8 p.m.�� The reception is free and open to the public.

Rosenquist (American, b. 1933) became well known in the 1960s as a leader in the American pop art movement alongside contemporaries Andy Warhol, Roy Lichtenstein and Claes Oldenburg, and for more than five decades has created seminal works in printmaking, collage, drawing and painting. Iconic large-scale prints and works on paper, like “F-111 (South, West, North, East),” 1974, and “Space Dust,” 1989, alongside monumental works such as the 11-by-25-foot “The Geometry of Fire,” 2011, are balanced with rare sketches, studies and collages that give unique insight into the artistic process.

“The exhibition offers a great, focused overview of James Rosenquist’s career, from his earliest artistic explorations in the 1960s to recent, billboard-size works,” says curator Bancroft. “Ultimately, he’s always thinking and pushes us to think as well. But he does this in a very bright, colorful manner, which you may expect from someone who mastered painting advertisements all across New York City.”

The SUArt Galleries is also hosting “The Rosenquist Network: Collaboration and Connections in the American Print Workshop,” on Thursday, Oct. 22, at 7 p.m., in the Slocum Hall Auditorium.�� The panel discussion will assemble some of the most influential print publishers and scholars to explore the role the printmaking workshop has played in Rosenquist’s career, and is co-sponsored by the ���ϲ����� Humanities Center in the College of Arts and Sciences, organizer of the 2015 ���ϲ����� Symposium on “Networks.”�� The panel is free and open to the public.

Select programming associated with the exhibition include two Lunchtime Lectures at the Galleries.�� Andrew Saluti, assistant director of SUArt Galleries, will lead a gallery talk about “James Rosenquist and the American Print” on Wednesday, Sept. 9, at 12:15 p.m.�� Bancroft, guest curator of the exhibition, will lead a gallery tour of the exhibition on Wednesday, Oct. 21, at 12:15 p.m. Docent-led tours of the exhibition are available upon request; further information regarding the tours and scheduling will be available on the exhibition website. This exhibition is accompanied by a fully illustrated catalogue, available for sale in the Gallery Shop.

Also on view with “Illustrious Works on Paper, Illuminating Paintings” will be two exhibitions curated from the University Art Collection that give context to Rosenquist’s work and his contemporaries. “British Prints in the Age of Pop,” curated by SUArt Director Domenic Iacono, examines a selection of artists who embraced the pop art movement popularized by American artists, and generated a body of work that looked at the cinema, comic book art, advertising, popular music and product packaging as sources for their art. “The New Humanists: Introspective Impressions from the ���ϲ����� Art Collection,” curated by Assistant Director Andrew Saluti, examines the swell of post-World War II visual artists making work rooted in the psychological state of humanity, creating prints derived from introspection, observation and reflection. These exhibitions will open Aug. 20, and will be on view through Sept. 27.

“Abolene,” Patrick Sopko, 2014

The ���ϲ����� Art Galleries has announced the opening of “Neither Confirmed nor Denied: MFA 2015.”�� The annual master of fine arts exhibition features 17 artists from the . This year’s presenting artists are working in a variety of traditional and multidisciplinary media, including new installations of photography, printmaking, painting, sculpture, ceramics and site-specific experiences.

“The work illustrates a contemporary sentiment among artists that moves beyond the traditional labels of painter, printmaker or sculptor,” explains Andrew Saluti, SUArt Galleries Assistant Director and faculty advisor for the exhibition. “These artists create experiences and installations that cross boundaries of art-making and push the envelope of how we define what art is.”

“how big does an ice cube have to be to become as beautiful as a glacier?” Michael Fong, 2015

The exhibition will run April 2-May 10 in the Shaffer Art Building. Gallery hours are Tuesday-Sunday, 11 a.m.-4:30 p.m.; and Thursdays 11 a.m.-8 p.m. The SUArt Galleries will host a free opening reception from 5-7 p.m. on Thursday, April 9. Patrons are welcome to view the exhibition until the gallery closes at 8 p.m.�� The reception is free and open to the public.

Select programming associated with the exhibition includes a Lunchtime Lecture with Saluti, on Wednesday, April 15, beginning at 12:15 p.m. The exhibition and programs are free and open to the public.�� Complete information and related programming is available by visiting the official exhibition website at

The P.A.L. studio at the Nancy Cantor Warehouse

Organizations find that original artwork enlivens spaces and connects them to their constituents in profound ways. These young artists are delighted to give back to their community, and to exhibit their work in places that attract a large number of visitors. This generous grant allows P.A.L. Project the opportunity to realize an enriching creative collaboration on all counts.�� The projects from this collaboration will be professionally mounted, framed and installed in local social service agencies. Having this artwork permanently placed in various community agencies and organizations will further build the confidence and sense of self-worth of the young people that create it.

About the P.A.L. Project

P.A.L. Project is a comprehensive program that is housed in and utilizes the Community Art Spaces at the�� Nancy Cantor Warehouse. P.A.L. Project’s public access after-school studio program focuses on experiential learning.

With digital cameras and journals, P.A.L. students work several hours per week for 10-12 weeks with SU mentors enrolled in Mahan’s course “Literacy, Community and Media” in the Transmedia Department of the . SU mentors offer instruction in media such as photography and video, along with writing exercises to develop projects that explore issues of identity, community and family. Students learn storytelling techniques and media skills that trigger critical thinking and self-expression, building multiple literacy and self-esteem as they explore their outside world and inner selves.

In connecting image making with writing and critical thinking, the P.A.L. Project promotes an expansive use of digital media and creative writing across curricula and disciplines. In a sustained partnership with numerous ���ϲ����� City School District schools and community organizations, the program has provided a creative outlet for students in the city’s lowest-performing schools and increased literacy and self-expression through the use of student photography and creative writing.

P.A.L. Project is a member of SU’s

Carol Wax, “The Oliver,” 2004

The lecture and exhibition are a part of the yearlong celebration of women and the arts at the SUArt Galleries. The event is free and open to the public. For parking information, visit .

Artist and print historian Wax will examine the evolution of the mezzotint engraving medium from its inception in 1642 through its development as a vital vehicle for reproducing paintings to the demise of the mezzotint industry in the 19th century, and the resurgence of mezzotint as an original art form.

Originally trained to be a classical musician at the Manhattan School of Music, Wax fell in love with printmaking. Soon after she began engraving mezzotints, she was asked by the renowned print dealer Sylvan Cole to exhibit at Associated American Artists Gallery, launching her career as a professional artist/printmaker. With the publication of her book “The Mezzotint: History and Technique,” published by Abrams, 1990 and 1996, Wax added author and teacher to her credits. In the ensuing years she has expanded her repertoire of media beyond printmaking into other works on paper and painting.

Recognition of Wax’s art includes an individual support grant from the Adolph and Esther Gottlieb Foundation, Inc., two artist fellowships from the New York Foundation for the Arts, a Concordia Career Advancement Award from NYFA, the Louise Nevelson Award for Excellence in Printmaking from the American Academy of Arts and Letters and residencies at the MacDowell Colony and Marie Walsh Sharpe Art Foundation’s Space Program. The many collections that own her prints include the Metropolitan Museum of Art, the New York and Boston public libraries, the Philadelphia Museum of Art, the Library of Congress and the National Museum of American Art, Smithsonian Institution.

Complete information on the event, and the exhibition, is available by visiting the website at

This event is free and open to the public.�� Parking information is available by visiting .

Kathleen Roland-Silverstein

Roland-Silverstein is a highly regarded concert soloist well known for her interpretation of the music of the 20th and 21st centuries. She has been a featured singer with many music festivals, including the Santa Fe Chamber Music Festival, the Britten-Pears Institute and the Tanglewood Music Festival, and has performed with many prominent conductors, including James Conlon, Kent Nagano, Reinbert de Leeuw, James Mauceri and Oliver Knussen. She has been a frequent soloist with the Grammy award-winning Southwest Chamber Music Society of Los Angeles, with which she has garnered critical acclaim for her performances.

In the last year,��Roland-Silverstein has performed in New York City, San Diego and Australia, and international performances include concerts in Sweden, Vietnam, Cambodia and Germany. Recordings include a CD created with American composer Libby Larsen of her song cycle “Songs from Letters,” and “Aura,” for orchestra and soloists, by Cambodian composer Chinary Ung. Roland is a Fulbright senior scholar, and an American Scandinavian Foundation grantee. She is a member of the faculty of the Setnor School of Music, and is the author of a new anthology of Swedish art song, “Romanser: 25 Swedish Art Song with Guide to Lyric Diction.”

Eileen Strempel

Presidential Scholar in the Arts Strempel “is very striking, overpowering, exacting and musical … a magnificent coloratura, a lyrical soprano,” raved the Associated Press for her Bolshoi Opera debut as Violetta in “La Traviata.”�� Strempel made her debut with the New York Philharmonic Chamber Music Series and the Bach “B Minor Mass” in Avery Fisher Hall. She has sung at the Skaneateles, Chautauqua, and Berkeley music festivals and has won first prize of the Loren Zachary, both Sullivan Awards, the Licia Albanese-Puccini Foundation, the Liederkranz, and Enrico Caruso Vocal Competitions.

Strempel is an alumna of Jerome Hine’s Opera Music Theater International, as well as the Eastman School of Music and holds a doctor of music degree from Indiana University. Her numerous recordings include: “love lies bleeding: Songs of Libby Larsen” (prepared with the composer); “With All My Soul;” and “Songs of Innocence and (In)habitation: Settings of Margaret Atwood Poetry by American Women Composers.” Strempel works as assistant vice president/associate professor at ���ϲ����� and an awardee of an Enitiative eProfessorship by the Ewing Marion Kauffman Foundation. She was a 2011-12 ACE Fellow at Colgate University. Her latest disc, “unto thee I burn: Song Settings of E.E. Cummings poetry by North American Women Composers,” has just been released.

Complete information on the event is available by visiting the website at

Stephen Kurkjian

The ���ϲ����� Art Galleries will present “Master Thieves: The Boston Gangsters Who Pulled Off the World’s Greatest Art Heist,” a lecture by Pulitzer Prize winning reporter Stephen Kurkjian.�� The lecture will be presented Wednesday, Feb. 18, at 5:30 p.m. in Maxwell Auditorium.

Copies of Kurkjian’s forthcoming book on the case, scheduled to be released March 10, will be available for sale and the author will participate in a book signing after the presentation. This event is free and open to the public.��For parking information, visit .

A Boston native, Kurkjian spent 37 years as an editor and reporter for the Boston Globe before retiring in 2007. During his career, he shared in three Pulitzer Prizes and won more than 20 regional and other national awards. Kurkjian was a founding member of the Globe’s investigative Spotlight Team, and was named chief of the Globe’s Washington Bureau in 1986. His 2005 article about the theft of 13 pieces of artwork from the Isabella Stewart Gardner Museum is regarded as the most complete account of the still-unsolved crime.

Kurkjian’s reporting is responsible for some of the biggest breaks in this story, including a meticulous reconstruction of what happened at the museum the night of the crime. The publication of “Master Thieves” will reveal the identities of those he believes plotted the heist, the motive for the crime and the details that the FBI has refused to discuss. Taking you on a journey deep into the gangs of Boston, Kurkjian emerges with the most complete and compelling version of this story ever told.

Complete information on the event is available by visiting the website at

The new Collette Ethnographic Gallery at SUArt Galleries

The ���ϲ����� Art Galleries has announced the grand opening of newly renovated and expanded galleries that includes the Permanent Collection Gallery and the Collette Ethnographic Gallery. The creation of these newly constructed spaces will help the ���ϲ����� Art Galleries better serve the needs of ���ϲ����� students and visitors for years to come.

The SUArt Galleries will host a dedication ceremony, free and open to the public, on Thursday, Feb. 12, from 5-7 p.m. In addition to the grand opening, SUArt will also be celebrating the installation of numerous special exhibitions, including “Minna Citron: The Uncharted Course from Realism to Abstraction,” “Pushing the Line: American Women Printmakers from the ���ϲ����� Art Collection” and “Shadow of Industry: The Prints of Carol Wax.”

The Collette Ethnographic Gallery, named in honor of the late Director Emeritus and donor Alfred T. Collette, will include long-term display of African, Chinese, Japanese, Korean and Indian three-dimensional objects from the gallery’s permanent collection as well as European, American and Southeast Asian paintings, prints and sculpture. The installations will reflect groupings of important works from the collection that rarely are seen on display, which will directly benefit students studying art history, museum studies or studio art programs, as well as visitors interested in the breadth of the encyclopedic permanent collection.

15th and 16th Century Art in the Permanent Collection Galleries

The Permanent Collection Gallery will present long-term installations of important works of art, such as Hyacinthe Rigaud’s “Portrait of Louis XIV,” 1701, John Steuart Curry’ s “The Gospel Train,” 1929, and Robert Cottingham’s “Hi-Fi,” 1971, that will figuratively walk visitors through the history of art from late 15th century until contemporary times. Reflecting the strength of the collection in European and American art, this installation of works is an important aspect of the renovation that SUArt has never been able to do before this time.

Extended displays in both galleries will not only present an enjoyable and educational experience for the visitors, but also allow academic departments and local schools to utilize the collections for their students and class planning. The new galleries will also provide a gathering space for University and school group presentations, gallery tours and in-depth discussions about the artwork installed. Hopefully, active discussions will take place adjacent to the original artwork, which will impact not just the ���ϲ����� community but the Central New York and art history community as a whole.

Long-term care and preservation of the objects, well-researched curatorial selections and didactic labels have been created that will educate the visitors as to the mission of the University Art Collection and about the artists presented, as well as the history of art and the artists displayed. Most importantly, the new space allows the SUArt Galleries the opportunity to visualize the mission and vision of the founders, important donors, researchers and museum staff throughout the 140+ year history of SUArt.

A fully illustrated catalog will accompany the exhibition, and features in-depth essays on the artist and her work.�� The catalog will be for sale in the Gallery Shop.

Minna Citron, “Quiet Night in Brazil,” 1950, courtesy of Christiane H. Citron

This presentation continues the yearlong celebration of women and the arts at the ���ϲ����� Art Galleries. Complementary exhibitions “Pushing the Line: American Women Printmakers from the ���ϲ����� Art Collection,” curated by Lucinda Edinberg, art educator at Mitchell Gallery at St. John’s College, and “The Shadow of Industry: The Prints of Carol Wax,” curated by SUArt Galleries Assistant Director Andrew J.�� Saluti, will also be on display. Smaller in-depth examinations of women drawn from the permanent collection will be installed in the study galleries, including three shows that focus on female sculptors, master photographer Barbara Morgan and important printmaking workshops that each were founded by women in the 1950s and 1960s.

The exhibitions will run Feb. 5-March 15, in the Shaffer Art Building. Gallery hours are Tuesday-Sunday, 11 a.m.-4:30 p.m.; and Thursdays 11 a.m.-8 p.m. The SUArt Galleries will host a free opening night reception from 5-7 p.m. on Thursday, Feb. 12. Christiane Citron, art executor for the estate of Minna Citron and granddaughter of the artist, will be in attendance. Patrons are welcome to view the exhibition until the gallery closes at 8 p.m.�� The reception is open to the public.

American painter and printmaker Minna Citron’s (1896–1991) New York-based career was long and distinguished, with numerous exhibitions worldwide, and her works are represented in the permanent collections of major museums in the United States and abroad. Citron was an artist at the forefront of major artistic movements of the 20th century, as well as directly connected to the central figures of those movements, and she was a well-known figure in the New York art world.

Designed to shed light upon a historically important 20th century American artist who is recently being rediscovered, the exhibition showcases over 50 paintings, prints, drawings and mixed media constructions created during the course of the artist’s more than 60-year career. This exhibition is organized by Juniata College with assistance from Christiane Citron.

Select programming associated with the exhibition includes a Lunchtime Lecture with Christiana Citron on Thursday, Feb. 12, at 12:15 p.m.�� An additional Lunchtime Lecture with the curator, Streb, will occur on Wednesday, Feb. 25, at 12:15 p.m.�� The galleries will also host a SUArt Kids event on Saturday, Feb. 28, and Sunday, March 1, at 2 p.m., where families will participate in a printmaking workshop. The exhibition and programs are free and open to the public.�� Complete information and related programming is available by visiting the website at

“Conceal/Reveal” brings together the work of faculty from various disciplines.

The exhibition will run Nov. 6-Jan. 18 in the Shaffer Art Building. Gallery hours are Tuesday-Sunday, 11 a.m.-4:30 p.m.; and Thursdays 11 a.m.-8 p.m. The gallery will be closed for the Thanksgiving holiday and University Green Days; please check the website for holiday closing information. The SUArt Galleries will host a free opening night reception from 5-7 p.m. on Thursday, Nov. 13, featuring a performance by exhibiting artist Zeke Leonard at 5 p.m.�� Patrons are welcome to view the exhibition until the gallery closes at 8 p.m. The reception is open to the public.

A fully illustrated catalog will accompany the exhibition, and will feature an essay by Kendall Phillips, associate dean of research and graduate studies and professor of communication and rhetorical studies in the . The catalog will be for sale in the Gallery Shop.

Select programming associated with the exhibition includes a Lunchtime Lecture with Saluti on Wednesday, Nov. 12, at 12:15 p.m.�� The Galleries will also host a SUArt Kids event on Saturday, Nov. 15 at 2 p.m., where families will participate in a musical instrument craft with Zeke Leonard, participating artist of the exhibition. The exhibition and programs are free and open to the public. Complete information and related programming is available by visiting the website at

Emphasizing that “There’s nothing like getting to hold a sketchbook in your hands and flip through the pages,” the Sketchbook Project brings the analog experience of browsing the collection of more than 30,000 sketchbooks at the Brooklyn Art Library on the road with its highly popular mobile library.�� The library holds about 4,500 sketchbooks, featuring artists from over 135 countries.�� In addition to viewing the books, visitors will also have the opportunity to purchase their own sketchbook, fill the pages with their own artwork and contribute to the collection and greater community.

The Sketchbook Project began in 2006 in Atlanta, and moved to New York City in 2009. Since that time, the small organization has grown into a worldwide community of more than 70,000 artists. By focusing on the intersection of hands-on art making and new technology, The Sketchbook Project nurtures community-supported art projects that harness the power of the virtual world to share inspiration in the real world.�� The flagship endeavor is The Sketchbook Project, a crowd-sourced library that features 31,471 artists’ books contributed by creative people from 135+ countries. Brooklyn Art Library is the storefront exhibition space in the heart of Williamsburg, Brooklyn, where The Sketchbook Project collection is on view to the public.

For more information about The Sketchbook Project and future events, visit their website at ��or follow them on Facebook

Visiting the Sketchbook Library Mobile Library is free and open to the public.�� Complete information and related programming is available by visiting the SUArt Galleries website at suart.syr.edu or on Facebook at .

Margaret Bourke-White, [Women working in the field, Kostolná, Czechoslovakia], 1938
Courtesy of Special Collections Research Center, ���ϲ����� Libraries
Photo © Estate of Margaret Bourke-White/Licensed by VAGA, New York, NY

Stockpile warehouse for aluminum rods, Aluminum Co. of America, ca. 1930 Special Collections Research Center, ���ϲ����� Libraries
Photo © Estate of Margaret Bourke-White/Licensed by VAGA, New York, NY

This is the first of a series of exhibitions that ���ϲ����� Art Galleries will present in the 2014-15 academic year celebrating women in the arts.�� A complementary exhibition entitled, “Context: Reading the Photographs of Margaret Bourke-White,” will be presented at the Special Collections Research Center, also opening Aug. 19.

This exhibition was curated by Oliva María Rubio of La Fábrica, Spain, and is a co-production by the Hague Museum of Photography, La Fábrica (Spain), Martin-Gropius-Bau (Germany), Preus-Museum (Norway) and ���ϲ����� Libraries.��The ���ϲ����� Art Galleries is the closing venue for this monumental exhibition that has toured throughout Europe for the past two years.

The exhibition will run through Oct. 19 in the Shaffer Art Building.�� Gallery hours are Tuesday-Sunday, 11 a.m.-4:30 p.m.; and Thursdays 11 a.m.-8 p.m.�� The SUArt Galleries will host a free opening night reception from 5-7 p.m. on Thursday, Sept. 4. Patrons are welcome to view the exhibition until the gallery closes at 8 p.m.�� The reception is open to the public.

In the male-dominated world of early 20th-century photojournalism, Bourke-White (1904-1971) was a striking exception to the rule. She was the first woman to work for Fortune and Life magazines. In Russia, she photographed a smiling Stalin, and in Georgia the aged mother of the dictator. In 1941, when the first German bombs fell on Moscow, Bourke-White was the only foreign photojournalist in the city. Many of her images are unforgettable, like the ones she took following the liberation of the Buchenwald concentration camp by American troops.

Bourke-White was not just a passionate and gifted photographer; she was, above all, the “eye” of her time. She was prepared to do whatever it took to capture current events, and she photographed the most remarkable moments in 20th-century history. As a young photographer, she barely survived a German torpedo attack, shot pictures from Allied bombers and teetered on a projecting roof-top ledge to photograph New York from the dizzy heights of the Chrysler Building.

Man tightening the large nuts on the turbine shell, 1930 Special Collections Research Center, ���ϲ����� Libraries
Time & Life Pictures/Getty Images

Fascinated by the Industrial Revolution and the social changes it caused, Bourke-White photographed the factories of the Soviet Union and the United States. Her first trip to the Soviet Union in 1930 was at the time of Stalin’s First Five-Year Plan, with the consequent Soviet obsession with technology and emphasis on rapid expansion, particularly of heavy industry. Workers and their machines are therefore central to her photographs of Soviet factories. However, she also documented other aspects of everyday life in the Soviet Union, including children on their way to school, street life, designers at work and agricultural workers in the countryside. In the United States, she captured the hidden beauty of the vast steel production plants.

At the time of her death in 1971, Bourke-White gave her entire archive to ���ϲ�����.�� Available to students and researchers today in ���ϲ����� Libraries’ Special Collections Research Center, the Margaret Bourke-White Papers is one of the most outstanding photojournalism collections in the country, containing some 19,000 negatives, approximately 24,000 prints and 44 linear feet of manuscript material (including extensive correspondence, job files, financial files and personal papers).

Select programming associated with the exhibition includes a gallery tour with Lucy D. Mulroney, interim senior director of special collections for ���ϲ����� Libraries, on Friday, Oct. 10, at 2 p.m.���� Additional programing, presented by ���ϲ����� Libraries in concert with the exhibitions includes “Lightness: In the Air with William Faulkner and Margaret Bourke-White,”�� a public lecture by�� Alexander Nemerov (Stanford University) on Oct. 1-2; and a lecture and workshop with Gary Albright on Oct. 9-10 on “The Intensification of Photographs: Observations from Recent Research and Practice,” as part of the Brodsky Series for the Advancement of Library Conservation. These lectures are free and open to the public. Preregistration is required for the mini-seminars and workshops. Visit for more information.

The exhibition and programs are free and open to the public.�� Complete information and related programming is available by visiting the official exhibition website at Press material, including exhibition press release, exhibition publications, checklist and press ready images are available for download directly from the website at

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Tammy Brackett, “Walking,” 2014

The exhibition will run Aug. 19-Oct. 19 in the Shaffer Art Building at ���ϲ�����.�� Gallery hours are Tuesday-Sunday, 11 a.m.-4:30 p.m.; and Thursdays 11 a.m.-8 p.m.�� The SUArt Galleries will host a free opening night reception from 5-7 p.m. on Thursday, Sept. 4. Patrons are welcome to view the exhibition until the gallery closes at 8 p.m.�� The reception is open to the public.

“First you have to find a deer.”�� Time-based artist Brackett’s comment echoes what many hunters know, that deer, which are everywhere during the spring and summer, seemingly disappear toward the end of September when hunting season begins. Brackett became interested in the subject after moving to a home 2,000 feet up on the side of a hill just outside of Alfred, N.Y.�� Having been raised on a farm, Brackett found this exposed location more extreme and a fascinating area to explore. Her desire to investigate her surroundings, coupled with the (unasked for) acquisition of a 16 gauge, single-shot break action shotgun began her career as a hunter.��Brackett took a doe in her second season and learned from a neighbor how to stretch and tan the hide.�� She then designed small-light silhouettes that replicated running deer. Using computer software, Brackett multiplied the silhouettes into virtual herds, running in place on the tanned deer skin.

An accompanying audio soundtrack describes the many man-made sounds heard by wildlife in the woods.��The variably pitched whir of a next door windmill’s blades combines with the regular creaking from its mechanical housing.�� Also audible is a steady plink, plink, plink of maple sap dripping into several buckets set out by the artist to make syrup.�� Bracket’s soundtrack raises the question of who, humans or deer, has a larger environmental impact.

Brackett is a new media artist whose work combines language and landscape to pose epistemological questions regarding identity, categorization and location. Brackett has a master of fine arts degree in electronic integrated art from the School of Art and Design at Alfred University and has exhibited work in China, Japan, Croatia, Hungary and the United States. She is a recipient of the College Art Association Professional Development Fellowship for Visual Artists, funded by the National Endowment for the Arts. Her work has been included in the Albright Knox’s biennial exhibition “Beyond/In Western NY” in 2005 and 2007. Her interactive installation, “(In)formation,” was included in the “IDEAS2009” exhibition at the Ball State Museum of Art. Her most recent work, “Field Guide,” was included in “TONY: 2012,” a multi-venue biennial in ���ϲ�����. Brackett is currently an associate professor and chair of digital media and animation at Alfred State.

Select programming associated with the exhibition includes a Lunchtime Lecture gallery tour with Prince on Sept. 10 at 12:15 p.m. Additional programming includes “An Evening with Tammy Renée Brackett” on Tuesday, Sept. 16, at 6:30 p.m. in Shemin Auditorium in the Shaffer Art Building. This evening is sponsored in part by the Visiting Artist Lecture Series in the . The exhibition and programs are free and open to the public.

Complete information and related programming is available by visiting the official exhibition website at Press material, including exhibition press release, exhibition publications, checklist, and press ready images are available for download directly from our website at

Max Ginsburg, “Peace March,” ArtRage

ArtRage – The Norton Putter Gallery
505 Hawley Ave., 218-5711
Exhibition on view: “MAX GINSBURG: The Realities of Our Times”

Light Work/Robert B. Menschel Media Center
316 Waverly Ave., 443-1300
Exhibitions on view:
Kathleen O. Ellis Gallery: Michael Bühler-Rose

Light Work Hallway Gallery:�� “Artist to Artist: Light Work’s Fine Print Program”

Robert B. Menschel Gallery, Schine Student Center
Exhibition on view: Gerard H. Gaskin: “Legendary: Inside the House Ballroom Scene”

Petit Branch Library
105 Victoria Place, 435-3636
Exhibition on view: Mixed Media Medley: North ���ϲ����� Art Guild
An artist talk will be held from 5-6 p.m. North ���ϲ����� Art Guild members will discuss the guild as well as their experiences and successes in the art field. Light refreshments provided.

SUNY Oswego Metro Center
The Atrium, Two Clinton Square, 399-4100
Exhibition on view:�� “Begin a New Day”

Urban Video Project Everson
401 Harrison St., Everson Community Plaza
dusk -11 p.m.
Exhibition on view: Ann Hamilton: “table”

601 Tully
601 Tully St., 422-1297
7-8:30 p.m.: Word Thursday featuring “Great Weather for MEDIA”

Zaoli Zhong, still from “We are Walking on the Same Great Road,” 2014

The ���ϲ����� Art Galleries has opened “The Way Out: MFA 2014.” The annual Master of Fine Arts exhibition features 21 artists from the . This year’s presenting artists are working in a variety of media, including painting, photography, printmaking, sculpture, ceramics, film and site-specific installation.

The exhibition will run April 3-May 11 in the Shaffer Art Building. Gallery hours are Tuesday-Sunday, 11 a.m.-4:30 p.m.; and Thursdays 11 a.m.-8 p.m. The SUArt Galleries will host a free opening reception from 5-7 p.m. on Thursday, April 10. Patrons are welcome to view the exhibition until the gallery closes at 8 p.m.�� The reception is free and open to the public.

What sets the artists in “The Way Out” apart is the reinterpretation of traditional media into a contemporary context. Painting and drawing, printmaking, sculpture, photography and film—all familiar instruments in the foundation of art making—have been introduced in a fresh milieu of concept and craft. Oil on canvas partnered with documentary video, works on paper that combine printmaking, drawing and painting, and site-specific installations of ceramic sculpture and photography. They are fused with both familiar and previously unexplored concepts that range from notions of gender, family and place to abstract narratives and sensory interaction.

Select programming associated with the exhibition includes a Lunchtime Lecture with SUArt Galleries the assistant director and faculty advisor for the exhibition Andrew Saluti on Wednesday, April 9, and a Lunchtime Lecture with M.F.A. artists on Wednesday, April 30, both beginning at 12:15 p.m.

The exhibition and programs are free and open to the public. Complete information and related programming is available by visiting the official exhibition website at

Curated by SUArt Galleries Director Domenic J. Iacono, the artwork on display was selected from the collections of David Krut Projects and Marian Goodman Gallery in New York City. Presented in conjunction with the exhibition “Arts on Main: Contemporary Prints from South Africa,” this display continues the yearlong celebration of international art and artists at the ���ϲ����� Art Galleries.

William Kentridge, “Nose 17”

The exhibition will run Jan. 30-March 16 in the Shaffer Art Building. Gallery hours are Tuesday-Sunday, 11 a.m.-4:30 p.m.; and Thursdays 11 a.m.-8 p.m. The SUArt Galleries will host a free opening night reception from 5-7 p.m. on Thursday, Feb. 6. Patrons are welcome to view the exhibition until the gallery closes at 8 p.m. The reception is open to the public.

In recent years, Kentridge (South African, b. 1955) has achieved great fame for his prints, drawings and animated films. Highlighted in the exhibition is his “Nose Suite,” a series of images based on the 19th-century story by Nicolai Gogol about a pompous Russian official who wakes up to find his nose has left his face. “The Nose” is a comical and satirical story that has been interpreted in many ways, including society’s predilection for refusing to acknowledge something that is “as plain as the nose on our face, like poverty, corruption or inequality.”

Kentridge not only used the story as the basis for the series of 30 prints, which will be presented in the gallery, but he also created an opera based on the 1929 Shostakovich version of the story.

The Metropolitan Opera Company in New York City presented the Kentridge version this past October, and the SUArt Film Series will be screening an encore presentation of this film on Feb. 23 at 2 p.m. Other recent prints by Kentridge, including the iconic “Telephone Lady” (2000) and images from the “Universal Archive” series will be on view. In addition, one of his new animated films titled “NO, IT IS” (2012), a triptych of three flipbook films presented on large flat screen monitors, will also been installed in the exhibition.

Select programming associated with the exhibition includes a Lunchtime Lecture with Iacono on Wednesday, Feb. 26, at 12:15 p.m., and two special SUArt Film Series events.�� On Sunday, Feb. 2, at 2 p.m, in Shemin Auditorium in the Shaffer Art Building, there will be a screening of “William Kentridge: Anything is Possible”; on Feb. 23 at 2 p.m. there will be a special screening of the Metropolitan Opera Company’s “The Nose, Live in HD,” also in Shemin Auditorium.

The exhibition and programs are free and open to the public. Complete information and related programming is available by visiting the official exhibition website at

Senzo Shabangu, “Next Meal,” 2012

The ���ϲ����� Art Galleries presents “Arts on Main: Contemporary Prints from South Africa.” This exhibition features a selection of prints, drawings and works on paper made by emerging artists working at David Krut Projects in Johannesburg, South Africa.

Eighteen works from eight artists will be on view, including artists Diane Victor, Deborah Bell, Locust Jones, Senzo Shabangu, Faith 47 and Jürgen Partenheimer. “Arts on Main” refers to the Maboneng Precinct, the creative hub of Johannesburg’s new art neighborhood, where an urban community has become the center of artistic collaboration.

Curated by SUArt Galleries Director Domenic J. Iacono, the artwork on display was selected from the collection at David Krut Projects, NYC. Presented in conjunction with the exhibition “William Kentridge: The Nose and Other Subjects,” this display continues the yearlong celebration of international art and artists at the ���ϲ����� Art Galleries.

Established in 2002, the mission of the David Krut Print Workshop (DKW) is to provide a professional facility for collaborations between South African artists and local and international printmakers. Emerging and established artists are regularly invited to create limited edition prints and monotypes at DKW.�� The David Krut Projects, based in Johannesburg, Cape Town, and Chelsea, New York City, is an alternative arts institution dedicated to encouraging an awareness of and careers in the arts and related literature and media, and to promoting contemporary culture in a dynamic, collaborative environment.

The exhibition will run Jan. 30–March 16, in the Shaffer Art Building at ���ϲ�����. Gallery hours are Tuesday-Sunday, 11 a.m.-4:30 p.m., and Thursdays 11 a.m.-8 p.m. The SUArt Galleries will host a free opening night reception from 5-7 p.m. on Thursday, Feb. 6. Patrons are welcome to view the exhibition until the gallery closes at 8 p.m.�� The reception is open to the public.

Select programming associated with the exhibition includes a Lunchtime Lecture with Iacono on Wednesday, Feb. 12, at 12:15 p.m., and a SUArt Kids event on Saturday, March 8, and Sunday, March 9, at 2 p.m.

The exhibition and programs are free and open to the public. Complete information and related programming are available by visiting the official exhibition website at Press material, including exhibition press release, exhibition publications, checklist, and press ready images are available for download directly from the website at

Leopoldo Mendez, “El gran recibimiento” 1945, SU Art Galleries

Th3 (The Third Thursday) is a consortium of 22 ���ϲ����� Arts Venues that coordinate free monthly visual arts events from 5-8 p.m. on the third Thursday of every month. This month, Th3 takes place on Nov. 21.

ArtRage-The Norton Putter Gallery
505 Hawley Ave., 218-5711

Exhibition on view: “Spoken Threads: Craftivist Fiber Art”

Community Folk Art Center
805�� E. Genesee St., 442-2230

Exhibition on view: “The Idea of Modernity in Haitian Contemporary Art”

Eureka Crafts
210 Walton St., 471-4601

The Studio of Pastel Artists Barbara Vural and Beth Houstan-Barnholdt will be open to the public. Light refreshments

Everson Museum of Art
401 Harrison St., 474-6064
6:30 p.m.: Gallery Talk: Jordan Eagles. Join Eagles as he discusses the inspiration and process behind his exhibition “Red Giant.”

Light Work/Robert B. Menschel Media Center
316 Waverly Ave., 443-1300
Exhibitions on view:
Kathleen O. Ellis Gallery: “Jackie Nickerson: Terrain”
Community Darkrooms Gallery: “Willson Cummer: Dawn Light”

Petit Branch Library
105��Victoria Place, 435-3636
“Retrospective:35 years of Quilting”

Point of Contact Gallery
350 West Fayette St., 443-2169
Exhibition on View:
“Tango,”A collaborative piece by Nancy Graves and Pedro Cuperman about aesthetics of Latin American dance.
6:30 p.m. Special Event: “Don’t Blame Anyone,” a performance by Milton Loayza

SUArt Galleries
Shaffer Art Building, ���ϲ�����, 443-4097
“Print Making Revolution: Mexican Prints and the Taller de Grafica Popular “
“Paul Strand: The Mexican Portfolio”

SUNY Oswego Metro Center
The Atrium, Two Clinton Square , 399-4100
Exhibitions on view:
Gallery A: “Residue” featuring recent work by Lu Mulder
Gallery B: Student work from the permanent collection of the SUNY Oswego Art Department.

Urban Video Project
UVP Everson, 401 Harrison St.
“Phil Solomon: Still Raining, Still Dreaming” (on view from dusk-11 p.m.)

XL Projects
307-313 South Clinton St., 443-2542
Opening Reception for the exhibition “Sutura” from 6- 8 p.m.

Leopoldo Méndez, “Homenaje a José Guadalupe Posada” (Homage to José Guadalupe Posada), 1956.

The ���ϲ����� Art Galleries presents “Print Making Revolution: Mexican Prints and the Taller de Gráfica Popular,” an exhibition of more than 130 original prints drawn from the ���ϲ����� Art Collection, as well as lenders that include the Philadelphia Museum of Art, the Herbert F. Johnson Museum, Library of Congress and the Blanton Museum of Art.

Curated by SUArt Galleries Assistant Director Andrew J. Saluti, this exhibition will introduce the Central New York community to important Mexican artists and post-Mexican Revolution artwork, with emphasis on the prints produced at the Taller de Gráfica Popular (The People’s Graphic Workshop), or TGP. Founded by Leopoldo Méndez, Luis Arenal and American-born Pablo O’Higgins, this influential workshop advanced a variety of revolutionary ideals and causes, including the formation of organized labor, the fight for civil rights and an active campaign against fascism.

The exhibition will open Nov. 7 and run until Jan. 12, 2014, in the Shaffer Art Building at ���ϲ�����. Gallery hours are Tuesday-Sunday, 11 a.m.-4:30 p.m.; and Thursdays 11 a.m.-8 p.m. The SUArt Galleries will host a free opening night reception from 5-7 p.m. on Thursday, Nov. 14. Patrons are welcome to view the exhibition until the gallery closes at 8 p.m. The reception is open to the public.

“Print Making Revolution” is organized into four subjects. The first acts as precursor to the TGP, highlighting the work of artists who helped to define the Mexican print landscape early in the 20th century. These figures include José Gaudalupe Posada, Jean Charlot and the “Big Three”: Diego Rivera, José Clemente Orozco and David Siqueiros. The exhibition then transitions into the artists of the TGP, with emphasis on the Taller’s director, Méndez, but also includes Ángel Bracho, Isidoro Ocampo and Alfredo Zalce, among others.

Angel Bracho, “Victoria! Los Artistas de Taller de Grafica Popular,” 1945

The third part of the exhibition focuses on the linocut portfolio Estampas de la Revolución Mexicana, a vividly illustrated narration of the Mexican Revolution, published by the workshop in 1947. Shown in its entirety, the portfolio contains 84 original prints by 16 artists.

Finally, the exhibition highlights the gringos—Americans working at the TGP during the early and influential days of the prolific workshop, including John Woodrow Wilson, Mariana Yampolsky and Elizabeth Catlett. The impact of the TGP reached well beyond the conventional boundaries of art making, affecting political and social movements in Mexico and the United States.

The exhibition includes a number of prints loaned from museums around the country.�� Collaborating institutions include the Library of Congress, the Philadelphia Museum of Art, the Herbert F. Johnson Museum of Art, the Blanton Museum of Art, the Art/Music Library at the University of Rochester and the University of New Mexico Art Museum.�� This exhibition is funded in part through a grant from The IFPDA Foundation. Presented concurrently with the exhibition “Paul Strand: The Mexican Portfolio,” this exhibition continues the yearlong celebration of international art and artists at the ���ϲ����� Art Galleries.

Select programming associated with the exhibition includes a Lunchtime Lecture with the curator of the exhibition, Andrew Saluti, on Wednesday, Nov. 13, at 12:15 p.m., and an SUKids event on Nov. 16 and 17 at 2 p.m. The exhibition and programs are free and open to the public. Complete information, including parking information and related programming, is available by visiting the official exhibition website at �� Press material, including exhibition press release, exhibition publications, checklist and press ready images are available for download directly from the SUArt Galleries website at

“Church, Cuapiaxtla,” 1933

The ���ϲ����� Art Galleries presents “Paul Strand: The Mexican Portfolio,” an exhibition of 20 original photogravures recently acquired by the University Art Collection. Curated by SUArt Galleries Collection and Exhibition Coordinator Emily Dittman, this exhibition presents the complete Mexican Portfolio, which includes photogravure impressions of people, landscapes, architecture and religious objects that Strand encountered in Mexico during his travels there in 1932-33. Presented concurrently with the exhibition “Print Making Revolution: Mexican Prints and the Taller de Grafica Popular,” this exhibition continues the yearlong celebration of international art and artists at the ���ϲ����� Art Galleries.

The exhibition will open Nov. 7 and run until Jan. 12, 2014, in the Shaffer Art Building. Gallery hours are Tuesday-Sunday, 11 a.m.-4:30 p.m.; and Thursdays 11 a.m.-8 p.m. The SUArt Galleries will host a free opening night reception from 5-7 p.m. on Thursday, Nov. 14. Patrons are welcome to view the exhibition until the gallery closes at 8 p.m. The reception is open to the public.

In 1932, Strand was invited by Carlos Chavez, director of the fine arts department of the Secretariat of Public Education, to document the changing landscape and people of Mexico. During the two years Strand spent in Mexico, he traveled the countryside with his Korona and Graflex large-format cameras. He explored small towns, churches, religious icons and the people who inhabited the land.

Strand, like many of the artists who were making art at the Taller de Gráfica Popular print studio, worked on these photographs during the period when the post-revolution government was trying to establish a modern national culture that would capture Mexico’s unique character. The result of his travels in Mexico was more than 175 photographic negatives and 60 platinum prints. Twenty of these images were selected by Strand to be published as a portfolio in 1940, titled “Photographs of Mexico.” In 1967, the portfolio was re-released as the “Mexican Portfolio,” featuring the photogravure impressions displayed in this exhibition.

Select programming associated with the exhibition includes a Lunchtime Lecture with the curator of the exhibition, Emily Dittman, on Wednesday, Nov. 20, at 12:15 p.m. The exhibition and programs are free and open to the public. Complete information and related programming is available by visiting the official exhibition website at Press material, including the exhibition press release, exhibition publications, checklist and press ready images, are available for download directly from the gallery website at

Yasuo Kuniyoshi, “Forbidden Fruit,” 1950

The SUArt Galleries will open the 2013-14 exhibition year with three new exhibitions installed in the permanent collection galleries. Highlighting the breadth of the collections’ encyclopedic holdings and exploring international artists and themes, these new displays explore the genres of photography, prints, paintings and sculpture. Two of the exhibitions on display in the Print and Photo Study galleries will highlight the University’s vast holdings of historical Japanese photographs and prints.�� The third exhibition will examine artwork created by international artists who have immigrated to the United States.

The exhibitions will run Sept. 5-May 11, 2014 in the Shaffer Art Building. Gallery hours are Tuesday-Sunday, 11 a.m.- 4:30 p.m.; and Thursdays 11 a.m.-8 p.m. The SUArt Galleries will host an opening night reception from 5-7 p.m. on Thursday, Sept. 5. Patrons are welcome to view the exhibition until the gallery closes at 8 p.m.�� The reception is free and open to the public.�� Select programming associated with the exhibitions will include Lunchtime Lectures with the exhibition curators, to be announced on the SUArt Galleries website (http://suart.syr.edu).

“America’s Calling,” presented in the Gallery of American Art, is an exhibition of��16 works of art by��15 foreign-born artists, including Ben Shahn, Yasuo Kuniyoshi and Josef Albers. The artists included in the exhibition, or their families, were drawn to the United States because it offered opportunities unavailable in their homelands. A variety of media is presented in the display, including painting, ceramics, sculpture and printmaking that are handled using often innovative techniques. Cumulatively, these artists had a profound and permanent effect on the evolution of American art.

The Photo Study Room will present “Visions for Sale: Photographs of Nineteenth Century Japan,” an exhibition of 22 hand-colored albumen prints from the 19^th century exploring the country’s people, land and environment that was quickly changing as a result of modernization.�� European photographers such as Felice Beato and Baron Raimond Stillfield traveled to Japan to document the nation’s exotic landscape and historically idiosyncratic jobs before they were swept away by the tide of modernism.

“Ukiyo-e to Shin Hanga: Japanese Woodcuts from the ���ϲ����� Art Collection” will be installed in the Print Study Room and draws from the University’s collection of more than 300 examples from this important and hugely influential art movement. The prints on view date from the height of color Ukiyo-e printmaking (1780-1868) through Japan’s Meiji period (1868-1912) to 20th-century impressions of the Shin Hanga movement (1915-1940s). Masters of this medium are represented, including the work of Utamaro, Kuniyoshi, Hokusai, Hiroshida, Tsuchiya Koitsu and Yoshida Hiroshi. The prints exemplify the soft, painterly style that is synonymous with the Japanese woodcut, and illustrates the wide range of subjects from courtesans to Kabuki theater and the Japanese landscape.

Roechiyat, “Before the Bharata Yudha War,” 1973

The ���ϲ����� Art Galleries is presenting “A World Apart: Art from the Samuel T. Pees Collection of Ethnographic Art,” an exhibition that highlights artwork gifted to the University Art Collection by collector Samuel T. Pees.

Curated by SUArt Galleries Director Domenic J. Iacono, the exhibition will present 30 pieces of original artwork featuring a breadth of media from oil to printmaking to dye batiks. The exhibition highlights more than 20 artists, with nationalities as diverse as Haitian, Paraguayan, Indonesian, Thai, Grand Cayman and Malaysian. This is the first exhibition to examine artwork in the Pees Collection since 1989.

The exhibition will run Sept. 5- Oct. 20 in the Shaffer Art Building. Gallery hours are Tuesday-Sunday, 11 a.m.-4:30 p.m., and Thursdays 11 a.m.-8 p.m.�� The SUArt Galleries will host a free opening night reception from 5-7 p.m. on Thursday, Sept. 5. Patrons are welcome to view the exhibition until the gallery closes at 8 p.m.�� The reception is open to the public.

G. Georges, “Four People in a Landscape,” n.d.

In 1988, Samuel Pees made a substantial gift of more than 250 original pieces of artwork to the ���ϲ����� Art Collection, followed by another gift of additional artwork in the mid-1990s.�� An alumnus of ���ϲ�����, Samuel Pees earned his master’s degree in geology in 1959. As a professional consultant, Pees was able to travel frequently to South America, Latin America, Indonesia and the Southeast.�� It was during these travels that he actively collected art, which includes work by well-known artists Tohny Joesof and Ricardo Carpani.

The exhibition “A World Apart: Art From The Samuel Pees Collection of Ethnographic Art” is being displayed as part of the SUArt Galleries International Arts Year celebration that includes the exhibitions “Nyumba ya Sanaa: Works from the Maryknoll Collection,” “Print Making Revolution: Mexican Prints and the Taller Grafica Popular,” “Mithila Painting—The Evolution of an Art Form” and “Contemporary Printmaking from South Africa.”

Select programming associated with the exhibition includes a Lunchtime Lecture with curator of the exhibition Domenic Iacono on Wednesday, Oct. 2, at 12:15 p.m. The exhibition and programs are free and open to the public. Information and related programming is available at the official exhibition website at

Work by Henninger High School student Sierra Vespi

The ���ϲ����� Art Galleries will present “Henninger Art Class: Voices Heard and Celebrated,” an exhibition of artwork by Henninger High School students in the ���ϲ����� City School district, inspired by the exhibition “Nyumba ya Sanaa: Works from the Maryknoll Collection.”

This student display of 18 works of art is the result of community collaboration between SUArt Galleries Director Domenic Iacono, Henninger High School Art Teacher Lori Lizzio and Stephen Mahan of the Photography and Literacy (P.A.L.) Project.

The exhibition will run Sept. 5-Oct. 20 in the Shaffer Art Building. Gallery hours are Tuesday-Sunday, 11 a.m.-4:30 p.m., and Thursdays 11 a.m.-8 p.m. The SUArt Galleries will host a free opening night reception from 5–7 p.m on Thursday, Sept. 5. Patrons are welcome to view the exhibition until the gallery closes at 8 p.m.�� The reception is open to the public.

This past spring P.A.L Project partnered with SUArt Galleries and Lizzio’s art class from Henninger High School to create artwork that could be used in an exhibition. The Maryknoll Collection, housed in the University Art Collection, inspired the students’ artwork. This collection, recently acquired from Nyumba ya Sanaa (School of Art) in Dar es Salaam, Tanzania, served as a creative springboard and inspiration to document what they felt were distinctive moments from their daily lives. Using simple point and shoot cameras and basic Photoshop skills, the students highlighted personally meaningful moments, scenes or people of their daily lives, much as the Tanzanian artists had done when making their art.

Select programming associated with the exhibition includes a Lunchtime Lecture with Domenic Iacono, on Wednesday, Oct. 16, at 12:15 p.m. The exhibition and programs are free and open to the public. Information and related programming is available at the official exhibition website at

Edward Francis Kilza, “Mazumguzo ya Family” [Family Conversation], 1995

Curated by SUArt Galleries Director Domenic J. Iacono, the exhibition will include 90 pieces of original artwork featuring a breadth of media including painting, sculpture and printmaking, and highlight more than a dozen artists.

In 2012, the ���ϲ����� Art Galleries was chosen as a repository for the Maryknoll Collection, a gift from the Maryknoll Sisters of more than 170 original works of art by 22 Tanzanian artists, including prints, drawings, watercolors, sculpture and textiles. The collection contains artwork created at Nyumba ya Sanaa (“House of Art” in Swahili), a Cultural Center and art workshop located in Dar es Salaam, Tanzania.

George Lilanga, “Misunderstanding,” 1977

Founded in 1972 by Sister Jean Pruitt, a Maryknoll Sister, the center’s mission was to support local artists, and to help them display and sell their works, among other cultural activities.�� The centre also participated in vocational training in the arts, including arts and crafts, fine art paintings, sculpture and wood carving, modeling plaster and cutting metal.

Also on display in the galleries will be the exhibition “Henninger Art Class: Voices Heard and Celebrated,” featuring artwork created by Henninger High School students who have been inspired by the Tanzanian exhibition. This student display is the result of community collaboration among Domenic Iacono, Henninger High School art teacher Lori Lizzio and Stephen Mahan of the Photography and Literacy (P.A.L.) Project.

The exhibition will run Sept. 5-Oct. 20, in the Shaffer Art Building. Gallery hours are Tuesday-Sunday, 11 a.m.-4:30 p.m.; and Thursdays 11 a.m.-8 p.m.�� The SUArt Galleries will host a free opening night reception from 5-7 p.m. on Thursday, Sept. 5. Patrons are welcome to view the exhibition until the gallery closes at 8 p.m. The reception is open to the public.

Select programming associated with the exhibition includes a Lunchtime Lecture with the curator of the exhibition, Domenic Iacono, on Wednesday, Sept. 11, at 12:15 p.m.�� The exhibition and programs are free and open to the public. In addition, a publication on “Nyumba ya Sanaa,” published with support from the Vijana Vipaji Foundation, will be available for purchase in the Gallery Shop.

Complete information and related programming is available by visiting the exhibition website at

On select Wednesdays, the tour and lecture will begin at the SUArt Galleries in the Shaffer Art Building at 12:15 p.m., and then as a group walk to the location of the artwork. The lectures are free and open to the public; outdoor lectures will be weather permitting.

Lunchtime Lectures will begin the summer 2013 series with a talk by Associate Director David Prince on Wednesday, June 19, at 12:15 p.m.�� Prince will present an examination of Emile Antoine Bourdelle’s “Herakles” (1909), and Luise Meyers Kaish’s “Saltine Warrior” (1951), each installed on the Shaw Quadrangle.

Additional lectures planned for the summer season are listed below and additionally scheduled lectures can be found at , or by visiting us on Facebook at .

July 17:�� A Comparison of James Earle Fraser’s “Lincoln” (1930) and Jean-Antoine Houdon’s “George Washington” (c. 1790).

July 24: Crucifixion: Exploring the Rico Lebrun Mural and Paintings Installed in Heroy Geology Building.

August 7:�� Persephone, Moses and Job: Mythology and the Old Testament in the Ivan Mestrovic Sculpture Court.

The exhibition will run April 4 through May 12 in the Shaffer Art Building. Gallery hours are Tuesday-Sunday, 11 a.m.–4:30 p.m. and Thursdays 11 a.m.–8 p.m. The SUArt Galleries will host a free opening night reception from 5–7 p.m. on Thursday, April 4. Patrons are welcome to view the exhibition until the gallery closes at 8 p.m. The reception is open to the public.

Select programming associated with the exhibition includes a Lunchtime Lecture with Assistant Director Andrew Saluti on Wednesday, April 10, at 12:15 p.m.

“The eNth Degree: MFA 2013” unites a group of artists working exponentially beyond the confines of their studied fields, taking their work to a new level of art making. The 21 included in this year’s exhibition create artwork using a contemporary methodology that transcends the pre-conceived definitions of artist’s roles—a painter makes paintings; a ceramicist makes cups and bowls.

Instead, they incorporate the materials and processes from their chosen disciplines into a grander scheme of art making. Ceramicist Joel Weissman takes porcelain molds, once used as a therapeutic craft for patients in a psychiatric hospital, and casts them in iron rather than clay. Printmaker Tonja Torgerson uses her knowledge of print processes to create site-specific installations, portraits of generalized female figures dealing with physical and mental sickness. Sculptor Becky Reiser incorporates traditional foundry casting with performance and video to create her intricate narrative—a reflection on domesticity.

Another important element that has pervaded contemporary process is the development of collaborations that these artists employ. Included in “The eNth Degree” will be the Mobile Sauna, a fully functional performance/experience created by the DS Institute, an artistic collaboration that includes Fulbright sculptor Maximilian Bauer ’12 (M.F.A.), steam expert ceramicist Zach Dunn’12 (M.F.A.), artist/social engineer Caitlin Foley, interactive installation artist Misha Rabinovich and media artist Jennifer Chan. Also included in MFA 2013 is SUB PAR, the ���ϲ����� Urban Beautification Public Art Resistance, a public arts initiative created by exhibiting artists Torgerson and Weissman.

The exhibition and programs are free and open to the public. Complete information and related programming is available by visiting the official exhibition website at .

The guest curators for this exhibition are graduate students enrolled in the ���ϲ����� Museum Studies “Advanced Curatorship” class, under the guidance of Professor Edward Aiken. The works in the exhibition are drawn from a variety of Central New York lenders, including the SU Art Collection, The Stickley Museum, Sue Ann Genet Costume Collection and Research Center, Dalton’s American Decorative Arts, the Cortland County Historical Society and ���ϲ����� Special Collections Research Center.

The exhibition will run Jan. 24- March 17 ��in the Shaffer Art Building.�� Gallery Hours are Tuesday-Sunday, 11 a.m.–4:30 p.m. and Thursdays 11 a.m.–8 p.m.�� The SUArt Galleries will host a free opening night reception from 5-7 p.m. on Thursday, Jan. 24. Patrons are welcome to view the exhibition until the gallery closes at 8 p.m. The reception is open to the public.

Select programming associated with the exhibition includes two Lunchtime Lectures; the first will be a tour of the exhibition on Wednesday, Jan. 30,�� at��12:15 p.m.�� The second will be on Wednesday, Feb. 27, at 12:15 p.m., when Sarah Lanigan, director of the Stickley Museum and graduate of the Museum Studies program, will discuss the Stickley objects on loan, as well as the Stickley Museum and its connection with Central New York.�� The events are free and open to the public. Complete information and related programming is available by visiting the SUArt Galleries website at suart.syr.edu.

The ���ϲ����� Art Galleries will present “Neil Welliver Prints,” an exhibition of more than 60 examples of the artist’s woodcuts, etchings, lithographs and screen prints.

Welliver was regarded as one of the pre-eminent American landscape painters of the 20^th century, and, from the late 1970s to his death in 2005, he considered printmaking an integral part of his artistic activity. “Neil Welliver Prints” provides an overview of the artist’s prolific graphic career, assembling signature wildlife and landscape impressions from more than 30 years. Welliver’s compelling, larger-than-life paintings of Maine’s natural landscape often became series of intimate woodcuts using traditional Japanese methods in collaboration with the noted printmaker Shigemitsu Tsukaguchi. All of the works are on loan from the Alexandre Gallery in��New York City,��which represented Welliver for years.

The exhibition will run Jan. 24- March 17 in the Shaffer Art Building . Gallery hours are Tuesday-Sunday, 11 a.m.-4:30 p.m.; and Thursdays 11 a.m.-8 p.m. The SUArt Galleries will host a free opening night reception from 5-7 p.m. on Thursday, Jan. 24. Patrons are welcome to view the exhibition until the gallery closes at 8 p.m.�� The reception is open to the public.

Select programming associated with the exhibition includes a Lunchtime Lecture with Assistant Director Andrew Saluti on Wednesday, Feb. 6, at 12:15 p.m. The galleries will also host two SUArt Kids programs in conjunction with the exhibition. The first, on the weekend of Feb. 16 and 17, will consist of a guided gallery tour and a related activity. On the weekend of March 9 and 10, the SUArt Galleries will present a relief printmaking workshop for parents and children.�� The SUArt Kids programming begins at�� 2 p.m.��and generally concludes around 3:30 p.m.

The exhibition and programs are free and open to the public.�� Complete information and related programming is available by visiting the official exhibition website at

The exhibition will run Nov. 8-Jan. 6, 2013, in the Shaffer Art Building. Gallery Hours are Tuesday-Sunday, 11 a.m.-4:30 p.m.; and Thursdays 11 a.m.-8 p.m. The gallery will be closed Thanksgiving weekend and the University Green Days (Dec. 24- Jan. 1, 2013).

The SUArt Galleries will host a free opening night reception from 5-7 p.m. on Thursday, Nov. 8.�� Patrons are welcome to view the exhibition until the gallery closes at 8 p.m. The reception is open to the public.

Select programming associated with the exhibition includes a Lunchtime Lecture with David Prince on Wednesday, Nov. 28, at 12:15 p.m.�� The SUArt Galleries also plans to create a history of the artist, through personal interviews with his surviving friends, written stories submitted through the exhibitions website, and recordings of the artist. This assembled archive will be available online.�� For more information, or to find out how you can contribute, email suart@syr.edu.�� Complete information and related programming is available by visiting the SUArt Galleries website at suart.syr.edu.

Unlike some unconventional characters, Davies was consciously eccentric.�� He chose to be different, to not blend in.����As his close friend Bill McDowell says, “He enjoyed being a controversial figure.�� In a way he felt that his mission in life was to stir things up.�� He got expected reactions to the more outrageous work that he did and it was intentional.”

Davies began his artistic career by making small, quickly conceived and finished line drawings for co-workers at the Onondaga County Water Authority, where he worked as a draftsman.�� His desire to be an artist and his own man caused him to abandon a comfortable suburban lifestyle and relocate alone from Marcellus, N.Y., to ���ϲ�����.�� He resided in different apartments in the greater Westcott Street area, subsisting on sales of his paintings and the modest income from a small stock dividend.�� His idiosyncratic images and lifestyle gained him a near cult status among local collectors.

The exhibition will run Nov. 8 through Jan. 6, 2013 in the Shaffer Art Building. Gallery Hours are Tuesday-Sunday 11-4:30 p.m.; Thursdays 11-8 p.m. The gallery will be closed Thanksgiving weekend and the University Green Days (Dec. 24- Jan. 1, 2013).

The SUArt Galleries will host a free opening night reception from 5-7 p.m. on Thursday, Nov. 8.�� Patrons are welcome to view the exhibition until the gallery closes at 8 p.m. The reception is open to the public.

Select programming associated with the exhibition includes a Lunchtime Lecture with Domenic Iacono on Wednesday, Nov. 14, at 12:15 p.m., and a SUArt Kids Printmaking Workshop on Saturday, Nov. 17, and Sunday, Nov. 18, at 2 p.m.�� The show is free and open to the public. Complete information and related programming is available by visiting the SUArt Galleries website at suart.syr.edu.

The printed image in American art went through profound changes during the six decades surveyed by this exhibition.�� Beginning with the black-and-white lithographs popularized by the regionalists and urban realists and continuing through the experimental intaglio prints of the abstract expressionists, the ‘Pop’ explosion of screenprints, and the precision of super realism, printmaking has captured the imagination of countless American artists.

Thomas Hart Benton, Grant Wood, Anne Ryan, Milton Avery, Dorothy Dehner, Robert Motherwell, Andy Warhol, Jasper Johns and Richard Estes are a few of the artists represented in this examination of the growth in popularity of printmaking among American artists during this 50-year period.�� Especially significant are the contributions of women to printmaking during this era, as well as the impact of African American artists on the graphic arts. Combined with artists who immigrated to the United States and the increased numbers of painters and sculptors who took up the medium, this exhibition makes the egalitarian nature of the print abundantly clear.

Curated by SUArt Galleries Director Domenic Iacono, “Pulled, Pressed and Screened” is drawn from the ���ϲ����� Art Collection holdings of more than 12,500 prints of which more than 7,500 are by American artists.�� This deep collection makes available work by print innovators such as Mauricio Lasansky, Gabor Peterdi, Boris Margo and Garo Antreasian.�� It also enables SUArt Galleries to share the work of specific art publishers such as the International Graphics Art Society, Associated American Artists and Universal Art Limited Editions.

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ArtRage–The Norton Putter Gallery
505 Hawley Ave., 218-5711
Exhibition on view: “TONY: 2012”
Featuring the work of Ben Altman, Neil Chowdhury, Bob Gates and Paul Pearce

Community Folk Art Center
805 E. Genesee St., 442-2230
7 p.m.: “A Journey Through Music of the African Diaspora”
Performance by the Bill Horrace Band in the Black Box Theatre. The band will perform a blend of original jazz and contemporary tunes.

Exhibition on view: “TONY: 2012”
Featuring work by Elizabeth Leader, Michael Moody, Abisay Puentes and Sandra Stephens.
Eureka Crafts
210 Walton St., 471-4601
5-8 p.m.: Opening Reception for the Eureka Crafts “Academic Art … Teachers That Do” series
Meet the Artist Reception with Christian Brothers Academy Art teacher Caryl McGinty

Everson Museum of Art
401 Harrison St., 474-6064
6:30 p.m.:”TONY 2012: Lure of the Local”
Artists include Jason Bernagozzi, Elizabeth Leader, Bob Gates, Michael Bosworth, Timothy Frerichs and Caitlin Foley from the DS Institute.

Light Work/Robert B. Menschel Media Center
316 Waverly Ave., 443-1300
Exhibition on view:
“TONY: 2012” featuring work by Sarah Averill, Bang-Geul Han, Mark McLoughlin, Jan Nagle and Matthew Walker

The Link Gallery @ The Warehouse/ PAL Project
350 W. Fayette St.
PAL Project/Hillside Work-Scholarship Connection “I Am Intricate and Special”
Opening reception: 3-5 p.m.

Petit Branch Library
105 Victoria Place, 435-3636
National League Of American Pen Women

Point of Contact Gallery
914 Genesee St., 443-2169
Exhibition on view:
“INK GEOGRAPHIES,” a show by Oscar Garcés, as part of The Other New York: TONY 2012.

Special Collections Research Library (note, SCRC closes at 7 p.m.)
6th Floor, E.S. Bird Library, ���ϲ�����
Exhibition on view:
“Assembly-line Architecture: Repetition and Innovation in the Work of Marcel Breuer”

SUArt Galleries
Shaffer Art Building, ���ϲ�����, 443-4097
Exhibitions on view:
“Karl Schrag: Memories and Premonitions”
“TONY: 2012”
“Ben Shahn and the Passion of Sacco and Vanzetti”
“Collecting Focus: New Prints and Photographs”

���ϲ����� Ceramic Guild
112 Wyoming St. #119 (in the Delavan Center building), 751-2529
Three-person exhibit and sale featuring the work of Anne Foulke, Pam Steele and Denise Dowdall

Szozda Gallery
501 Fayette St.
Exhibition on view: “Altered Environments”
The exhibition brings together two local artists, mixed media painter Laura J. Wellner and fine art photographer Willson Cummer, who view environments in different ways but whose works complement each other.

Urban Video Project
401 Harrison St. (Everson Museum)
On view:
Karen Brummund, part of “TONY: 2012”

The Warehouse Gallery
350 W. Fayette St, 443-6450
Exhibitions on view:
Main Galleries: “Lov U,” a multi-media installation by Senga Nengudi
Window Projects, viewable 24/7:
“TONY 2012”: featuring Jeffrey Einhorn’s site-specific installation “A Portrait of the Artist as a Giant Deflating Head”

Westcott Community Art Gallery
826 Euclid Ave., 478-8634
The dB “Cultural Revolution” series by DECIBEL:
Propaganda images generated during the Cultural Revolution in China have been remixed to create commentary on the modern cultural revolution society is undergoing in the form of music, art & media. Elements of the old and new are mixed together to evolve into something new. DECIBEL will be offering their designs on T-shirts.

XL Projects
307-313 South Clinton St., 443-2542
Exhibition on view:
“TONY: 2012”

SUArt Kids is an interactive art gallery experience that includes guided exhibition tours and art-related stories at the ���ϲ����� Art Galleries, designed specifically to engage families with the current exhibitions and introduce them to the world of art.

This event, geared toward kids aged 5-10, will begin with a tour highlighting the diverse work and life of artist Karl Schrag. After the tour, there will be an art-making activity in the studio space. Children and parents will construct self-portraits to explore mood, color and expression.

This event is free and open to the public. RSVPs are requested, and can be made to suart@syr.edu or the SUArt Facebook page. Parking is available in the Q4 lot.

A student of Schrag’s at Cooper Union College, Witkin will present a gallery talk and walk visitors through the exhibition of prints, drawings and paintings. A unique component of the gallery talk will be Witkin’s perspective on Schrag as a mentor and teacher, as well as an artist. Considered one of America’s most important living figurative artists, Witkin has been teaching more than 40 years, the majority of which has been at ���ϲ�����.

The exhibition “Karl Schrag: Memories and Premonitions” is the first major examination of the artist’s work since his death in 1995. The exhibition includes 70 original works of art by the influential artist, including paintings, prints and drawings. Curated by SUArt Galleries Director Domenic Iacono, the exhibition highlights numerous prints from the ���ϲ����� Art Collection, as well as loaned work consisting of paintings and drawings from the artist’s family.

“Witkin on Schrag: A Conversation with Jerome Witkin” is free and open to the public. Complete information and related programming is available by visiting the SUArt Galleries website. Parking is available on campus in the Q4 lot. Please notify the attendant you are here for the lecture in the SUArt Galleries.

More than just a survey of artwork published since 2000, “Pressing Print” is a specific examination of ULAE’s ongoing commitment to innovative approaches and techniques in contemporary printmaking. Under the direction of master printmaker Bill Goldston, experimentation is embraced in the printshops at Universal—allowing the artists and printmakers total freedom to fully realize their work. Pigmented ink-jet printing and dimensional construction is featured alongside, and many times in addition to, traditional printmaking techniques. Ultimately, the 52 works in the exhibition exemplify why Universal Limited Art Editions has been, and continues to be, a transformative force in contemporary art.

“This exhibition is very exciting to me, both as a printmaker and as an admirer of contemporary American Art,” says Andrew Saluti, assistant director of the SUArt Galleries and curator of the exhibition. “To see recent work from the likes of Jasper Johns, Robert Rauschenberg, Kiki Smith, Jane Hammond, Amy Cutler and others is a rare experience, but to also see how they embrace the full range of what can be achieved through printmaking—incorporating digital prints with etching and lithography; collage and construction with traditionally two-dimensional methods—it’s truly a unique opportunity for the ���ϲ����� community and a testament to the level of work that ULAE continues to produce.”

The show is free and open to the public. Complete information and related programming is available by visiting the official exhibition website at .

The SUArt Galleries will host a free opening night reception from 5-7 p.m. on Thursday, Feb. 2. A gallery talk will be led by Saluti starting at 4 p.m. Patrons are welcome to view the exhibition until the gallery closes at 8 p.m. The reception is open to the public.

The SUArt Galleries will present a free lecture by ULAE Director Goldston on Thursday, Feb. 23, at 6 p.m. in the Slocum Hall Auditorium. Goldston will speak about his experiences and reflect on the work selected for “Pressing Print.”

For more information, visit: ��or find us on Facebook: .

ArtRage – The Norton Putter Gallery
505 Hawley Ave., 218-5711
5–8 p.m. – Meet the Artist
Mary Lawyer O’Connor’s exhibit brings images and textiles of Guatemalan weavers together in a vibrant and colorful show.

Everson Museum of Art
401 Harrison St., 474-6064
Exhibition on view: “American Art from the Permanent Collection.”

Light Work/Robert B. Menschel Media Center
316 Waverly Ave., 443-1300
Exhibition on view: “Looking & Looking,” featuring work by Jen Davis and Amy Elkins.

The Link Gallery @ The Warehouse/ PAL Project
350 W. Fayette St.
Exhibition on view: “The World Thinks My Name is Sad,” PAL Project collaboration with P.E.A.C.E Inc.

Point of Contact Gallery
914 Genesee St., 443-2169
Opening Reception: 6:30- 9 p.m. for the exhibition “RE VISIONS.” Works by local artists Michael Burkard, Tessa Kennedy and Jay Muhlin.

Special Collections Research Library (*note, SCRC closes at 7 p.m.*)
6th Floor, E.S. Bird Library, ���ϲ�����
Featured Exhibition: “Just One Word: Plastics.: The exhibition features a representative sample of the plastics collection at the ���ϲ����� Library and presents an overview of major trends in the development of plastics in everyday life.

SUArt Galleries
Shaffer Art Building, ���ϲ�����, 443-4097
Exhibitions on view:
“Sources and Structures: The Art of Robert Stackhouse”
“Engineered Perspectives: Railroad Culture in the Modern World”
“Emilio Sanchez: No Way Home”

Szozda Gallery
501 W. Fayette St.
Exhibition on view: “Dependent Structures,” a display of mixed media paintings by C. J. Hodge III, Tom Townsley and Stephen Perrone.

Urban Video Project
Everson Museum UVP: John Knecht, “DELUGE,” 2010, and John Knecht, “ANIMA,” 2011.

The Warehouse Gallery
350 W. Fayette St, 443-6450
Exhibitions on view:
“Deng Guo Yuan” (Main Gallery)
“Black Night/White Night” by Elisabeth Meyer (Window Projects at The Warehouse Gallery, viewable 24/7 on Fayette Street)

XL Projects
307-313 S. Clinton St., 443-8070
Annual Stone Canoe art exhibition, featuring artworks by a diverse mix of artists included in the 2012 issue of Stone Canoe journal.

Sanchez (Camaguey, Cuba, 1921-New York, 1999) moved to New York from Cuba in 1944 to take art classes at Columbia and by 1952 decided to relocate there. His early pictures were inspired by the landscape surrounding his father’s plantation in Cuba and described cane fields dotted with palm trees or working-class residences and villages. Apparent in them is an interest in pattern, color and strong lighting contrasts that came to characterize his mature style.

Sanchez was well aware of the New York School and its preference for abstraction, but his was a more conservative style grounded in a Caribbean palette and architectural geometry. From the 1960s onward, his colors were often as bright and striking as any contemporary. In the region’s islands Sanchez found light, landscape and architecture that engaged his eye and compelled him to make pictures that transformed elements of each into modern geometric images saturated with color.

The SUArt Galleries are open Tuesday through Sunday from 11 a.m.-4:30 p.m., and Thursday from 11 a.m.- 8 p.m. It is closed on Monday. For more information, contact the SUArt Galleries at 443-4097, or by email at suart@syr.edu.