Wednesday, October 31 2012
In the Rio Grande River Valley of central New Mexico and eastern Arizona, the Pueblos, a people spread over 19 communities, continue to practice their ancient art of pottery-making. Descendents of the Anasazi, the Pueblo People, still use the traditional coiling methods and decorative patterns that have distinguished their work for centuries..
This exhibit compares and contrasts the unique style of each Pueblo community and highlights individual artists who have shaped this timeless craft.
The museum is open Monday through Saturday from 10:00am - 5:00pm* and Sunday 12:00pm to 5:00pm * *Last admission 4:30pm
A new series of work reflecting the uncertainty, vulnerability and hope for restoring today’s cultural climate in 2- and 3-D media. The series title also alludes to the artists family name before it was Anglicized in the early 1900’s to better fit into American society. Close examination reveals hints of lace designs in her artwork, an emblem of a long-held family business.
GALLERY HOURS: Wednesday – Saturday: 12 p.m. – 5 p.m.; Sunday: 1 p.m. – 5 p.m.
September 23rd through November 3rd, 2012
In the ongoing celebration of our 90th year, the historical exhibition will highlight selections of works from the founding members of Silvermine Arts Center. Included in the exhibition will be works by such artists as Daniel Putnam Brinley, Solon Borglum, Berhard Gutmann, Howard L. Hildebrandt, Murray McKay, Addison Miller and Charles Rieffel.
DATE: September 23rd through November 3rd, 2012
GALLERY HOURS: Wednesday – Saturday: 12 p.m. – 5 p.m.; Sunday: 1 p.m. – 5 p.m.
The Arts Council of Greater New Haven presents an exhibition of works by Connecticut artists Joan Fitzsimmons, Laura Barr, Alexis Neider, Barbara Marks, and Lisa Hess Hesselgrave.
The exhibition will take place at Katalina’s cupcake shop at 74 Whitney Avenue, New Haven, and will be on display from September 10th until November 2nd, 2012. Katalina’s is open to the public during business hours, Monday to Friday, 8:30 a.m. to 7 p.m., and Saturday from 9 a.m. to 6 p.m.
An artists’ reception is scheduled for Tuesday, September 18, from 5 to 7 p.m. The public is invited to attend. Refreshments and light appetizers will be served, including cupcakes, of course!
The exhibit will feature artwork that revolves around the theme of food, including colorful and playful paintings of indulgent breakfasts and black and white photographs of emptied glasses. The exhibition, curated by our Director of Artistic Services & Programs, Debbie Hesse, brings together all the abundance and the lack that the theme summons within all of us, roughly three times a day.
This exhibition will also complement the Arts Paper’s September issue “The Art of Food,” which will highlight local culinary talent, delve into international eating trends, discuss food documentaries, and goes behind-the-scenes in the article “The Ballet of Service.”
For more information about this exhibition and the Arts Paper, call the Arts Council at (203) 772-2788. High-resolution images are available upon request.
The Arts Council of Greater New Haven, publisher of The Arts Paper, is a regional nonprofit arts agency that provides leadership to and advocates for member artists and arts organizations and connects them to one another, to audiences, and to the Greater New Haven community. Visit the Arts Council online at newhavenarts.org.
Featuring first sculpture in residence: Ken Price, Doola (2011) On view September 22 – November 30, 2012
Open Thursday – Monday, 9:30 a.m.–5:30 p.m.
Tickets start at $30, including tour of the site.
Amy Browning’s exhibit, SOUNDING THE SILENCE, contains new work that is an exhilarating revelation of order within disorder. Pre-ordained rules yield to the mysterious needs of the canvas. The title and theme for Joe Saccio’s exhibit, MEMORY AND TRANSFORMATION, stems from his discovery when working on a four foot by twenty-foot section of a hollow black oak tree trunk. The artist divided the old hollow trunk into three six foot sections and split each vertically to create three triptychs, or three open books revealing the old tree’s inner life and history.
In today’s anarchic media flux, governments and traditional media empires have lost much of their power to dictate what we see and believe. This erosion is the subject of Paul Qaysi’s recent work in which he scavenges, cuts, pastes and animates digital images from a variety of sources, interrogating the production of authority and truth.
The Arab Spring uprisings flared up with the aid of digital technologies and social media. Investigating these historic events in “Actual Dots,” Qaysi recycles, connects and dismantles official images of recently overthrown dictators. Portrait stills captured from YouTube are reduced to dot screens. The screens shift and dots enlarge, evoking newspapers, bullet holes and abstract painting. The more close-up the images of these corrupt leaders, the more meaningless they become. As the photos disintegrate, the floating dots form moiré patterns that briefly resemble Islamic tile designs, and we hear a multi-track sound collage of passionate crowds. By making a shorter version of the videos available for download as a screen saver, Qaysi invites viewers to look closer, participate and even celebrate in the corruption of these official images.
In “Drawdown,” an official photo of armed U.S. marines exiting a destroyed building, the soldiers slowly melt before our eyes in animated layers–but the ruins behind them remain. Digitally isolating the soldiers, Qaysi animated a single frame. Primed by video games and film on how to react to this type of image, we expect sudden violence, but Qaysi elects a slow-burning approach that gives viewers time to think, time we usually do not spend before a single photo of this kind.
Attuned to temporal questions, Qaysi investigates the speed of world events, and our understanding of them and their long-term effects. He incites viewers to consider how we receive the news, what we choose to view, and the blurry line between information and entertainment.
Paul Qaysi was born in 1963 in Baghdad, Iraq, and lives and works in Brooklyn, NY. He received his B.F.A. in sculpture from Pratt Institute in Brooklyn, NY and M.F.A. in Program in Advanced Photographic Studies from Bard College-International Center of Photography in New York, NY. Exhibitions include Rita K. Hillman Education Gallery, ICP, New York (2012); Frankfurter Kunstverein, Frankfurt, Germany (2012); Rita K. Hillman Education Gallery, ICP, New York (2010); DUMBO Arts Festival, New York (2010); JGS Forward Thinking Museum, location?, (2009); 25 CPW Gallery, New York (2009); ICP-Bard MFA Studio, Long Island City, NY (2009); and Rita K. Hillman Education Gallery, ICP, New York (2009).
Pegasus Gallery is located within the library on the first floor of Chapman Hall
Screen time schedule will be posted and updated at: http://www.mxcc.commnet.edu/Content/PAUL_QAYSI_A_SEA_OF_PATTERNS.asp
The Niche is located in Founders Hall across from the Registrar’s Office.
Hours: Mondays- Thursdays 8:30am-6pm & Fridays 8:30am-4pm.
For more information please contact:
Matthew Weber, Art Curator
860.343.5806, [email protected]
Franklin Street Works presents the original exhibition Working Alternatives: Breaking Bread, Art Broadcasting, and Collective Action, on view from October 27, 2012 - January 13, 2013. The exhibition looks at three threads of alternative art space histories and examines how engaged, inclusive strategies are still being used to break down perceived barriers between contemporary art and its audiences. The themes covered in Working Alternatives are conviviality and food, artists who use media (newspapers, television, and radio) as platforms for artworks, and artist collectives in the US, explored through an open archive gathered specifically for this exhibition.
Originally Working Alternatives was designed to be the backdrop for our first annual fundraiser, but Franklin Street Works is postponing that event until the spring so the indoor/outdoor extravaganza will coincide with warmer weather and have less proximity to long-standing regional art events. If you saved the date for our fundraiser, however, don’t despair and keep it on your calendars – there is still a party! Working Alternatives will open on the same night, October 27, from 5 p.m. -8 p.m. with a free, public reception. The evening will include a lively performance of San Francisco artist Tom Marioni’s “Drinking Beer Sonata with 13 Players” where thirteen people will create music by blowing into beer bottles based on Marioni’s instructions.
For Working Alternatives, curators Mackenzie Schneider, Terri C Smith, and Jess Wilcox explore three threads of alternative art platforms and production: conviviality and food as components in alternative art space programming and mission (Wilcox); artists using media such as radio, television, and newspapers as alternative venues for presenting work (Schneider); and artist collectives presented in a living archive with weekly changing exhibitions using archive materials (Smith). In addition to historical examples, the exhibition also includes original artworks by contemporary artists that reflect and expand on the showʼs themes. Working Alternatives’ artists include: Paul Branca, Jaime Davidovich, ESP TV, Group Material, Ann Hirsch, Tom Marioni, Anna Ostoya, Legacy Russell, Chris Sollars and Jerome Waag. Franklin Street Works is also excited to collaborate on several off-site artworks, including the live radio broadcast of an Ann Hirsch performance on WPKN, Bridgeport, and collages by Anna Ostoya in the Stamford Advocate via four, monthly ads during the show’s run.
Music & Public Life: instrumental influence: a discussion of musical trends in political advertising
Using Data from the Wesleyan Media Project, this presentation will analyze the content of current political ads and the types of music they contain. The discussion will highlight music’s role in political advertising today and the emotions they help convey, and will include numerous audio/visual examples from the 2010 midterm elections and the 2012 presidential election.