Duane Linklater/From Our Hands
With Ethel Linklater and Tobias Linklater
This exhibition features a series of new works including a large-scale architectural intervention that runs through all five galleries. This structural response explores the internal language of walls, the spaces for the Indigenous body, and how spaces of inclusion can be extended. The introduction of works by Duane’s late paternal grandmother Ethel Linklater and his twelve-year old son Tobias unearths his familial framework, the migration and exchange of knowledge and ideas, and their consequences. This exhibition is presented in collaboration with Mercer Union, Toronto.
On view December 8, 2016 - Februrary 18, 2017.
Opening Reception: December 7, 2016, 6-8pm
80 Washington Square East
New York, NY 10003
Grey Art Gallery
NYU Steinhardt faculty member Melissa Rachleff-Burtt has curated a major exhibition in conjunction with the Grey Art Gallery that examines the New York art scene during the fertile years between the apex of Abstract Expressionism and the rise of Pop Art and MInimalism. This is the first show ever to survey this vital period from the vantage point of its artist-run galleries- crucibles of experimentation and innovation that radically changed the art world. The exhibition includes work by artists ranging from such well known figures as Mark di Suvero, Jim Dine, Red Grooms, Allan Kaprow, Alex Katz, Yaoi Kusama, Claes Oldenburg, and Yoko Ono to artists who deserve to be better known, such as Ed Clark, Emilio Cruz, Lis Dodd, Rosalyn Drexler, Sally Haelet Drummond, Jean Follett, Lester Johnson, Boris Lurie, Jan Müller, and Aldo Tambellini.
Suggested donation of $3; NYU students, faculty and staff free of charge
Barney Building Galleries
DEPT: A Call to Action and Solidarity
NYU DEPT. is a student-led collective for people of color within the NYU Steinhardt's Arts and Art Professions department. This Wednesday from 5-7pm, we invite visitors and peers alike to gather and join us in building solidarity. This is a continuation of our interventions and meetings in the Rosenberg gallery. This is another step towards our goals of cultural freedom, authorship and decolonization.
This event will create a space for the discussion of solidarity and decolonization, and serves as a zine launch, featuring artworks and statements by various members of DEPT.
This event is happening in conjunction with the opening of jux·ta·po·si·tion, an exhibition highlighting the works of african-american faculty, staff, alumni and current students within NYU Steinhardt's Department of Art and Art Professions.
Opening Reception Wednesday, Feburary 15, 5-7pm
This is a group exhibition highlighting the works of african-american faculty, staff, alumni and current students within NYU Steinhardt's Department of Art and Art Professions. In commemoration of Black History Month, this show will explore what it means to exist as a black visual artist in the height of an inherently political and poignant time in American History. Curated by Lonnie Woods III.
Opening Reception: Wednesday, February 15, 5-7pm
Dark Matters Without Time
Dark Matter is enigmatic. It generates a gravitational field but does it without emitting light. We also know it exists by how it affects the movement of other things. Art is mysterious. It stops time…for a moment or more we experience lightness, a relief from the responsibility of knowing. This suspension is a visit with our immortality. We feel less fear and more free. To stop time is the function of art.
This installation by John Torreano is to honor his 25 year collaboration with NYU and the Department of Art and Art Professions.Curated by Hugh O’Rourke.
Chris Albert Lee has created a series of sculptural works which aim to undermine the solidity of structures, and apply a certain sense of temporality to the permanent. Lee’s work creates a tension between these dichotomies by setting up a series of ‘walls’ or ‘gates’ in order to prod at the archetypal use of space, and comment on the issue of access within these categories of spatial operation.
Lee’s structures, whose foam makeup undercuts their commanding stature, establish a liminal space that operates outside the pre-established walls of the institution. They also confront the concept of entropy in their aesthetic turn towards ruin and decay. Taking inspiration from the writings of James Meyer and Robert Smithson, Lee engages with the notion of ‘entropy as monument’, which played an important role in Smithson’s artistic practice.
This work is an exploration of the historical use of space and its demarcation between the public and private, the sacred and profane, and what, if anything, could exist in between. Lee achieves this through the juxtaposition of imposing, structural forms, and comedic, fanciful imagery. The work’s exhibition in the Broadway windows, a storefront style window, invokes a melding of spatial categories; incorporating the exterior with interior, commercial with non-commercial.
On view 24/7 on the corner of Broadway and 10th Street.