The Samuel Dorsky Museum of Art

Past Exhibitions: 2008 – 2010

BFA/MFA Thesis Exhibitions Fall 2010

Curated by art faculty and students

December 3–14, 2010
Alice and Horace Chandler Gallery & North Gallery

At the end of each semester, students graduating with Bachelor of Fine Arts or Master of Fine Arts degrees exhibit art work created as part of their thesis projects in the museum's west wing. Exhibitions are designed and installed by the students, under the supervision of the Curator of Exhibitions and the museum Preparator.

Grace Hartigan, Impresario, c. 1951, Oil on canvas, gift of Tibor de Nagy, 1955.012

The Illustrious Mr. X: Museum Collection as Character Study

Curated by Greg Slick and Karlos Carcamo

Volume I: August 18 – December 12, 2010, Volume II: January 26 – July 17, 2011
Morgan Anderson and Corridor Galleries

This exhibition endeavors to provide an alternative perspective on the museum's permanent collection by employing the conceit of personification. The exhibition gathers thematic groups of objects, each of which serves to bear the weight of representing a facet of a fictional life. The thematic groupings include family, relationships, food, music, travel, dreams, etc., and have the double purpose of organizing the display of selected objects and of supporting the exhibition’s overarching narrative, namely, the construction of a personality. The embodiment of personal traits is arguably what makes objects attractive, repulsive, even coherent to us. This exhibition looks at these inherent qualities to explore our personal and often complex connection to art objects and the associations that art engenders.

Thomas Albrecht, News/Print (image from performance), 2007

Hudson Valley Artists 2010: Contemporary Art and Praxis

Curated by Thomas Collins

June 26 – November 14, 2010
Alice and Horace Chandler Gallery

Annual exhibition featuring works from artists living and working in the Hudson River Valley who demonstrate how creative practice can operate in service of theory to effect changes in the real world.

Andy Warhol, Jean-Michel Basquiat, 1983, The Andy Warhol Foundation for the Visual Arts, Inc., The Andy Warhol Photographic Legacy Program, 2008.019.079

Andy Warhol: Private and Public in 151 Photographs

Curated by Reva Wolf, Brian Wallace, & Warhol Photographic Legacy & Museum Studies classes

April 10 – September 26, 2010
Sara Bedrick Gallery

Andy Warhol: Private and Public in 151 Photographs celebrates intimate moments, events, and people in Warhol's everyday life. It also chronicles his very public art world existence through the 151 Warhol photographs recently donated to the museum by The Andy Warhol Foundation for the Visual Arts.

Carolee Schneemann, Exercise for Couples, 1972, gelatin silver print with hand coloring and collage, courtesy the artist

Carolee Schneemann: Within and Beyond the Premises

Curated by Brian Wallace

February 6 – July 25, 2010
Morgan Anderson Gallery, Howard Greenberg Family Gallery, Corridor Gallery

Carolee Schneemann’s multi-disciplinary, deeply personal investigations celebrate the richness, and also mourn the loss, of deep connections between mind and body. This exhibition presents a range of works—writings, performances, films and videos, objects, installations, images—in which Schneemann has delved intensively into a place she lives and works in order to investigate the incomprehensibly complex dynamics between mind and body.

Renée Byer, from "A Mother's Journey," 2005, giclée print, courtesy the artist

Renée C. Byer: "A Mother's Journey" and Selected Photographs

Curated by Brian Wallace

January 30 – April 11, 2010
North Gallery

Hudson Valley native, Renée Byer won the 2007 Pulitzer Prize for Feature Photography for “A Mother’s Journey,” an intimate portrayal of a single mother’s emotional and financial struggle as her son battled neuroblastoma, a rare form of childhood cancer. This exhibition includes thirty works from “A Mother’s Journey.” The exhibition also includes a selection of other works—single photographs and images from other series—completed by the artist in recent years. The projects included in this grouping address, among other issues, the political, ethical, and personal aspects of hunger, disease, and the uneven distribution of wealth.

BFA/MFA Thesis Exhibitions Spring 2010

Curated by art faculty and students

April 30 – May 25, 2010
Alice and Horace Chandler Gallery & North Gallery

Alberto Giacometti, Man, (from "Derriere le Miroir"), ca. 1961, lithograph, museum purchase, 1966.012

Body, Line, Motion: Selections from the Permanent Collection

Curated by Amy Lipton

January 30 – April 11, 2010
Alice and Horace Chandler Gallery

This exhibition, part of an ongoing series of reinterpretations of the museum’s collections, includes works depicting human and animal forms that emphasize movement, dance, and ritualistic activity. Archetypal imagery, radical self-expression and the presence of art history in recent and contemporary are are theme exemplified by such exhibit highlights as an Egyptian bronze cat, a pre-Columbian terra cotta jaguar relief, a standing femial figure from the anient Near East, and 20th century works on paper by Alberto Giacometti, Lee Krasner, and Robert Rauschenberg.

BFA/MFA Thesis Exhibitions Fall 2009

Curated by art faculty and students

December 4–15, 2009
Alice and Horace Chandler Gallery & North Gallery

TOP: Greg Miller, West Bank of the Hudson, 2009. BOTTOM: Hudson River Day Line, West bank of the Hudson at Poughkeepsie, from "Panorama of the Hudson" Showing Both Sides of the River from New York to Albany, before 1910

Panorama of the Hudson River: Greg Miller

Curated by Brian Wallace

July 11 – December 13, 2009, February 6 – March 28, 2010
Sara Bedrick Gallery

A new, large, photographic documentary of both sides of the Hudson River, from New York Harbor to Albany, commissioned by the Museum and modeled on the classic painted, engraved, and photographic views of the river in the 1910 "Panorama of the Hudson."

In honor of the 400th anniversary of Henry Hudson’s voyage of discovery on the river that now bears his name, Panorama of the Hudson River juxtaposes G. Willard Shear’s 1910 photographs with those of renowned Hudson Valley photographer Greg Miller, combining two extraordinary feats of photographic artistry and providing an important record of changes that have occurred along the river since the Hudson Tricentennial celebrations of 1909.

The original photographic panoramas were sold as souvenirs aboard Hudson River Day Liners, grand steamships that plied the river between 1863 and 1948. According to the text in the 1910 edition, Shear’s east- and west-bank panoramas are comprised of 800 photographs. Despite strides in technology since then, Greg Miller took considerably more shots—as many as 2,500—for this updated edition, and even with the aid of a computer he probably spent more time matching up his prints than Shear did in constructing the original panoramas. Blame for that can be laid, in part, on the plethora and size of new buildings along the shore, primarily in and around Manhattan, which play havoc with angles while shooting from the deck of a moving boat. But Shear also had the benefit of the Day Liners, which maintained a regular schedule and a more or less constant speed, while Miller was at the mercy, not to mention generosity, of boat owners who were intrigued with the project. In the end, the variety of craft on which he made the 140-mile journey—the 80-foot schooner Adirondack; Launch 5, a former New York City Police Department harbor patrol boat; and the Serenity, an electric-powered vessel—says much about the Hudson’s continued vitality.

Asher Brown Durand, Adirondack Mountains, N.Y., ca. 1870, oil on canvas, New-York Historical Society, gift of Nora Durand Woodman, 1932.10

The Hudson River to Niagara Falls: 19th-Century American Landscape Paintings from the New-York Historical Society

Curated by Dr. Linda S. Ferber

July 11 – December 13, 2009
Morgan Anderson Gallery, Howard Greenberg Family Gallery, Corridor Gallery

This exhibition presented 45 landscape paintings by Hudson River School artists selected from the permanent collection of the New-York Historical Society (N-YHS). The paintings highlighted 19th century views of specific sites along the Hudson River, from Manhattan through the Hudson Valley and on to Niagara Falls by way of the Erie Canal.

Greg Miller, Storm King from Little Sugarloaf, 2007, archival pigment print, courtesy the artist

The Hudson River—A Great American Treasure: Greg Miller

Curated by Brian Wallace

September 19 – November 29, 2009
Alice and Horace Chandler Gallery

This exhibition presented twenty recent color photographs of Hudson Valley landscapes by Orange County, NY-based photographer Greg Miller. Depicting views of the river and environs from New York City's George Washington Bridge to the river's small upstate tributaries, Greg Miller's views of well-known-and less well-known-vistas capture the complexity of this important tourist destination, venue for trade and industry, and site of this country's first significant conservation efforts. Many of the photographs in the exhibition-some in panoramic (wide) format; some standard-were recently published in "The Hudson River: A Great American Treasure," a book Greg Miller published in association with the non-profit organization Scenic Hudson with a foreword by environmentalist and writer Bill McKibben.

Hoegen&Stikker, Smoke no smoke (still), 2009, slide projection and video projection (color transparencies, slide projector; digital video, dvd player, video projector), courtesy of the artists

Inscription: Hoegen&Stikker (Philippine Hoegen and Carolien Stikker)

Curated by Brian Wallace

September 19 – November 29, 2009
Alice and Horace Chandler Gallery & North Gallery

Inscription was an artist-residency-based multimedia investigation of perception, representation, and the Hudson River by Amsterdam-based artists Philippine Hoegen and Carolien Stikker. The exhibition was commissioned by the Dorsky Museum as part of an artist residency program celebrating the 400th anniversary of Henry Hudson’s exploration of the Hudson River.

The exhibition, an artistic investigation of naming and perceiving that takes as its starting point the naming, mapping, and defining of the Hudson River, addresses fundamental questions about how we perceive and represent the world.

Installation view

Hudson Valley Artists 2009: Ecotones and Transition Zones

Curated by Brian Wallace

June 13 – September 6, 2009
Alice and Horace Chandler Gallery & North Gallery

The Dorsky's 2009 exhibition of work by emerging area artists surveys connections between culture and environment. Museum curator Brian Wallace selected 21 artists/artist teams from the mid-Hudson Valley and organized an exhibition featuring artwork, information, presentations, activities, and other projects connecting global issues such as sustainability, ecological awareness, and bioethics to our immediate surroundings.

Michael Asbill, Robert Capozzi, Robert Capozzi / Lorrie Fredette / Dylan McManus / Laura Moriarty / Jill Parisi, Ryder Cooley, Dick Crenson, Simon Draper / Habitat for Artists, Dana Duke, Beth Humphrey, Heather Hutchison, Tanya Marcuse, Susan Miiller, Wayne Montecalvo, Itty Neuhaus, Franc Palaia, J. Gilbert Plantinga, Emily Puthoff, Jill Reynolds, Ryan Roa, Camilo Rojas, Thomas Sarrantonio, Ida Weygandt

BFA/MFA Thesis Exhibitions Spring 2009

Curated by art faculty and students

April 25 – May 20, 2009
Alice and Horace Chandler Gallery & North Gallery

Ben Bishop, The Birthday Party, 1968, acrylic on canvas, gift of the artist, 1968.015.005

Analog Catalog: Investigating the Permanent Collection

Curated by Brian Wallace

February 14 – June 14, 2009
Morgan Anderson Gallery and Corridor Gallery

This exhibition presents objects from the The Dorsky's permanent collection displayed in a variety of groupings. Each of these groupings is designed to provide new perspectives on the works displayed and to draw attention to the strategies that museums use to present and contextualize objects.

Eva Watson-Schütze, Untitled (Old woman and child), ca. 1905, platinum print, 2007.040.028

Eva Watson-Schütze: Photographer

Curated by Neil Trager

February 14 – June 14, 2009
Howard Greenberg Family Gallery

Eva Watson-Schütze worked with Alfred Stieglitz, among other essential figures in the history of American photography, and in 1902, she became a founding member of the Photo-Secession, organized by Stieglitz to promote aesthetic photography. Watson-Schütze's rich, soft-focus platinum prints were featured in some of the major exhibitions of the time. Important examples of Schütze's photographs from all phases of her career are included in this exhibition.

Bradford Graves, Dolphy 1, 1973, limestone, courtesy Verna Gillis

Bradford Graves: Selected Works

Curated by Brian Wallace

February 14 – June 14, 2009
Sara Bedrick Gallery

A selective exhibition of Graves' large- and medium-scale sculptural works and several sets of his works on paper. Works from Graves' "This Mirror Can Crack A Stone" series meld resonant ancient awareness with acute psychological subtleties. The "Loud in the Blood" series, with its elliptically archaic and codedly scientific iconography, embodies Graves' ability to portray deep contradictions in his work-these sculptures and drawings refer simultaneously to anthropomorphized beasts and to magnified views of the human circulatory system. Other sculptural works in the exhibition, which explore the properties of stone, metal, and other materials, are both coded self-portraits overlaid with sets of references of great importance to the artist as well as deft and thoughtful studies of movement and form.

Maggie Sherwood, Village Cigars, n.d., hand-painted gelatin silver print, courtesy Floating Foundation of Photography

Taking a Different Tack: Maggie Sherwood and the Floating Foundation of Photography

Curated by Beth Wilson

January 24 – April 8, 2009
Alice and Horace Chandler Gallery and North Gallery

In 1969, photographer Maggie Sherwood—whose circle included notables such as W. Eugene Smith, Lisette Model, Arthur Tress, Lilo Raymond, and David Vestal—bought and renovated a houseboat where she staged photography shows that received significant critical attention. Painted purple and moored at the 79th Street Boat Basin, the Floating Foundation of Photography, as it came to be known, was not only a unique space for artists to meet and discuss their work but also became a mobile exhibit space as it chugged (or was towed) to just about any community with a functional dock along the Hudson River. Taken together, the Foundation’s collection documents the historical, political, and aesthetic contexts of the turbulent 1970s and early 1980s, and this exhibition catalogue includes more than fifty photographs as well as essays by well-known photography critic A. D. Coleman and exhibition curator Beth E. Wilson.

BFA/MFA Thesis Exhibitions Fall 2008

Curated by art faculty and students

December 5–15, 2008
Alice and Horace Chandler Gallery & North Gallery

MFA: Ju-hee Jang | Ming-Jen Hsu | Meng-Hsuan Wu

Lilo Raymond, Oyster Shells, 1971, gelatin silver print, gift of the artist, 1996.010.012

Lilo Raymond: An Elegant and Natural Light

Curated by Neil Trager

October 11 – December 14, 2008
Howard Greenberg Family Gallery

Lilo Raymond, a long-time resident of the Hudson Valley, has worked as a professional and fine art photographer for more than three decades. She began exhibiting her work in New York City in 1977 after studying with the renowned teacher David Vestal. Her personal work is defined by its sensitivity to light and often a unique high-key tonal range, which evokes an elegant vision and a quiet beauty. This exhibition is selected from photographs in the Dorsky Museum permanent collection and includes many recent acquisitions.

Zulma Steele, Byrdcliffe, ca. 1914, oil on board, collection of the Byrdcliffe Art Colony of the Woodstock Byrdcliffe Guild, Aileen Cramer Fund in memory of Aileen B. Cramer

Made by Hand: Drawings, Paintings, Photographs, and Prints from the Byrdcliffe Art Colony

Curated by Neil Trager

October 11 – December 14, 2008
Corridor Gallery

The Byrdcliffe artists' colony was founded in Woodstock, NY between 1902-1903 by Jane and Ralph Whitehead, Hervey White and Bolton Brown. Inspired by the philosophies of John Ruskin and William Morris, Byrdcliffe sought to create an idyllic life of self-sufficiency through the creation of handmade furniture, ceramics, jewelry, and textiles. The works on view in this exhibition are on extended loan to the Dorsky Museum from the Woodstock Byrdcliffe Guild, Arthur A. Anderson, and Douglas C. James.

Unknown artisan, Untitled (A Muslim saint carried in a basket), ca. 1830, North India, opaque watercolor, gift of Daniel J. Ehnbom, 1991.004

Reading Objects 2008

Curated by the Dorsky Museum staff

March 29 – December 14, 2008
Sara Bedrick Gallery

Part of an ongoing interdisciplinary series featuring works from the Museum’s collection accompanied by texts written by University faculty and staff, Reading Objects was initially developed as a way to engage members of the campus community with works of art in the collection by writing about them. As lengthy labels that accompany the works of art, the writings serve to heighten the response of the viewer and introduce aspects of the work that might otherwise go unnoticed.

Berenice Abbott, Warehouse, Water & Dock Streets, Brooklyn, 1936, gelatin silver print, 1993.001.018

Defining Art: Recent Acquisitions 2005-2007

Curated by The Dorsky Museum staff

February 2 – December 14, 2008
Morgan Anderson Gallery

Defining Art presents more than 50 works of art selected from the 250 objects received during the stated time period. Included are works in a variety of media by Berenice Abbot, Eugene Atget, Henri Cartier-Bresson, Sandro Chia, Sharon Church, Mark Goodman, Lisa Gralnick, Mamette van Hamel, Stuart Klipper, Reagan Louie, Lilla LoCurto & William Outcault, Henry Moore, Don Nice, Nathan Olivera, Earl Pardon, Robert Rauschenberg, Larry Rivers, Jan Sawka, Josef Sudek, and others.

Jamie Bennett, Florilegium 1, 2002, enamel, copper, gold, collection of Anne and Ronald Abramson

Edge of the Sublime: Enamels by Jamie Bennett

Curated by Jeannine Falino

September 27 – November 16, 2008
Horace and Alice Chandler Gallery and North Gallery

Edge of the Sublime represents the first-ever retrospective of works by one of the most important enamelists working today. This exhibition explores the artist’s creative use and development of a variety of enameling and metalworking techniques to produce highly color-saturated imagery on signature brooches, necklaces and pendants. Curated by Jeannine Falino, former Carolyn and Peter Lynch Curator of Decorative Arts, Museum of Fine Arts, Boston, Edge of the Sublime debuted at Fuller Craft Museum in Massachusetts before traveling to the Dorsky and museums nationwide through 2010.

Randy Green, Untitled, n.d., chromogenic print, collection Center for Photography at Woodstock, CPW1995.090

All Hot and Bothered: Photographs from the Center for Photography at Woodstock

Curated by Ariel Shanberg, CPW executive director, and Brian Wallace, the Dorsky curator

June 27 – September 28, 2008
Howard Greenberg Family Gallery

This exhibition, featuring photographs related to the summer season, explores connections between privacy and expressivity, two typically distinct states of mind that often intersect in the summer. These thirty-five photographs were selected from over one thousand three hundred works in the permanent collection of the Center for Photography at Woodstock (CPW), which is on extended loan to the Dorsky Museum through a collection-sharing partnership established in 1995.

Summer’s intensity arises, in part, from the season’s emphasis on self-conscious exposure and frankly camera-aware posing—postures found (on both sides of the camera) in some works in the exhibition. Others capture the heat thrown off by the effort of negotiating physical obstacles and formal constraints; these photographs—abstractions and obstructions—refuse to give everything up to the viewer. Other photographs depict physical or psychological agitation of one kind or another: landscapes tortured by heat from above or below, and venues for and scenes of pleasure marked by actual or feigned tensions that hint at the heat and disturbances of summer. Still other photographs reveal private moments, intimate encounters, and personal realizations: a group of works depicting single, paired, absent, and linked bodies suggests summer’s languorous suspension of time and the drama of the season’s individual moments, and a group of works featuring visual and textual statements of identity embodies the power unleashed in declarations of self made, heatedly, with joy, anger, pride, or bravado.

Graham Taylor, Yongka Sunset, 2008, Acrylic on canvas, courtesy the artist

Noongar Boodja: Contemporary Aboriginal Art, Ecology and Culture

Curated by Alice Wexler

July 11 – September 28, 2008
Corridor Gallery

For the Noongar people of South-western Australia the word boodja means "land" or "home." This exhibition features paintings by three Noongar artists – Athol Farmer, Troy Bennell, and Graham Taylor – inspired by drawings of the Stolen Generation of Aboriginal children who were incarcerated at the Carrolup Native Settlement in Katanning in Western Austrialia. In works reflecting the Carollup Style that had developed at the Carrolup Settlement, these artists explore the complex relationship between Noongar culture, landscape, and history.

Robert The, The Medium is the Message, 2006, altered book: “The Medium is the Massage”, first edition, Marshall McLuhan, Quentin Fiore, courtesy the artist

Hudson Valley Artists 2008: The Medium is the Message

Curated by Denise Markonish

June 6 – September 7, 2008
Alice and Horace Chandler & North Galleries

In 1964 philosopher Marshall McLuhan coined the phrase “The Medium is the Message.” This was a turning point in society’s increasing awareness of the powers of the technological world. McLuhan’s now iconic term posits that the medium (in his case television) actually creates meaning; his phrase can also be taken in a more literal way. This alternate read gets to the heart of the matter…the idea that meaning can be found in specific choices one makes in the materials used to present ideas to the public. Hudson Valley Artists 2008 takes McLuhan’s idea that the medium is the message and expands it to include all forms of artistic expression in which the medium is integral to the meaning of the finished work. From painting, sculpture, and photography to video, web projects, and installations, the artists explore the materiality of art-making and the meaning inherent in their choice of media. Juried by Denise Markonish, curator at MassMoCA in North Adams, Massachusetts. Artists exhibited: Kathleen Anderson, Allen Bryan, David Bush, Deborah Davidovits, Tasha Depp, Dara Greenwald, Matthew Harle, Christopher Haun, Roman Hrab, Tatana Kellner, Iain Machell, Laura Moriarty, Carrie Scanga, and Robert The.

Sarah Abramson, Abandonment, 2008, copper, graphite varnish, stainless steel, courtesy the artist

BFA/MFA Thesis Exhibitions Spring 2008

Curated by art faculty and students

April 25 – May 20, 2008
Alice and Horace Chandler Gallery & North Gallery

Lewis Hine, Powerhouse Mechanic, 1920, gelatin silver print, courtesy Howard Greenberg Gallery

A Discerning Vision: Photographs from the Collection of Howard Greenberg

Curated by Howard Greenberg and Neil Trager

March 28 – June 22, 2008
Howard Greenberg Family Gallery

A Discerning Vision: 25 Photographs From the Collection of Howard Greenberg was inspired by an exhibition developed by Michael Torosian and Howard Greenberg on the occasion of Howard’s 25^th anniversary as a dealer of vintage photographs, which was comprised of twenty-five prints, one for each year being commemorated. The photographs there, and here, were selected by Howard from his personal collection, the principal criterion, according to Torosian, being “the memories that the images evoked” as Howard surveyed the collection. In the exhibition each picture was paired with a text panel comprising Howard’s commentary characterized by Torosian as “combination of scholarship and stream-of-consciousness.” Featured artists: Consuelo Kanaga, William Klein, Sid Grossman, Lewis Hine, Saul Leiter, Leon Levinstein, and more.

Lida Abdul, Brick Sellers of Kabul, 2006, [video still] 16 mm film transferred to DVD (video projection), courtesy Giorgio Persano, Turin

Intimacies of Distant War

Curated by Brian Wallace

February 8 – April 13, 2008
Alice and Horace Chandler Gallery

This exhibition, an attempt to put the current war on view and in context, brings together past and current work by Lida Abdul, Leon Golub, Daniel Heyman, Mark Hogancamp, An-My Lê, Steve Mumford, Yoko Ono, and Carolee Schneemann, artists, in disparate but connected ways, investigate the intimate emotional impact of distant conflicts.

Allen Ginsberg, W.S. Burroughs (W.S.B. in Egyptian Museum exhibition), 1953, gelatin silver print, gift of Howard Greenberg, 2004.038.045

Beat and Beyond: Photographs by Allen Ginsberg

Curated by Wayne Lempka

March 28 – July 6, 2008
Corridor Gallery

The twenty-five works in this exhibition, drawn from the SDMA's permanent collection, reveal Ginsberg's gutsy and raw approach to recording his life, one intertwined with a generation of writers who formed the core of a new American subculture. Included in this exhibition were classic portraits of William Burroughs, Jack Kerouac, Neal Cassady, Dr. Timothy Leary, and others. Beginning in the 1980s Ginsberg had his original snapshots enlarged so that he could record on them, in his own handwriting, the events he remembered occurring at the time the images were created. A number of these annotated images were in the exhibit.

Kerr Eby, Constant, n.d., drypoint on paper, bequest of Edward Coykendall, 1957.001.031

The Feminine Image: Art from the Coykendall Collection

Curated by The Dorsky Museum and students from the Introduction to Museum Studies class

February 8 – April 13, 2008
North Gallery

A thematic exhibition of prints and drawings organized by SUNY New Paltz Introduction to Museum Studies students Crystal Diaz, Jennifer May, Hannah Van Wely, and Einav Zamir.

The word “museum” comes from the Greek mouseion, meaning “seat of muses.” Originally a place where philosophy was discussed, the museum has transformed the storage houses of collectors into homes which unite culture with research and knowledge. Likewise, a “muse” as the Greek progeny of the goddess of memory has developed into the romantic concept of artistic inspiration, sometimes representing actual individuals. This academic idea of the muse meshed with humanity’s innate interest in depicting human form, expresses itself in the late 1800’s and early 1900’s. The women revived here illustrate a unique blend of historically constrictive gender roles and the beauty of freedom and romantic mystery.

John Frederick Kensett, Cattskill [sic] Mt., ca. 1849, graphite on paper, courtesy Dia Art Foundation, on extended loan to The Frances Lehman Loeb Art Center, 80.296

Hudson River School Drawings from the Dia Art Foundation Collection

Curated by Patricia Phagan

January 23 – March 16, 2008
Corridor Gallery and Howard Greenberg Family Gallery

A large collection of drawings and oil sketches representing artists of the Hudson River School was assembled by the minimalist artist Dan Flavin with the help of the Lone Star Foundation. Drawn from this collection, this exhibition included important drawings and oil sketches by John Kensett, Aaron Draper Shattuck, Sanford Gifford, Jasper Cropsey, and James David Smillie. The exhibition was organized by Patricia Phagan, Philip and Lynn Straus Curator of Prints and Drawings at The Frances Lehman Loeb Art Center, Vassar College.

Grace Wapner, Scholar's Garden XI (medusa tree through rock with club foot), 2003, clay, courtesy the artist

Grace Bakst Wapner: A Scholar’s Garden

Curated by Brian Wallace

January 23 – March 16, 2008
Sara Bedrick Gallery

Contemplating the Scholar's Rock, or Gonshi (spirit stone) is a practice in China that goes back as far as the Song Dynasty (960-1270). Special rocks, prized for their unusual form, color, and material were brought indoors and placed on what were someteims elaborate pedestals for the contemplation of scholars. Wapner's ensemble of 12 clay, hand-painted sculptures are based upon this Woodstock-based artist’s ruminations on natural forms as inspired by this ancient tradition.

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