06 / Gallery Events

Description:

The New York Center for Arts and Media Studies (NYCAMS) is pleased to present a performance by Lilibeth Cuenca Rasmussen in conjunction with the exhibition Incarnational Aesthetics, organized by Stamatina Gregory and Jenny Jaskey.

Under the title "How to Break the Great Chinese Wall," Cuenca Rasmussen presents an array of re-enactments of historical works of performance art. The title refers to "The Lovers, The Great Wall Walk" (1988), a performance by the artist duo Ulay and Marina Abramovic to mark the end of their twelve-year collaboration. For 90 days, the artists walked from opposite ends of the Great Wall of China before meeting one another for the last time.

By invoking this well-known farewell performance, Cuenca Rasmussen signals a watershed moment in her own work—a confrontation with performance history, gender politics, and concepts of authenticity through ruthless sampling and humorous reconstruction. A continuation of a performance begun at the opening of Incarnational Aesthetics, Cuenca Rasmussen stages a series of performances in rapid succession, including a reinterpretation of John Lennon and Yoko Ono’s Bed-In (1969).

Description:

Exhibition opening:  October 23, 2009, 6-9 p.m. with performances by Lilibeth Cuenca, Jeffrey Porterfield, Rachel Mason, and Mathieu Briand.

Incarnational Aesthetics brings together a number of contemporary artists who explore themes of interrogating and deconstructing the boundaries of public and private between self and other through means of embodiment or role play. The pieces in this exhibition turn inward using different means to represent, embody, and empathize with a specific person or entity, exploring the formation of subjectivity while testing its limits. Through performance, video, photographs, and works on paper, Incarnational Aesthetics problematizes iconic moments, underrepresented histories, the raced and gendered politics of representation, the focus of media culture on simultaneous idol worship and destruction, and the relationship of identity to the state.

Description:

New Form Perspective’s (N:F:P) Spring 2010 series will be presented at NYCAMS Gallery. Designer Gail Travis's Body Mapping series showcases a collection of interconnected clothing and accessories in cotton, linen, and fine jersey knits that utilize basic geometric and architectural forms. The Body Mapping concept emphasizes freedom of expression through change and connectivity by featuring fluid lines and curves that follow through the fabric shape in order to create a number of unique wearable options.

Description:

The New York Center for Art & Media Studies (NYCAMS) is pleased to present the 2009 Student Art Show Any Thoughts or Questions? at the NYCAMS Gallery. Fifteen visual artists and four writers are pulling together work in a variety of mediums: animation, illustration, sculpture, installation, photography, poetry, and prose to produce Any Thoughts or Questions?.

Description: Post-Baccalaureate Fellow 2009 Nathan Blankenship selects John Hagen to curate a salon style exhibition of himself and his peers. This expansive and feverishly dynamic show will display the raw talents of several early and mid-career artists with a concentration on the transitional phases of seasonal flux and rebirth.

Description: The New York Center for Art & Media Studies (NYCAMS) is pleased to announce its inaugural community art auction. Select art will be on display in the gallery beginning with a Collector’s Preview on Friday, April 17, from 5-7 p.m. and concluding with a silent auction on Saturday, April 18, from 6-8 p.m. The pieces available for purchase represent the work of more than 30 artists including NYCAMS students, the Advisory Board, internship artists, and the larger NYCAMS community, and they range in cost from $20-$6,000. Please R.S.V.P. with l-bennett@bethel.edu to receive your bid number in advance.   > Auction Work List

Description:

Perceptible Systems spotlights contemporary artists who choose systems as a subject of their work. These artists dialogue with systems by allowing them to guide their methodical processes, and/or by exploring them in biological and sociological spheres.

Using or studying systems when making art could be called “faux-science.” It yields the fruit of an analytic mind not bound by the confines of the scientific method. The goal is to discover an underlying reality through repetition or a repetitive process, and then aesthetically dissecting that visual, physical data.