Oct
1
to Oct 31

Word of the Year

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Word of the Year

October 2017 – October 2018

Hunter East Harlem Gallery
The Silberman School of Social Work
2180 3rd Avenue at 119th Street
New York, NY 10035

Gallery hours: Wednesday–Saturday, 12-5pm

Word of the Year is an exhibition project hosted by Hunter East Harlem Gallery, inviting emerging curators to activate the a wall at Hunter College's Silberman School of Social Work using Oxford English Dictionary's "word of the year" from the previous year.

By using a word culled from mass media as a prompt, the exhibition space acts as a site for artists and curators to engage in a month-long dialogue about collective consciousness and understanding how semantics can play a crucial role in shaping public opinion.

Word of the Year 2016: "POST-TRUTH"
Post-Truth: an adjective defined as relating to or denoting circumstances in which objective facts are less influential in shaping public opinion than appeals to emotion and personal belief.

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October 2017
Double Dialogue

Curated by Kristen Racaniello

Hunter East Harlem Gallery
Hallway Wall
The Silberman School of Social Work
2180 3rd Avenue at 119th Street
New York, NY 10035

Double Dialogue
This multimedia exhibition features the work of artists Kameelah Janan Rasheed and Paul Gagner. Each artist has created an installation dealing with notion of archiving, and their work attempts to unpack the monolithic views of history, truth and reality that dominate culture in the United States. Humor pervades both artist’s work, using oxymorons to point out hypocritical or dualistic thinking. When used as a vehicle for ideas, language can be responsible for conceptions of the singularity of truth and for the social rifts created by conflicting versions of truth. Rasheed and Gagner recognize the tool of language and exaggerate it in their works, thus giving their audience a momentary glimpse of realities alternative to their own. Double Dialogue seeks to draw connections between these two artists’ through their critical analysis of the cultural ironies surrounding them. 

Kristen Racaniello is an independent curator and PhD candidate at the CUNY Grad Center with a focus on Medieval Art History. 

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Queenie: Selected artworks by female artists from El Museo del Barrio's Collection
Mar
21
to Jun 23

Queenie: Selected artworks by female artists from El Museo del Barrio's Collection

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QUEENIE:
Selected artworks by female artists from El Museo del Barrio's Collection

Hunter East Harlem Gallery
2180 3rd Avenue @ 119th Street
New York, NY 10035

March 21 - June 23, 2018
Opening reception: Tues, March 27th 6:30-9:30pm

Anonymous female artisans from Chile, Tania Bruguera, Cristina Hernández Botero, Margarita Cabrera, Melissa Calderón, Maria Fernanda Cardoso, Melba Carillo, Marta Chilindron, Alessandra Expósito, iliana emilia garcia, Scherezade Garcia, Dulce Gómez, Carmen Herrera, Jessica Kairé, Carmen Lomas Garza, Evelyn López de Guzmán, Anna Maria Maiolino, Glendalys Medina, Ana Mendieta, Marina Núñez del Prado, Liliana Porter, Raquel Rabinovich, Nitza Tufiño

New artwork commissions by Melissa Calderón, Alessandra Expósito, and Glendalys Medina.

QUEENIE features a selection of artworks by female artists across various media from the Permanent Collection of El Museo del Barrio. The exhibition highlights the institution’s collection with a particular focus on the female artists and QUEENIE takes its title from a sculpture by Alessandra Expósito. The exhibition brings together works which prompt a multifarious dialogue around society and gender through the artists’ varying perspectives and experiences. As part of the exhibition, HEHG has invited three NYC-based artists to respond to the exhibition with a new commission that further explores the connections among the collecting process, societal change, and gendered experience. 

Organized by Arden Sherman, Curator, Hunter East Harlem Gallery, Noel Valentin, Permanent Collection Manager, El Museo del Barrio, Elizaveta Shneyderman, Gallery Manager, Hunter East Harlem Gallery, and Olivia Gauthier, Gund Curatorial Fellow, Hunter College.

The exhibition is made possible in part thanks to support through El Museo del Barrio from the New York State Council on the Arts, and Public Support from the former New York City Council Speaker and the Office of the President, Hunter College.

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Hunter MFA Thesis Part II
May
17
to Jun 3

Hunter MFA Thesis Part II

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Hunter College Spring 2018 MFA Thesis Show

205 Hudson Street Gallery (entrance on Canal St)
NY 10013

May 17th, 2018–June 2nd, 2018
Monday–Sunday, 10am–6pm
 

Opening Reception: 
Thursday, May 17th, 6–9pm

 

Featuring:


Ben Browne
Justin Cloud
Sarah Creagen
Paola Di Tolla
Emily Furr
Carter Johnson
Jule Korneffel
Madhini Nirmal
Russell Perkins
Leonard Reibstein
Todd (T. Eliott Mansa) Thomas
Andy Van Dinh

 

For more information please visit:

http://www.mfa205hudson.org/mfa-thesis-exhibitions/spring-2018/

 

 

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Alessandra Expósito in Conversation with her Therapist
May
17
7:00 PM19:00

Alessandra Expósito in Conversation with her Therapist

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Alessandra Expósito in Conversation with her Therapist
Thursday, May 17th
7-9PM

Hunter East Harlem Gallery
2180 3rd Ave
New York, NY 10035

Join us as artist Alessandra Expósito and her Licensed Psychotherapist explore recurring themes in her paintings, sculptures and dreams including common childhood maladies, girly animal trophies, pet names for dogs, and the joy of Ebay©. The looming spectre of death haunts her work while a lifelong love affair with hypochondria lightens the proceedings.

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Being Alone, Sharing: Conversations on Survival
Apr
28
1:00 PM13:00

Being Alone, Sharing: Conversations on Survival

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Being Alone, Sharing: Conversations on Survival
Saturday, April 28, 1–7:30pm 

Organized by Sarah Watson and Dylan Gauthier with Alida Jekabson

Presented in conjunction with the exhibition The School of Survival: Learning with Juan Downey, curated by Javier Rivero Ramos and Sarah Watson, on view through May 6, 2018

Drafted in his sketchbook, the phrase “school of survival” echoes Juan Downey’s belief that educators and artists have a responsibility to work towards societal change. Addressing the urgencies of the material realities of the 1970s, Downey’s work foreshadows the ever-evolving crisis we find ourselves in today. Considering our current ecological and political moment, this conversation series invites artists, educators, and activists to share how their creative process, approach to education, and daily life respond to and define survival. 

 

SCHEDULE:

1–1:30pm: Introduction by Sarah Watson and talk on Juan Downey by Javier Rivero Ramos

1:30-2:45pm Conversation with Stephanie Alvarado, Brooke Singer, and Dior St. Hillaire, moderated by Alida Jekabson 

2:45-3:45pm Conversation with smudge studio (Elizabeth Ellsworth and Jamie Kruse) and Tattfoo Tan, moderated by Dylan Gauthier

3:45-4pm Coffee Break

4-5:15pm Conversation with School of Apocalypse (Tal Beery, Catherine Despont, Eugenia Manwelyan and Adam Stennett) and Pili X, moderated by Sarah Watson

5:30-6pm Reading by Lila Zemborain and Mónica de la Torre, organized by Jocelyn Spaar

6-6:30 Intro and performance demo of Datagarden’s MIDI sprout

6:30-7:30pm Wine and cheese reception

 

PARTICIPANTS:

STEPHANIE ALVARADO is a queer Afro-Indigena Latina feminista born and raised in the Bronx, NY by way of Guayaquil, Ecuador. She is a multidisciplinary artist, poet, and reproductive justice scholar and activist. Alvarado is currently the Director of Advocacy and Partnerships at 596 Acres, NYC's only community land access advocacy organization.

Founded in 2011 by Joe Pattucci and Alex Tyson, DATAGARDEN is an arts organization and zero waste record label. DataGarden builds community and connection to nature through experiences that extend human perception using sound, including releasing downloads on plantable artwork; producing installations and events; and using plants to play electronic music with their bio-sonification MIDI Sprout device.

DYLAN GAUTHIER is an artist and educator who creates platforms and social infrastructure around ecology, community, landscape, and social change. Gauthier is a founder of the boat-building and publishing collective Mare Liberum and of the Sunview Luncheonette, a co-op for art, politics, and poetics in Greenpoint, Brooklyn. He teaches in the Film and Media Department at Hunter College.

ALIDA JEKABSON is a M.A. candidate in the Art History program at Hunter College and is the spring Gund Curatorial Programming Fellow for the Hunter College Art Galleries. Alida's research interests include public art and museum history with a focus on modern and contemporary art from the Americas.

JAVIER RIVERO RAMOS, co-curator of the exhibition The School of Survival: Learning with Juan Downey, is a second year PhD student at Princeton University’s Department of Art and Archeology studying modern and contemporary art with a specific focus on Latin America. His research interests include international networks of artistic exchange, art under duress, and Pan-Americanism. He has worked in the curatorial departments of Museo Tamayo, Mexico City, MX; Museo Jumex, Mexico City, MX, and the Hunter East Harlem Gallery, New York.

SCHOOL OF APOCALYPSE––founded in 2015 by Tal Beery, Catherine Despont, Eugenia Manwelyan and Adam Stennett––is a radical learning community organized around a notion of school broadly defined as a framework and container for the emergence of shared knowledge. The school invites a range of thinkers, artists, and scientists to present programming on themes connecting creative practice and notions of survival. Subjects of study are theoretical as well as hands on, and emphasize the integration of observational and material practices found in mystical traditions, creative modalities and scientific field work.

BROOKE SINGER engages technoscience as an artist, educator, nonspecialist and collaborator. Her work lives “on” and “off” line in the form of websites, workshops, photographs, maps, installations, public art and performances that often involves participation in pursuit of social change.

JOCELYN SPAAR is a poet, translator, and artist, living in New York and working at the Hunter College Art Galleries.  She is the poetry editor of STILL magazine, based in Berlin and New York.

SMUDGE STUDIO is a collaboration between Elizabeth Ellsworth and Jamie Kruse that started in 2005. smudge studio designs and cultivates embodied practices that support humans in paying nuanced attention to the fast and intense material realities that are now emerging on a planetary scale.

DIOR ST. HILLAIRE is the owner of GREENFEEN, an environmental consulting firm that uses Hip-Hop to teach sustainability as a lifestyle through green technology and compost education. Through exclusive partnerships, zero waste events, and organics collection, GreenFeen uses this triple bottom line theory to teach a holistic lifestyle.

TATTFOO TAN is an artist who collaborates with the public on issues relating to ecology, sustainability and healthy living. His work is project-based, ephemeral and educational in nature.

MÓNICA DE LA TORRE is the author, most recently, of The Happy End/All Welcome. She teaches in the Literary Arts program at Brown University. Her translation of Defensa del ídolo, the sole book of poetry by the Chilean modernist Omar Cáceres, is forthcoming from Ugly Duckling Presse this summer.

PILI X is a multidisciplinary artist, radical urban planner, and Director of Community Partnerships at the North Philly Peace Park. His work focuses on community development and place-making using ecology, design, education, and art as a vehicle to implement radical change. He was named one “12 People Of Color Leading The Social Impact Charge In Philadelphia” in 2017 by Generocity.

SARAH WATSON is Director of Exhibitions & Chief Curator of the Hunter College Art Galleries and is co-curator of the exhibition The School of Survival: Learning with Juan Downey. Her curatorial interest is in creating experimental sites for education, collaboration, and action, with a focus on time-based works including film, sound, video, new media, performance, poetry and literature. In addition to organizing exhibitions and programming, Watson oversees the gallery component of the Advanced Certificate in Curatorial Studies at Hunter College.    

Poet and critic LILA ZEMBORAIN (Argentina) is the author of eight poetry collections including Guardianes del secreto (2002), translated into English as Guardians of the Secret (2009); Malvas orquídeas del mar (2004), translated into English as Mauve Sea-orchids (2007); Rasgado (2006), translated into French as Déchiré (2013).  From 2009 to 2012 she directed the NYU MFA in Creative Writing in Spanish, where she continues to teach. 

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Hunter MFA Thesis Part I
Apr
19
to May 5

Hunter MFA Thesis Part I

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Hunter College MFA Thesis Exhibition Part I

April 19th, 2018–May 5th, 2018
Monday–Sunday, 11am–6pm

Opening Reception:
April 19th, 6–9pm


Featuring the work of:

Patrick Costello
Theresa Daddezio
Rachelle Dang
Pablo Diaz
Mikey Estes
Zac Hacmon
Michelle O'Connell
Hector René Membreno Canales
Becky Jane Rosen

For more information, please visit:

http://www.mfa205hudson.org/mfa-thesis-exhibitions/spring-2018/

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Curatorial Talk: Rosario Güiraldes of The Drawing Center
Mar
29
6:30 PM18:30

Curatorial Talk: Rosario Güiraldes of The Drawing Center

Curatorial Talk: Rosario Güiraldes of the Drawing Center
Thursday, March 29, 2018, 6:30–8pm
Presented in conjunction with the exhibition Copy, Translate, Repeat: Contemporary Art from the Colección Patricia Phelps de Cisneros


Güiraldes will be discussing her curatorial practice at the Drawing Center and in her past projects, engaging with and expanding on themes and questions brought up by the exhibition on view.

Rosario Güiraldes is Assistant Curator and Co-Director of the Open Sessions artist program at The Drawing Center. She has organized curatorial projects and public programs at the Barcelona Museum of Contemporary Art (MACBA); University Museum of Contemporary Art (MUAC), Mexico City; Hessel Museum of Art at Bard College, the Judd Foundation, the International Studio & Curatorial Program, and the Consulate General of Argentina, all New York; and Fundación Proa, Buenos Aires. Her most recent project Forensic Architecture: Towards an Investigative Aesthetics was presented in different versions at the Barcelona Museum of Contemporary Art (2017), and at the University Museum of Contemporary Art, Mexico City (2017–18). Güiraldes has edited numerous publications, such as Pioneer Works Journal, Forensic Architecture: Hacia una estética investigative, Staging, The Present is the Form of All Life: The Time Capsules of Ant Farm and LST, aCCseSsions, Compos, and Correspondencia. At Fundación Proa, she also organized Forensis (2015) with Anselm Franke and Eyal Weizman. Güiraldes holds a B.Arch from the Universidad de Buenos Aires and an MA in Curatorial Studies from the Center for Curatorial Studies, Bard College.

 

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Student Curators' Hours at 205 Hudson Gallery
Mar
24
1:00 PM13:00

Student Curators' Hours at 205 Hudson Gallery

Student Curators' Hours at 205 Hudson Gallery
Organized in conjunction with the exhibition Copy, Translate, Repeat: Contemporary Art from the Colección Patricia Phelps de Cisneros

Saturday, March 17 and March 24, 1–3:00pm


Join Advanced Curatorial Certificate students and co-curators in the gallery anytime from 1 to 3pm. We will be exploring the rich source material behind works in the exhibition through self-guided itineraries, short interactive tours given by the curators, and related performances.

This event is free and open to the public.

 

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Student Curators' Hours at 205 Hudson Gallery
Mar
17
1:00 PM13:00

Student Curators' Hours at 205 Hudson Gallery

Student Curators' Hours at 205 Hudson Gallery
Organized in conjunction with the exhibition Copy, Translate, Repeat: Contemporary Art from the Colección Patricia Phelps de Cisneros

Saturday, March 17 and March 24, 1–3:00pm


Join Advanced Curatorial Certificate students and co-curators in the gallery anytime from 1 to 3pm. We will be exploring the rich source material behind works in the exhibition through self-guided itineraries, short interactive tours given by the curators, and related performances.

This event is free and open to the public.

 

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Artist's Talk with Jonathas de Andrade
Mar
11
3:00 PM15:00

Artist's Talk with Jonathas de Andrade

Artist's Talk with Jonathas de Andrade
Moderated by co-curator Silvia Alencar
Sunday, March 11, 2018, 3–4:30pm
Organized in conjunction with the exhibition Copy, Translate, Repeat: Contemporary Art from the Colección Patricia Phelps de Cisneros


Jonathas de Andrade works with installations, photography and video to explore the borders between fact and fiction. Though de Andrade usually works with local subjects from the northeast region of Brazil, the cross-cultural references used in his works highlight power imbalances present in historical narratives.

De Andrade has exhibited at the Mercosul Biennial, Porto Alegre (2009); Instituto Cultural Banco Real, Recife (2009); Centro Cultural São Paulo (2010); Museu de Arte Contemporânea de São Paulo (2010); New Museum Triennial, New York (2011); 29th São Paulo Biennial (2011), Istanbul Biennial (2011); Kunsthalle Lissabon, Lisbon (2013); Musée d’art Contemporain de Montréal (2013); Museu de Arte do Rio (2014–15); Museu de Arte de São Paulo (2016–17); The Power Plant, Toronto (2017); New Museum, New York (2017). He lives and works in Recife, Brazil.

 

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The School of Survival: Learning with Juan Downey
Mar
2
to May 6

The School of Survival: Learning with Juan Downey

The School of Survival: Learning with Juan Downey
Curated by Javier Rivero Ramos and Sarah Watson

Hunter College Art Galleries
Bertha and Karl Leubsdorf Gallery
Hunter West Building
132 East 68th Street
New York, NY 10065

March 1–May 6, 2018
Opening Reception: March 1, 2018, 7–9pm

The School of Survival: Learning with Juan Downey foregrounds the relationship between Downey’s artistic and pedagogical practices as illustrated in his works from the series Life Cycles and Mi casa en la playa, produced in the early to mid 1970s while Downey was teaching at Hunter College and Pratt Institute. These works address Downey’s concerns and theories around architecture, ecology, cybernetics, and feedback. Downey sought to redefine architecture as the wielding of invisible forces—physical, social, and psychic. In his assignments, he likewise challenged his students to reconsider their potential as producers of social change through the transformation of space.

During the late 1960s and early 1970s, Downey (b. Chile, 1940, d. New York, 1993), like many of his peers, became interested in the expanded field of art and architecture, including the dematerialization of the object and the turn towards investigations of invisible energies. He believed that these ideas, coupled with new technologies, could offer the potential for a sustainable future. The works included in The School of Survivalcan be read as blueprints or instructions for enacting radical architectural and ecological possibilities: the production of clean soil (My Balcony: Chilean Nitrate of Soda Potash, 1971); the development of self-sustaining ecosystems (A Clean New Race, 1970 and Mi casa en la playa,1975); interspecies communication (A Vegetal System of Communication for New York State, 1972); and feedback as a tool for productivity and labor (Life Cycle: Soil + Water + Air = Flowers + Bees = Honey, 1972). Created in a historical moment of economic decline, the civil rights movement, the Vietnam War, the energy crisis, and environmental degradation, these works are a call to action that continue to resonate with a sense of immediacy.

Presented alongside these works is ephemera from Downey’s time at Hunter and Pratt, including course assignments, peer faculty reviews, and video documentation of class exercises and performances. This archival material further shows that Downey was driven by the ambition to push art and architecture beyond their historical fixation on the visible and tangible. He urged his students to rethink the possibilities of these practices and to envision how they could become vehicles for societal change. Read in the context of this pedagogical philosophy, Downey’s artwork reveals itself as similarly instructive: he recasts the role of the artist from a maker of objects to a designer of futures.

The School of Survival: Learning with Juan Downey is made possible by the generous support from the David Bershad Family Foundation, the Susan V. Bershad Charitable Fund, Inc., Carol and Arthur Goldberg, and the Leubsdorf Fund.

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Feb
8
to Apr 1

Copy, Translate, Repeat: Contemporary Art from the Colección Patricia Phelps de Cisneros

Copy, Translate, Repeat: Contemporary Art from the Colección Patricia Phelps de Cisneros

Jonathas de Andrade, Armando Andrade Tudela, Juan Carlos Araujo, Waltercio Caldas, Mariana Castillo Deball, Elena Damiani, Josefina Guilisasti, Leandro Katz, Jorge Macchi, Leticia Obeid, Dario Robleto, José Antonio Suárez Londoño, Christian Vinck

Curated by Prof. Harper Montgomery with Hunter MA and MFA Students enrolled in the Advanced Curatorial Certificate

Hunter College Art Galleries
205 Hudson Gallery
205 Hudson Street
New York, NY 10013

Entrance on the south side of Canal Street between Hudson and Watts

February 8–April 1, 2018
Opening Reception: February 8, 2018, 6–8pm

At a moment of much debate about the status of global contemporary art, this exhibition examines how artworks drawn from the contemporary collection of Patricia Phelps de Cisneros navigate this complex issue by embracing appropriative strategies for making art. The appropriative act enables the artists in this exhibition to confound conventions of time and space and question narratives of history, art, and progress. By repeating and copying art historical and archival sources, literary texts, and objects made far away and long ago, they collapse distance as near and far or “here” and “there.” In one way or another, all these artists are intervening, inserting themselves, repeating some type of source. If they are all devoted to repeating already extant works and images, they are also dedicated to exploring the cracks, the potential veins of growth and expansion, exploration and discovery, that always existed within the “originals.” Waltercio Caldas, for instance, invites us to join him in his study of Velázquez’s mastery of pictorial space by presenting a depopulated version of the artist’s Las meninas. Whereas in works by Christian Vinck and Mariana Castillo Deball, authorship is replaced by the even more extreme authority of the colonial archive or Primitivist art collection, so that appropriation reveals the powerful structures of classification and image-making that underlie the power of nation states. Even more, in Vidas paralelas Jorge Macchi presents two panes of glass which have shattered in identical patterns, completely confounding our sense of the veracity of time and materiality. We know that one must be the source and one the copy, but we are unable to sort out which is which.

Transformation, travel, memory, landscape, modernism, architecture, ethnography, as well as the photograph, the moving image, the handcrafted object, the presence of the body, and painting are themes brought to bear by the artworks in the exhibition. Although their tactics are varied, the artists all take intensely personal approaches to appropriation to question an authority greater than the market or authorship. Directing their critiques instead toward the construction of culture itself, they work against standards set in Europe and the United States even while they are historically participants in these very traditions. They use appropriation as a means of inhabiting works and documents of the past to bring to bear generative qualities that have not yet been explored. In the end, it is by processing a “source” or “object of critique” through their subjectivities that artists generate new experiences of the sensations of the nonlinear often collapsed and layered temporal and spatial registers in which they live and move.

The exhibition brings together a group of artists who have been shown in New York and are collected by major institutions here (Macchi, Caldas, Katz, Castillo Deball, Suárez Londoño, de Andrade, and Robleto) and artists who will be shown for the first time at Hunter College (Araujo, Damiani, Guilisasti, Obeid, and Vinck). As the first occasion on which such a considerable group of contemporary works from the Cisneros Collection have been shown in the United States, this exhibition is unique in that it showcases the innovative challenges the collection has posed to the question of how, where, and to what end contemporary art has been produced around, in, and about the region we call Latin America. Through the partnership between Hunter and the Colección Patricia Phelps de Cisneros, the collection was made available as a study resource for twelve students from the MA and MFA programs—and participants in the Curatorial Certificate Program. These students contributed to every step required in conceiving and executing the exhibition, including selection of artworks, layout and design, writing of didactic texts, and the crafting of scholarly essays for the catalogue.

Copy, Translate, Repeat: Contemporary Art from the Colección Patricia Phelps de Cisneros is made possible by the generous support of the David Bershad Family Foundation, the Susan V. Bershad Charitable Fund, Inc., Carol and Arthur Goldberg, and Agnes Gund in support of the Curatorial Certificate Program.

About the Advanced Curatorial Certificate
Hunter’s Department of Art & Art History has long provided its graduate students the opportunity to work with faculty and our galleries’ professional staff on exhibitions of exceptional quality.  The new Advanced Curatorial Certificate builds on that tradition and the curatorial interests and ambitions of Hunter faculty and students—and our commitment to exhibitions whose themes, theses, and checklists have been developed and honed by our students. The program is designed to offer both a theoretical and historical grounding in curatorial practices and practical experience in exhibition organization and display and object research and preservation. Every student enrolled in the certificate program has the opportunity to work on an exhibition from inception to fruition, whether in the annual Curatorial Seminar or in faculty-supervised guided internships in the Hunter College Art Galleries or in museums and galleries beyond the college.

coleccioncisneros.org

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Dec
14
to Jan 7

Hunter MFA Thesis Part II

Thesis-Part-II-Flyer-(with-names).jpg

Hunter College MFA Thesis Exhibition Part II

December 14th, 2017 – January 7, 2018
Opening Reception: December 14th, 6–9pm 

Open Tuesday – Sunday, 1-6 pm, closed Christmas Day and New Year’s Day, by appointment Christmas Eve and New Year’s Eve

205 Hudson Gallery
Hunter College Art Galleries
205 Hudson Street
New York, NY 10013
Entrance on the south side of Canal Street between Hudson and Watts

Featuring artists:
Sam Bornstein
Jeff Conefry
Maggie Ellis
Dan Fig
Eri King
Nikki Mehle
Zatara McIntyre
Dionis Ortiz
Eugina Song
Yang Yu
Julie Zhu

In addition to three levels of installed 2D and 3D works, there will be concerts on Dec. 15, Dec. 19, and Dec. 20, and programming throughout the run of the show.

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Nov
16
to Dec 4

Hunter MFA Thesis Part I

Hunter MFA Thesis Part 1 2017

Hunter MFA Thesis Part I

Confluence: Uncertain Archives

November 16–December 3, 2017
Opening Reception November 16th, 6–9pm 

205 Hudson Gallery
Hunter College Art Galleries
205 Hudson Street
New York, NY 10013
Entrance on the south side of Canal Street between Hudson and Watts

Hours: Wednesday–Sunday, 1–6pm

Jongwon Bae
Anael Berkovitz
Christian Breed
Alta Buden
Victoria Dolloff
Christian Hendricks
Katy McCarthy
Lang Zhang

“Archives are not static. Their material reality changes over time – decayed, displaced, reorganized – and their meanings shift as well, depending on the moment and context in which we encounter them.” — Mariam Ghani, Field Notes for What we Left Unfinished

How do ideas, actions, objects and events converge for history to “happen”? Can this confluence be measured? How do we reflect on it? We mine archives for ideas, stories and people and end up also finding conflicts, gaps, and redactions. The sources we draw upon are personal and public: some artists in the show address the history of space, while others speak to a more recent past. Uncertainty occurs any time we try to construct meaning from perceptive and subjective experiences.This confluence is where we connect: to question, deviate from, and contribute.

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Nov
12
3:00 PM15:00

Milford Graves with William Parker and Shahzad Ismaily

Milford Graves with William Parker and Shahzad Ismaily

Milford Graves with William Parker and Shahzad Ismaily

November 12, 3pm, $20, seating limited

The Artist’s Institute
Hunter College Art Galleries
132 East 65th Street
New York New York 10065
theartistsinstitute.org

Hours: Wednesday–Saturday, 12-6pm

Milford Graves doesn’t play the drums to keep time for the band. Emerging in the 1960s as a free jazz pioneer, he opened up percussion to a no-holds-barred celebration of its full vibratory potential. Graves latest work establishes a connection between the vibrations of the drums and the rhythms of the human heart, something he calls “biological music, a synthesis of the physical and mental, a mind-body deal.”

On Sunday, November 12th, The Artists Institute will present a concert and live recording of Milford Graves playing with William Parker and Shahzad Ismaily. As part of this historic event, Graves will speak about his relationship to vibration and music, incorporating his sculpture Beyond Polymath and the beating of a human heart.

Tickets for this event are $20 and will go on sale on November 1st. Seating is limited.

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Nov
8
7:00 PM19:00

Benjamin Kunkel on Steady-State Aesthetics

 Mierle Laderman Ukeles, Touch Sanitation Performance, 1979-1980

Mierle Laderman Ukeles, Touch Sanitation Performance, 1979-1980

Benjamin Kunkel on Steady-State Aesthetics

November 8, 7pm

The Artist’s Institute
Hunter College Art Galleries
132 East 65th Street
New York New York 10065
theartistsinstitute.org

Hours: Wednesday–Saturday, 12-6pm

Modern and contemporary art is, needless to say, a phenomenon of recent centuries; the same is true of sustained economic growth, a condition historically unheard-of before modern times and one pursued as an explicit political objective only since World War II. Economic growth clearly belongs among the fundamental features of modernity, and, without it, the compulsion to novelty characteristic of much art since the Industrial Revolution is difficult to imagine. And yet there exists virtually no reflection on growth as a basis of modern and contemporary art and aesthetics. In his lecture “Steady-State Aesthetics,” Benjamin Kunkel offers a set of provocative theses on our default aesthetic of endless growth—a way of seeing so habitual that we don’t see it­—and the different kind of art-making which might emerge in a society that no longer grows economically, even as it continues to develop artistically and otherwise. Ecological economists speak of  “steady-state economics” to describe such a post-growth condition: what might a steady-state aesthetics look like?

This event is free and open to the public and will take place at The Artist’s Institute, 132 E. 65th Street. Seating is limited and is first come, first served. A recording of the talk will be made available online by the following Saturday. 

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Oct
27
10:15 AM10:15

Magnum Photos Inside Out

  • The Roosevelt House Public Policy Institute at Hunter College (map)
  • Google Calendar ICS
Magnum Photos Inside Out

Magnum Photos Inside Out

Friday, October 27, 2017
10:15am – 5:30 pm

The Roosevelt House Public Policy Institute at Hunter College
47–49 East 65th Street
New York, NY 10065

Organized on the occasion of the exhibition Framing Community: Magnum Photos, 1947 – Present, this forum discusses how Magnum photographers have shaped visual narratives within a world that is ever more fractured and uncertain. Across seven decades, Magnum members have questioned their position as outsiders looking in, negotiating religious and cultural diversity while seeking trust and shaping relationships with a wide range of communities. A working group of photographers, writers, and historians retraces significant moments of this cooperative photo agency, debating the meaning of these images as encounters with difference, and looking at their channels of communication and community outreach, from printed magazines to the contemporary digital landscape.

Convener: Maria Antonella Pelizzari

Participants: Nadya Bair, Jennifer Bajorek, Chris Boot, Bieke Depoorter, Reiner Leist, Kristen Lubben, Alia Malek, Susan Meiselas, Fred Ritchin, Carole Naggar, Howard Singerman, David Levi Strauss, Peter van Agtmael

Free and open to the public
Seating is limited
Please rsvp

Convener
Maria Antonella Pelizzari

Schedule

10:15 – 10:30
Introduction

10:30 – 11:45
Magnum Photos and Its Media
Panelists: Nadya Bair, Chris Boot, Kristen Lubben
Moderator: Howard Singerman   

11:45 – 12:30
Bieke Depoorter's Talk

12:30 – 2:00
Lunch Break and Visit of Exhibition

2:00 – 3:30
Documentary Photography in a “Post-Truth” Age
Panelists: David Levi Strauss, Susan Meiselas, Fred Ritchin, and Bieke Depoorter
Moderator: Reiner Leist

3:30 – 4:00
Coffee Break

4:00 – 5:30
Migration, Exile: Communities At a Loss
Panelists: Alia Malek, Peter van Agtmael, Jennifer Bajorek
Moderator: Carole Naggar

With the support of the Crossways Foundation in collaboration with the Hunter College Department of Art and Art History and the Hunter College Art Galleries

Image: Susan Meiselas, Hanging out on Baxter Street, Little Italy, NYC, 1978 © Susan Meiselas/Magnum Photos

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Oct
14
3:00 PM15:00

Tibetan Thangkas: The Art of Visualization

Tibetan Thangkas: The Art of Visualization

Tibetan Thangkas: The Art of Visualization
A talk by Ven. Khenpo Tenzin Norgay Rinpoche 

Organized in conjunction with "Ugo Rondinone: I ♥︎ John Giorno" for the chapter John Giorno and Tibetan Buddhism at 205 Hudson Gallery, Hunter College Art Galleries

With works by John Giorno and Ugo Rondinone and thangkas selected from the collection of the Rubin Museum of Art

Saturday, October 14, 2017
3pm

205 Hudson Gallery
Hunter College Art Galleries
205 Hudson Street
New York, NY 10013

Entrance on the south side of Canal between Hudson and Watts

Iconic figures represented in Tibetan thangkas, or painted scrolls, mirror aspects of our own enlightened nature. Depicted in their sacred environment, or mandala, both figure and ground act as supports for a devotee’s meditation practices. With Khenpo Norgay Rinpoche’s guidance, we will enter into the mandala of thangkas on display at the gallery.

Ven. Khenpo Tenzin Norgay Rinpoche completed the nine-year program of study at the Ngagyur Nyingma Institute, an advanced Buddhist studies and research center at Namdroling Monastery in southern India, and taught at the Institute for three years. Formally enthroned as “Khenpo” by His Holiness Penor Rinpoche in 1998, he was assigned to teach at the Buddhist college of the Palyul monastery in Tibet, where he served on the faculty for two years.

Since 2005, Khen Rinpoche has been the resident lama at the Nyingma Palyul Dharma Center (NPDC) in New York City. NPDC serves as a locus for students of the Palyul tradition in the metropolitan area, and welcomes visitors from around the world to participate in all its activities.  The center hosts public talks, formal teachings, and empowerments from the Palyul tradition, as well as a variety of cultural events at venues throughout the city.

For more information about Khenpo Norgay Rinpoche or the Palyul tradition and retreats please visit:
www.palyulnyc.org
www.palyul.org
www.retreat.palyul.org

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Oct
12
7:00 PM19:00

Replica, Originality, and the Art of Devotion

Replica, Originality, and the Art of Devotion

Replica, Originality, and the Art of Devotion

 A panel discussion with Marcus Boon, John Giorno, Ariana Maki and Tsherin Sherpa

Organized by Wen-Shing Chou and Sarah Watson

Presented in conjunction with the exhibition Ugo Rondinone: I ♥ John Giorno for the chapter “John Giorno and Tibetan Buddhism” with works by John Giorno and Ugo Rondinone and thangkas selected from the collection of the Rubin Museum of Art

Thursday, October 12, 2017
7pm

205 Hudson Gallery
Hunter College Art Galleries
205 Hudson Street
New York, NY 10013

Entrance on the south side of Canal between Hudson and Watts

Created in the forms of paintings and sculptures, Tibetan Buddhist images are part of a sophisticated artistic and religious tradition whose efficacy is underscored by the interconnected concepts of replication and originality. This conversation positions the image-making tradition in relation to the acts of copying, repetition, and rehearsal that have been central to contemporary art and culture. The aim is to offer fresh perspectives on Tibetan Buddhist images that have rarely been understood outside of their cultural and devotional contexts, and to forge new connections between different spheres of artistic practice, both traditional and modern.

Marcus Boon is a writer and Professor of English at York University in Toronto. He is the author of The Road of Excess: A History of Writers on Drugs (Harvard, 2002); In Praise of Copying (Harvard, 2010); and is a co-author with Timothy Morton and Eric Cazdyn of Nothing: Three Inquiries in Buddhism (Chicago, 2015). He is co-editing a book on Practice with Gabriel Levine (MIT/Whitechapel, forthcoming) and is currently finishing a book on sound and ontology called The Politics of Vibration.

John Giorno is an artistic innovator who has been defying conventional definitions of poet, performer, political activist, Tibetan Buddhist, and visual artist since he emerged upon the New York art scene during the late 1950s. In the 1960s, he began producing multi-media, multi-sensory events concurrent with Warhol’s Exploding Plastic Inevitable. He worked with Rauschenberg’s Experiments in Art and Technology (E.A.T) in 1966, and with Bob Moog in 1967–68. His breakthroughs in this area include Dial-A-Poem, which was first presented in 1968 at the Architectural Society of New York, and was later included in the MoMA’s Information exhibition in 1970. His contributions are significant to many culturally defining moments: the Beat generation, Pop Art, Punk, the Pictures Generation, and the hip-hop era. Giorno’s work is included in the collections of the Museum of Modern Art, New York; the Centre Georges Pompidou, Paris; the Musée National d´Art Moderne, Paris; and the Queensland Art Gallery/Gallery of Modern Art, Brisbane; among others.

Ariana Maki holds a Ph.D. in Art History with a focus on Buddhist Art and specializations in Himalayan and South Asian art, as well as a minor concentration in Islamic art and architecture. She is presently a Research Scientist in Religious Studies at the University of Virginia. She is also Associate Curator of Himalayan Art Resources and maintains a research affiliation with the National Library and Archives of Bhutan. Maki's research interests include the relationships between text, politics and visual representation, the development of Himalayan visual arts, and the intersections of art and ritual.

Tsherin Sherpa was born in Kathmandu, Nepal in 1968 and currently works and resides in California. From the age of 12, he studied traditional Tibetan thangka painting with his father Master Urgen Dorje, a renowned thangka artist from Ngyalam, Tibet. In 1998, Sherpa immigrated to California, where he taught traditional thangka painting at various Buddhist Centers until he began to explore his own style, reimagining tantric motifs, symbols, colors and gestures placed in resolutely contemporary compositions. He has exhibited internationally, including in the 1st Kathmandu Triennale of Contemporary Art, Nepal (2017); the 8th Asia Pacific Triennale of Contemporary Art, Brisbane (2015); 2nd Dhaka Art Summit, Bangladesh (2014); the Queens Museum of Art, New York (2014); MASS MoCA, North Adams (2014); the Songzhuang Art Center, Beijing (2010); and the Rubin Museum of Art, New York (2010). His works are in many collections in Europe, America and Asia, including the Queensland Art Gallery of Modern Art, Brisbane; the Victoria and Albert Museum, London; the Asian Art Museum of San Francisco; the Samdani Art Foundation, Dhaka; and the Rubin Museum of Art.

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Oct
4
to Feb 5

Futurefarmers: Arrange

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Futurefarmers: Arrange

An Exhibition of Selected Projects from 23 Years of Work

October 4, 2017 – Feb 4, 2018

Hunter East Harlem Gallery
The Silberman School of Social Work
2180 3rd Avenue at 119th Street
New York, NY 10035

Gallery hours: Wednesday–Saturday, 12-5pm

Hunter East Harlem Gallery is pleased to present an arranged selection of past projects from the collective, Futurefarmers.

Futurefarmers is a group of artists and designers whose work is an intermingling of design, art, ecology and human systems created through projects that utilize collectivity, dialogue, play, and making. Founded in 1994, the collective started as a design studio and slowly moved into projects that involved robotics, gardening, and civic structures. Futurefarmers has hosted an Artist in Residence program since its inception, making up today’s geographic dispersion of Futurefarmers artists and collaborators. For the past 23 years, the group has collaborated with hundreds of specialists in various fields, exhibited at dozens of cultural institutions, and created ideologies that aim for an improved social existence. 

The exhibition highlights specific projects from the past 23 years of Futurefarmers work and attempts to place the group into the canon of important socially engaged artists and designers. Arrange highlights key thematic threads within the collective’s practice and the viewer is thrust into the world of Futurefarmers where, like a small ecosystem, their projects intertwine art, science, design and the environment. The exhibition title harks to an inherent resistance to the typical retrospective exhibition model and also the collective’s interest in arrangement, organization, and non-hierarchical cataloguing structures. The viewer is guided through the exhibition where art objects act as props to the stories, interpretations, and phantoms of Futurefarmers’ past projects. The exhibition can be understood as an experience that grasps the temporal and interstitial moments of dialogue, conversation, performance, and collaboration - processes deeply rooted in the work of Futurefarmers.

Organized by Arden Sherman, Curator, Hunter East Harlem Gallery; Gund Curatorial Fellows Marie Coneys and Kristen Racaniello; and Hunter College Advanced Curatorial Certificate MA and MFA students.

Futurefarmers: Arrange is made possible by the generous support of the office of the President at Hunter College; the David Bershad Family Foundation; the Susan V. Bershad Charitable Fund, Inc.; Arthur and Carol Kaufman Goldberg; and Agnes Gund in support of the Curatorial Certificate Program. This exhibition was developed in part over a semester curatorial seminar led by Arden Sherman and Paul Ramirez-Jonas.

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Sep
30
3:00 PM15:00

Walking the Talk: The Noble Eightfold Path

KTNR.jpg

Walking the Talk: The Noble Eightfold Path
A talk by Ven. Khenpo Tenzin Norgay Rinpoche 

Organized in conjunction with the exhibition Ugo Rondinone: I ♥ John Giorno and Tibetan Buddhism at 205 Hudson Gallery, Hunter College Art Galleries

With works by John Giorno and Ugo Rondinone and thangkas selected from the collection of the Rubin Museum of Art

Saturday, September 30, 2017
3pm

205 Hudson Gallery
Hunter College Art Galleries
205 Hudson Street
New York, NY 10013
Entrance on the south side of Canal between Hudson and Watts

The Buddha lived in times not unlike our own. Amidst pervasive socio-economic and political turmoil, he questioned the wisdom of prevailing cultural-religious norms. His analysis of the true nature of things and events—with the intent to liberate all beings from suffering—forged a pathway to enlightenment. “The Noble Eightfold Path” lists essentials required for taking this walk.

Ven. Khenpo Tenzin Norgay Rinpoche completed the nine-year program of study at the Ngagyur Nyingma Institute, an advanced Buddhist studies and research center at Namdroling Monastery in southern India, and taught at the Institute for three years. Formally enthroned as “Khenpo” by His Holiness Penor Rinpoche in 1998, he was assigned to teach at the Buddhist college of the Palyul monastery in Tibet, where he served on the faculty for two years.

Since 2005, Khen Rinpoche has been the resident lama at the Nyingma Palyul Dharma Center (NPDC) in New York City. NPDC serves as a locus for students of the Palyul tradition in the metropolitan area, and welcomes visitors from around the world to participate in all its activities.  The center hosts public talks, formal teachings, and empowerments from the Palyul tradition, as well as a variety of cultural events at venues throughout the city.

For more information about Khenpo Norgay Rinpoche or the Palyul tradition and retreats please visit:
www.palyulnyc.org
www.palyul.org
www.retreat.palyul.org

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Sep
28
to Nov 26

Framing Community: Magnum Photos, 1947–Present

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Framing Community: Magnum Photos, 1947 Present

Curated by Prof. Maria Antonella Pelizzari with graduate students enrolled in the Advanced Curatorial Certificate

September 29–November 26, 2017
Opening Reception: September 28, 2017, 7­–9pm

Leubsdorf Gallery
Hunter West Building
132 East 68th Street
New York, NY 10065

Hours: Wednesday–Sunday, 1–6pm

On the occasion of Magnum Photos’ 70th Anniversary, the Hunter College Art Galleries presents Framing Community: Magnum Photos, 1947–Present, an exhibition that revisits the history of the cooperative photo agency, focusing on the idea of “Community”—a subject that has been central to the practice of photographers and continues to be crucial in our time. 

Framing Community features a selection of seventeen visions and narratives representing communities in a conflicted, dispersed, and racially fractured state. The subjects of this photo exhibition are searching to belong, while living in exile and navigating shifting politics and identities. Organized into four thematic sections: Longing for Community, Shifting Community, Contested Territories, and Displaced Community, the exhibition includes works by photographers Bruno Barbey, René Burri, Henri Cartier-Bresson, Bruce Davidson, Bieke Depoorter, Carl de Keyzer, Paul Fusco, Jim Goldberg, Thomas Hoepker, Josef Koudelka, Susan Meiselas, Alessandra Sanguinetti, David Seymour, Alec Soth, Larry Towell, Peter van Agtmael and Alex Webb. 

Magnum Photos, founded in 1947 on the shared belief in humanist values, has seen a world in increasing disarray at the brink of social change, alienated by divisive politics and migrations.  Photographers, witnesses of these fluctuating conditions, have demonstrated a creative sensibility and individual engagement, generating images that have marked history. These photographers’ wide range of approaches to social documentary is relevant in regard to an idea of community that has radically changed in the seven decades of the history of Magnum. If the first years were marked by a universalist utopia that celebrated human sameness, across these decades, photographers have increasingly questioned their position as outsiders looking in, negotiating religious and political diversity while seeking trust from within these various communities. 

Framing Community: Magnum Photos, 1947–Present was developed over a two-semester curatorial seminar, led by Art History Professor Maria Antonella Pelizzari, and is the result of an exceptional team effort by the graduate students involved in the Advanced Curatorial Certificate at Hunter College. In addition to the exhibition, the class produced a comprehensive catalogue, published by Hirmer Verlag and available through University of Chicago Press and Thames and Hudson. 

Framing Community: Magnum Photos, 1947–Present is made possible by the generous support of the David Bershad Family Foundation, the Susan V. Bershad Charitable Fund, Inc., The Crossways Foundation, Arthur and Carol Kaufman Goldberg, the Leubsdorf Fund, Linda Macklowe, and Agnes Gund in support of the Curatorial Certificate Program.

ABOUT THE ADVANCED CURATORIAL CERTIFICATE
Hunter’s Department of Art & Art History has long provided its graduate students the opportunity to work with faculty and our galleries’ professional staff on exhibitions of exceptional quality.  The new Advanced Certificate in Curatorial Studies builds on that tradition and the curatorial interests and ambitions of Hunter faculty and students—and our commitment to exhibitions whose themes, theses, and checklists have been developed and honed by our students. The program is designed to offer both a theoretical and historical grounding in curatorial practices and practical experience in exhibition organization and display and object research and preservation. Every student enrolled in the certificate program has the opportunity to work on an exhibition from inception to fruition, whether in the annual Curatorial Seminar or in faculty-supervised guided internships in the Hunter College Art Galleries or in museums and galleries beyond the College.

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Sep
1
to Dec 1

Robert Longo: American Bridge Project

Robert Longo: American Bridge Project

September 1 – December 1, 2017

Hunter West Building
132 East 68th Street
New York, NY 10065

Curated by Jill Brienza with Sarah Watson

Organized by the Hunter College Art Galleries & the Department of Art and Art History

Installed on the sky bridges across Lexington Avenue, Robert Longo’s American Bridge Project is based on two of the artist’s large-scale charcoal drawings. On the third floor sky bridge, the artist offers images of the First Amendment to the United States Constitution, which affords us freedom of assembly, religion, and speech.  Rendering the text as it was first written in pen and ink, Longo reminds us that it was crafted by human hand. He juxtaposes this with a stock image of the American flag, repeated on each side of the seventh floor sky bridge.  

In a time when the values enshrined in the Constitution are at the center of national debate, the act of enlarging and re-presenting these American images gives them new meaning. "I don't usually like to be so explicit," Longo said, "but the First Amendment is very important to me. There's a reason I'm drawing it, and the American flag, at this moment.”

Robert Longo (born 1953) is a fall 2017 Judith Zabar Visiting Artist at Hunter College. Longo’s work is currently featured in the exhibition Proof: Francisco Goya, Sergei Eisenstein, Robert Longo, on view at the Brooklyn Museum September 8, 2017–January 7, 2018.

Robert Longo: American Bridge Project is made possible by Artnet, with additional funding provided Metro Pictures Gallery, Jules Demchick and Barbara Nessim, Carol and Arthur Goldberg, and the Landy Family.

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Jul
8
3:00 PM15:00

The Four Noble Truths, a talk by Ven. Khenpo Tenzin Norgay Rinpoche

The Four Noble Truths, a talk by Ven. Khenpo Tenzin Norgay Rinpoche

Organized in conjunction with "Ugo Rondinone: I ♥︎ John Giorno" for the chapter John Giorno and Tibetan Buddhism at 205 Hudson Gallery, Hunter College Art Galleries

With works by John Giorno and Ugo Rondinone and thangkas selected from the collection of the Rubin Museum of Art

Saturday, July 8
3pm

205 Hudson Gallery
Hunter College Art Galleries
205 Hudson Street
New York, NY 10013
Entrance on the south side of Canal between Hudson and Watts

Deer Park (Sarnath, India) circa 500 BCE: Siddhartha Gautama delivers first post enlightenment teaching, “The Four Noble Truths.” Roughly translated as the truth of suffering, the cause of suffering, the end of suffering, and the path that frees us from suffering (duhkha, samudaya, nirodha, marga), the truths serve as the foundation for the entire corpus of the Buddha’s 84,000 teachings on attaining complete liberation. Simply put, in the midst of sometimes unbearable suffering the truths are a balm, a prescription for healing. They outline a refreshing pathway, just as walkable here and now as it was 2,500 years ago.

Ven. Khenpo Tenzin Norgay Rinpoche completed the nine-year program of study at the Ngagyur Nyingma Institute, an advanced Buddhist studies and research center at Namdroling Monastery in southern India, and taught at the Institute for three years. Formally enthroned as “Khenpo” by His Holiness Penor Rinpoche in 1998, he was assigned to teach at the Buddhist college of the Palyul monastery in Tibet, where he served on the faculty for two years.

Since 2005, Khen Rinpoche has been the resident lama at the Nyingma Palyul Dharma Center (NPDC) in New York City. NPDC serves as a locus for students of the Palyul tradition in the metropolitan area, and welcomes visitors from around the world to participate in all its activities. The center hosts public talks, formal teachings, and empowerments from the Palyul tradition, as well as a variety of cultural events at venues throughout the city.

For more information about Khen Rinpoche or the Palyul tradition and retreats please visit:
www.palyulnyc.org
www.palyul.org
www.retreat.palyul.org

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Jun
24
3:00 PM15:00

Peace and Harmony Through Mindfulness

Peace and Harmony Through Mindfulness
A talk by Ven. Khenpo Tsewang Dongyal Rinpoche

Organized in conjunction with the exhibition Ugo Rondinone: I ♥ John Giorno

Saturday, June 24, 2017
3pm

205 Hudson Gallery
Hunter College Art Galleries
205 Hudson Street
New York, NY 10013
Entrance on the south side of Canal between Hudson and Watts

Peace and Harmony Through Mindfulness, a talk by Ven. Khenpo Tsewang Dongyal Rinpoche

Mindfulness is staying in the present moment and observing our body, feelings, thoughts, and senses. By practicing mindfulness, we discover a big, open space that allows us to be non-reactive to our outer and inner experiences. It is like all our experiences are dear old friends, and we say "Nice to see you" when they arrive and "Have a nice journey" when they go! This open space brings a lot of equanimity and compassion to our lives, which brings peace to ourselves and harmonizes our actions with others.

Ven. Khenpo Tsewang Dongyal Rinpoche was born in eastern Tibet and enthroned as a Nyingmapa abbot by His Holiness Dudjom Rinpoche. He traveled and studied with H.H. Dudjom Rinpoche, as well as with his late brother, Vajrayana master and scholar Ven. Khenchen Palden Sherab Rinpoche, and his father, the hidden yogi Lama Chimed Namgyal.  As a holder of the complete Nyingmapa lineage, Khenpo Tsewang Rinpoche is fully versed in the Theravada, Mahayana, and Vajrayana schools, and is a master of Dzogchen. He has co-authored over 25 Dharma books in English with Khenchen Palden Sherab Rinpoche, and travels throughout the world giving teachings, empowerments, and personal guidance in fluent English at numerous retreats.

Ven. Khenchen Palden Sherab Rinpoche and Ven. Khenpo Tsewang Dongyal Rinpoche established the Padmasambhava Buddhist Center (PBC) in 1989 to preserve the authentic message of Buddha Shakyamuni and Guru Padmasambhava in its entirety, and in particular to teach the traditions of the Nyingma school and Vajrayana Buddhism. PBC includes over 20 centers in the U.S.A., India, Puerto Rico, Latvia, and Russia, as well as monastic institutions in India, the U.S.A., and Russia.

For more information about Khenpo Tsewang Rinpoche's activities or the Padmasambhava Buddhist Center please contact:
Padma Samye Ling
618 Buddha Highway
Sidney Center, NY 13839
+1 (607) 865-8068
www.padmasambhava.org
Youtube: www.padmasambhava.org/youtube
Facebook: Padmasambhava Buddhist Center
Twitter: KhenpoRinpoche
Instagram: www.instagram.com/khenporinpoche

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Jun
21
to Aug 21

Ugo Rondinone: I ♥ John Giorno

Ugo Rondinone: I ♥ John Giorno

June 21–August 20, 2017
Opening reception: Wednesday, June 21, 5–8pm

Leubsdorf Gallery
Hunter West Building
132 East 68th Street
New York, NY 10065

205 Hudson Gallery
Hunter College Art Galleries
205 Hudson Street
New York, NY 10013

Hours: Wednesday–Sunday, 1–6pm

On the evening of the June 21st summer solstice, Ugo Rondinone: I ♥ John Giorno—the first major U.S. exhibition about the American poet, artist, activist and muse John Giorno—will open simultaneously across 13 locations in New York City. I ♥ John Giorno is a work of art by Giorno’s husband, the Swiss artist Ugo Rondinone. The exhibition is a celebration of the life and work of John Giorno—an artist whose work has influenced generations. Taking place in his chosen hometown, the exhibition affords a unique opportunity for Giorno’s contributions to be recognized within the canons of American poetry and art history, and celebrates the artist’s 80th birthday. 

I ♥ John Giorno is an unprecedented collaboration between leading non-profit and alternative spaces across New York, which are joining forces for the first time to mount a multilayered exhibition on a single subject. Partner venues include: Artists SpaceHigh Line ArtHowl! HappeningHunter College Art GalleriesThe KitchenNew MuseumRed Bull Arts New YorkRubin Museum of ArtSky ArtSwiss Institute, White Columns, and 80WSE Gallery. Reconfigured as a festival, including installations in galleries and public spaces, as well as a full roster of public programs and events, I ♥ John Giorno is free and open to the public. 

Expanding upon the exhibition that took place at Palais de Tokyo in Paris from October 2015 to January 2016, I ♥ John Giorno has been re-conceptualized specifically for New York, highlighting Giorno’s significant relationship with the city, and his singular role in creating and fostering community here. The 18-part exhibition has been divided by Rondinone into chapters reflecting the layers of Giorno’s life and work, his longstanding influence on and dedication to his chosen hometown of New York City, and his relationships with artist friends, lovers and collaborators including: Richard Bosman, Phong Bui, Angela BullochAnne CollierVerne DawsonJudith EislerJohn GiornoMark HandforthMatthew HiggsPierre HuygheFrançoise JanicotScott KingElizabeth PeytonUgo RondinoneErik SatieKendall ShawMichael StipeBilly SullivanRirkrit Tiravanija, Peter Ungerleider,  Joan Wallace, and Andy Warhol, whose work will be presented as part of the festival.

The exhibition format echoes the symbiotic relationship between Ugo Rondinone and John Giorno, who have been both partners and collaborators for the past two decades. Rondinone describes the show saying: “I ♥ John Giorno is a kaleidoscopic exhibition about the life and work of American poet and Tibetan Buddhist John Giorno, whose rich and stimulating life has woven many threads of American culture and spirituality. Within the dreamscape of the exhibition, one is invited to wander through the juxtaposed realm of art and poetry where image and language build upon themselves in a layered stream of consciousness driven by the biographical, the conceptual, and the emotional.”    

I ♥ John Giorno is made possible in part by public funds from Pro Helvetia, Swiss Arts Council. The I ♥ John Giorno organizing committee gratefully acknowledges generous support from Van Cleef & Arpels and the Andy Warhol Foundation for the Visual Arts. Thanks to Almine Rech Gallery, Brussels, London, New York and Paris; Elizabeth Dee Gallery, New York; Esther Schipper, Berlin; Galerie Eva Presenhuber, New York and Zürich; Gladstone Gallery, Brussels and New York; Galerie Kamel Mennour, London and Paris; Kukje Gallery, Seoul; and Sadie Coles, London for production support. Additional thanks to Ophelia and Bill Rudin as well as the General Consulate of Switzerland in New York for their gracious contribution, and to agnès b. for in kind support.

ABOUT JOHN GIORNO
John Giorno (b. 1936, New York City, USA) is an artistic innovator who has been defying conventional definitions of poet, performer, political activist, Tibetan Buddhist, and visual artist since he emerged upon the New York art scene during the late 1950s. In the 1960s, he began producing multi-media, multi-sensory events concurrent with Warhol’s Exploding Plastic Inevitable. He worked with Rauschenberg’s Experiments in Art and Technology (E.A.T) in 1966, and with Bob Moog in 1967-68. His breakthroughs in this area include Dial-A-Poem, which was first presented in 1968 at the Architectural Society of New York, and was later included in the MoMA’s Information exhibition in 1970. His contributions are significant to many culturally defining moments: the Beat generation, Pop Art, Punk, the Pictures Generation, and the hip-hop era. His work is included in the collections of the Museum of Modern Art, New York; Centre Georges Pompidou, Paris; Musée National d´Art Moderne, Paris; and Queensland Art Gallery/Gallery of Modern Art, Brisbane; among others.

ABOUT UGO RONDINONE
Ugo Rondinone (b. 1964, Brunnen, Switzerland) is a renowned mixed-media artist who lives and works in New York. Recent solo shows include: your age my age and the age of the rainbow, The Garage Museum of Contemporary Art, Moscow; let’s start this day again, Contemporary Arts Center, Cincinnati; every time the sun comes up, Place Vendome, Paris; girono d’oro + notti d’argento, Mercati die Traiano, Rome; becoming soil, Carre d’Art, Nîmes; seven magic mountains, Art Production Fund and Nevada Museum of Art/Desert of Nevada; vocabulary of solitude, Museum Boijmans Van Beuningen, Rotterdam; Ugo Rondinone: I ♡ John Giorno, Palais de Tokyo, Paris; golden days and silver nights, Art Gallery of New South Wales, Sydney; and artists and poets, Secession, Vienna. His work is in the collections of the Museum of Modern Art, New York, the Institute of Contemporary Art, Boston, the San Francisco Museum of Modern Art, the Walker Art Center, Minneapolis, and the Dallas Museum of Art, among others. Upcoming shows include the world just makes me laugh at Berkeley Art Museum and Pacific Film Archive, Berkeley; and good evening beautiful blue at Bass Museum of Art, Miami.

Ugo Rondinone: I ♡ John Giorno is made possible in part by public funds from the Swiss Arts Council Pro Helvetia. The I ♡ John Giorno organizing committee gratefully acknowledges generous support from Van Cleef & Arpels, the Andy Warhol Foundation for the Visual Arts and LUMA Foundation. Thanks to Almine Rech Gallery, Brussels, London, New York and Paris; Elizabeth Dee Gallery, New York; Esther Schipper, Berlin; Galerie Eva Presenhuber, New York and Zürich; Gladstone Gallery, Brussels and New York; Galerie Kamel Mennour, London and Paris; Kukje Gallery, Seoul; and Sadie Coles, London for production support. Additional thanks to Ophelia and Bill Rudin as well as the General Consulate of Switzerland in New York for their gracious contribution, and to agnès b. for in kind support.

JOHN GIORNO AND TIBETAN BUDDHISM
With works by John Giorno and Ugo Rondinone
205 Hudson Gallery

“When you’re a Buddhist, you work with your mind in meditation, and with various practices you train the mind to realize its empty nature. Strangely, that’s the way I make poems! Maybe it’s developing the ability to see what arises in one’s mind, how it arises and its nature, that makes Buddhism very sympathetic to poets.” — John Giorno

John Giorno was first introduced to Buddhism during his undergraduate studies at Columbia University in 1956 as part of its Core Curriculum.  After several trips to India during the 1970s, he discovered Tibetan Buddhism and became a disciple of Dudjom Rinpoche (1904–1987), master of the Nyingmapa lineage, which Giorno actively helped to promulgate in the United States. 

Every New Year since 1986, Giorno has welcomed Buddhist masters and students to his home for the traditional fire ceremony, during which the obstacles of the previous year are released to usher in the new one. For this exhibition, Giorno’s personal shrine from his home, which is decorated with intricate brocade from the sacred pilgrimage site of Benaras in India, has been relocated to the gallery space.  Additionally, selected from the collection of the Rubin Museum of Art, a group of eighteen thangkas—Tibetan paintings—are also on display along with two from Giorno’s personal collection. 

Padmasambhava, the founding figure of the Nyingmapa order, is depicted in a number of the works. Considered to be a “Second Buddha” in Tibet, Padmasambhava played a predominant role in the advancement of Buddhism across Tibet in the 8th century. Padmasambhava is endowed with superhuman qualities and shown through Tibetan iconography in a variety of forms.

Guru Pema Drakpo is one of the most wrathful depictions of Padmasambhava, an illustration of the powerful energy required to neutralize and transmute the obstacles that inevitably arise on the path to Enlightenment and spiritual accomplishment.  He holds in his hand a vajra or “Diamond Thunderbolt,” a symbol of Enlightenment and a ritual object.  Padmasambhava is believed to have been essential to the dissemination of the teachings of the Vajrakila, also known as the “Diamond Dagger,” throughout Tibet.

Conversely, Guru Pema Jungne is a more peaceful depiction of Padmasambhava. Known as the “Lotus-Born,” he is often shown sitting on a flower and dressed in the robes of a monk, teaching Dharma to the people.  In his right hand he holds a diamond scepter, while in his left he holds a skullcap of clear nectar.

AIDS TREATMENT PROJECT
With works by John Giorno, Ugo Rondinone and Peter Ungerleider
205 Hudson Gallery

205 Hudson Gallery presents material from Giorno’s AIDS Treatment Project begun in 1984. Conceived as a direct-action program, Giorno described it as “my personal effort to combat with all-pervasive compassion, the catastrophe of the AIDS epidemic. Cash grants for emergency situations: back rent, telephone and utilities, food, nursing, alternative medicine not covered by Medicaid, taxis, whatever is needed. Money given with love and affection.”

Facilitated through his non-profit foundation, Giorno Poetry Systems, many artists in his LP series, such as William Burroughs, Allen Ginsberg, and Patti Smith, among many others, donated their royalties to the AIDS Treatment Project. Giorno also organized benefit performances at the Beacon Theater with artists including Debbie Harry, Philip Glass, Laurie Anderson and Sonic Youth; posters from these concerts are included here. The AIDS Treatment Project concluded in 2004, though Giorno has continued to help poets and artists since with medical problems.

Peter Ungerleider’s film Loving Kindness, presented with the AIDS Treatment Project documentation, is a portrait of Giorno that focuses on his work with the AIDS Treatment Project interspersed with his musings on death within the Tibetan Buddhist tradition.

JOHN GIORNO DANCING
Kendall Shaw
Bertha and Karl Leubsdorf Gallery

The Bertha and Karl Leubsdorf Gallery displays works by Kendall Shaw depicting his close friend John Giorno. In 1963, Shaw took photos of Giorno dancing that later inspired his spare paintings whose black outlines and colorful silhouettes depict Giorno’s body in motion. The works were first exhibited at the Tibor de Nagy gallery in September 1964. For the first time, a number of Shaw’s original photographs will also be exhibited alongside the paintings.  

GRASPING AT EMPTINESS
Richard Bosman and John Giorno
Bertha and Karl Leubsdorf Gallery

Also on view at the Bertha and Karl Leubsdorf Gallery is Grasping at Emptiness, a collaboration featuring Giorno’s 1978 eponymous poem and 20 drawings by Richard Bosman. Bosman’s dynamic depictions of frustration evoke Giorno’s poem about a fraught end to a relationship. This book was published in 1985 by the Kulchur Foundation, an independent press and granting organization that supported poets and critics now primarily known as part of the New York School. 

Ugo Rondinone: I ♥ John Giorno is made possible by the generous support of the David Bershad Family Foundation, the Susan V. Bershad Charitable Fund, Inc., Arthur and Carol Kaufman Goldberg, the Leubsdorf Fund, and Agnes Gund in support of the Curatorial Certificate Program.

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Jun
19
to Aug 11

Jason Lazarus: A CENTURY OF DISSENT! in Harlem

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Jason Lazarus: A CENTURY OF DISSENT! in Harlem

June 19 – August 11, 2017

Hunter East Harlem Gallery
The Silberman School of Social Work
2180 3rd Avenue at 119th Street
New York, NY 10035

Gallery hours: Wednesday–Saturday, 12-5pm

A CENTURY OF DISSENT! is a summer-long, public art studio designed to collaboratively REMAKE protest signs used in Harlem and East Harlem throughout the past century (and up to the present moment) with Jason Lazarus: Artist-in-Residence at Hunter East Harlem Gallery.

Images from Harlem’s history of protests will be culled from research and project participants will collaborate with Lazarus to pick a source image and create a passing life-size facsimile of the original sign of dissent.  In some cases, project participants may also elect to describe a sign they previously mad and marched with in a public protest, and collaborate with Lazarus on crafting a recreation.
By the end of the summer, the Hunter East Harlem Gallery will become a new physical archive that simultaneously presents a multitude of historical moments and messaging, a place for reflection, synthesis, education, and re-examination of the present moment.

The artist will guide participants into collected protest images from greater Harlem, 1917 to the present, and participants will co-create a life size recreation of the original signs using provided materials at the exhibition space.
Groups of any kind are welcome to make a reservation for a session with the artist.  All research and materials will be provided. 
 
PUBLIC PROGRAM as part of the Uptown Triennial:
In the spirit of collectivity, the public is also invited to join Lazarus, Hunter East Harlem Gallery, Columbia University's Wallach Gallery and the Marcus Garvey Park Alliance on Saturday, August 5th at Marcus Garvey Park for a group portrait showcasing every self-identifying artist in Upper Manhattan. More details coming soon.

Jason Lazarus is an artist currently teaching at the University of South Florida, Tampa (Assistant Professor of Art and Art History) and the School of the Art Institute of Chicago (Low Residency MFA Program Mentor).  Since 2003, his work has sought experiential forms and methods to grapple with the politics of representation. 

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May
31
to Jun 2

A Coherently Incoherent Closing Event

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A Coherently Incoherent Closing Event

Wednesday, May 31, 2017
6:30–9 pm

Hunter East Harlem Gallery
2180 3rd Avenue
New York, NY 10035

Join us for an evening of poetry, music, and general incoherence. Celebrating the last week of The Incoherent Salon at Hunter East Harlem Gallery.

Performances include: 

- Harlem Hidden History, a camera intervention by Paco Cao
- An absurd dialogue between Amélie Gaulier and artist Yana Dimitrova about and around the irregularity of the French vocabulary with a pinch of dramatic fantasy.
- "The Arlington Heights Suite" performed by Pablo Helguera with Brian Linden & Candace Thompson
- Cabaret piano tunes performed by pianist Sophie Zhang
- Slide-Show: a reading of image poems by Jérôme Game  
- Ventriloquist Show: by Cardone the Magician

Information on the performers:

Jérôme Game: is a French poet and writer whose work cuts across various practice and disciplinary borders, notably visual and sonic. He currently lives in New York where he teaches cinema and critical theory at CUNY. www.jeromegame.com vantilequist show by  Cardone the magincian

Amélie Gaulier-Brody: is a French-born performance artist based in Brooklyn since 2014. Her artistic practice is dedicated to embodying and playing with the conditions of the body, objects, architecture, ideas, live music, movement and voice. She has studied contemporary dance, theater, voice work with Meredith Monk, Andrew Morrish, Deborah Hay, Rosalind Crisp. She is the cofounder of HAM, high art moment collective. 

Yana Dimitrova: Born and raised in Bulgaria, Dimitrova received her MFA in Painting(2008) from the Savannah College of Art and Design (USA). Her most recent exhibits took place in Brussels, (Belgium), Amsterdam (The Netherlands), Berlin (Germany), Manchester (UK), New York, Chicago, Philadelphia, Atlanta (USA) and Sofia (Bulgaria). Dimitrova is a lecturer at Parsons The New School for Design in New York. Through the use of paintings, drawings, embroideries and installations, Dimitrova questions perceptions of space, often using humor to critique concepts of desire and the proposed values of the every day.

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May
24
7:00 PM19:00

Nuyorican Poets Cafe

Nuyorican Poets Cafe at HEHG

Thursday, March 24, 2017
7–9:30pm

Hunter East Harlem Gallery
2180 3rd Avenue
New York, NY 10035

Founded in 1973, the Nuyorican Poets Cafe began as a living room salon in the East Village apartment of writer and poet Miguel Algarin along with other playwrights, poets, and musicians of color whose work was not accepted by the mainstream academic, entertainment or publishing industries. Since then, Nuyorican Poets Cafe has served as a home for groundbreaking works of poetry, music, theater and visual arts with weekly events for the creative and curious.

For the event at HEHG, Nuyorican Poets Cafe has invited some of their poets to perform written works followed by an open-mic slam session, open to anyone interested in the art form.

For more info on Nuyorican Poets Cafe, please visit: http://www.nuyorican.org/

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May
20
3:00 PM15:00

The Creative Stage: in Performance

The Creative Stage: in Performance

Saturday, May 20, 2017
3pm

Hunter East Harlem Gallery
2180 3rd Avenue
New York, NY 10035

Please join us for a very special performance by the theater troupes of The Creative Stage. 

Imagine the genius of Mozart, the fun of improv style sketches, singing, dancing, and a bunch of New York City third graders, all mixed up in an original sketch comedy musical extravaganza! This rollicking performance was developed in collaboration between the professional performing artists and New York City kids. The result is a hilarious, imaginative, and completely original performance sure to delight kids and adults, alike.

The Creative Stage offers a variety of uniquely creative performing arts programs for youth. Founded by international opera singer, arts educator, and producer Madeline Bender, innovative classes such as Musical Theater Builders, Dancing Designers, Puppet Theater Builders, and Instrumental Story Tellers, The Creative Stage works with a number of schools in Harlem and Upper Manhattan and professional artists, designers, actors, and musicians to build creative projects for the stage. 

For information on The Creative Stage, see here: http://creativestage.org/

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May
18
to Jun 4

Hunter MFA Thesis Part 2

Hunter MFA Thesis Part 2

May 18–June 4, 2017
Opening Reception: Thursday, May 18, 6:00–9:00pm

Part 2 of Hunter College's Spring 2017 MFA Thesis exhibition includes the work of twelve graduating MFA students whose work spans across a range of media and examines subjects of gender, sexual identity, nationality, immigration, government, and technology.

Artists exhibiting work include: 
James Bayard
Sujung Chang
Ricardo Contreras
Peter Hoffmeister
Wendy Fulenwider Liszt
Laura McMillian
Alexander Perrelli
Christian Rogers
Arkadiy Ryabin
Lena Schmid
Ahna Serendren
Chris Spangler

205 Hudson Gallery
Hunter College Art Galleries
205 Hudson Street
New York, NY 10013
Entrance on the south side of Canal Street between Hudson and Watts
Hours: Wednesday–Sunday, 1–6pm

Facebook link:
https://www.facebook.com/events/1794082357575500/

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May
10
6:00 PM18:00

Social Justice Book Club

Social Justice Book Club

Wednesday, May 10, 2017
6–8pm

Hunter East Harlem Gallery
2180 3rd Avenue
New York, NY, 10035

The inaugural meeting of Social Justice Book Club meets inside The Incoherents Salon. Please join us in discussing the acclaimed book, The New Jim Crow: Mass Incarceration in the Age Colorblindness by Michelle Alexander. 

The Social Justice Book Club is organized by SSW Social Justice Committee members and faculty Willie Tolliver, Colleen Henry, Alexis Jemal, and Kanako Okuda.  

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