Selections from the Visual & Critical Studies Department's Seniors
On view January 17 - February 7, 2014
School of Visual Arts presents “Carnivalesque,” an exhibition of thesis projects by BFA Visual & Critical Studies students. Curated by deputy chair of MA Curatorial Practice, Jovana Stokic, the exhibition is on view January 17 through February 7 at the SVA Flatiron Gallery, 133/141 West 21st Street, New York City.
Participating artists include Taylor Baker, Harris Bauer, Nicholas Calhoun, Lilyann Chen, Jina Choi, Brittany Cota, Carmela D’Agostino, Joseph DeSena, Isabel Dahl, Ashley Elma, Jennette June, Aspen Kincaid, Jinhee Kwak, Monica Lo, Shawn McCarney, Carissa Melillo, Katrina Mitilenes, Lauren Orscheln, Lily Roche, Lisa Saeboe, Julia Santoli, Devon Watson, Rachel Zaretsky and Leila Zhanybekova
Alfredo Jaar is an artist, architect, and filmmaker who lives and works in New York City. He was born in Santiago de Chile.
Jaar’s work has been shown extensively around the world. He has participated in the Biennales of Venice (1986, 2007, 2009, 2013), Sao Paulo (1987, 1989, 2010) as well as Documenta in Kassel (1987, 2002). Important individual exhibitions include The New Museum of Contemporary Art, New York; Whitechapel, London; The Museum of Contemporary Art, Chicago; The Museum of Contemporary Art, Rome; and Moderna Museet, Stockholm. A major retrospective of his work took place in summer 2012 at three institutions in Berlin: Berlinische Galerie, Neue Gesellschaft fur bildende Kunst e.V. and Alte Nationalgalerie. In 2014 the Museum of Contemporary Art Kiasma in Helsinki hosted the most extensive retrospective of his career.
Jaar has realized more than sixty public interventions around the world. More than fifty monographic publications have been published about his work. He became a Guggenheim Fellow in 1985 and a MacArthur Fellow in 2000.
His work can be found in the collections of The Museum of Modern Art and Guggenheim Museum, New York, the MCA in Chicago, MOCA and LACMA in Los Angeles, the Tate in London, the Centre Georges Pompidou in Paris, the Centro Reina Sofia in Madrid, the Moderna Museet in Stockholm, the Louisiana Museum of Modern Art in Humlaebeck and dozens of other institutions and private collections worldwide.
The concept of “mimesis” comes down to us from Greek Antiquity, evidently deriving the connotation of its name from the word for actor, “mimos,” in the context of either ritual or entertainment dramas of the culture. Given that background it took on the connotation of imitation or representational action. In either sense “mimesis” has implied a dichotomy of appearance as against reality. And under a compulsion for seeing likenesses the embrace of virtual realities is encouraged--a realization of fears notoriously expressed by Plato. The paper explores these pathways and their issue in aspects of contemporary culture and policy--for example the Louis Vuitton phenomenon, but also the conception of war and peace in the eyes of American populations and their governments.
Leo Treitler was born in Dortmund, Germany in 1931 and emigrated to the US in April, 1938. He studied composition with Boris Blacher at the Hochschule für Musik, Berlin 1957-58, received BA and MA degrees in music from the University of Chicago, MFA and PhD in music from Princeton University, and Doctor of Music /Honoris Causa /from the New England Conservatory of Music. He has held professorial positions at the University of Chicago, Brandeis University, Stony Brook University, the Graduate Center of the City University of New York where he is Distinguished Professor of Music Emeritus since 2003, and guest professorships at Basel (Switzerland), Berkeley, Columbia, Frankfurt (Germany), Harvard, and Yale Universities. He is a fellow of the American Academy of Arts and Sciences and of the New York Institute for the Humanities. Books published: Music and the Historical Imagination, With Voice and Pen: Coming to Know Medieval Song and How it was Made, Strunk’s Source Readings in Music History, Revised Edition, Reflections on Musical Meaning and its Representations.
Over the past four decades, Creative Time has commissioned and presented ambitious public art projects with thousands of artists throughout New York City, across the country, around the world. Guided by three core values—art matters, artists’ voices are important in shaping society, and public spaces are places for creative and free expression—Creative Time is deeply committed to presenting important art for our times and engaging broad audiences that transcend geographic, racial, and socioeconomic barriers.
Cara Starke, Director of Exhibitions at Creative Time, will speak about Creative Time's innovative and meaningful history—from Tribute in Light, the twin beacons of light that illuminated lower Manhattan six months after 9/11, to Paul Chan’s production of Waiting for Godot in New Orleans, to Kara Walker’s A Subtlety at the Domino Sugar Factory—as well as the process of commissioning artists, and the challenges of engaging public spaces as places for creative and free expression.
As the Director of Exhibitions at Creative Time, Starke heads the department that commissions artists and presents public art projects. Previously she was Assistant Curator at The Museum of Modern Art, where she collaborated with artists and organized exhibitions with the Department of Media and Performance Art.
Sadequain is considered one of the most original, controversial and prolific artists of his time. His remarkable career spanned three decades and witnessed a feverish flurry of creativity which resulted in several thousands of paintings, etchings, drawings, calligraphy and giant mural which adorn institutions in South Asia and in the West. As an introduction to Sadequain - the Pakistani artist and poet (1930-1987) who’s art works span three decades of pen ink drawings, oil paintings, large scale murals and calligraphy - the lecture will briefly locate the artist within his political, social and emotional context and how these contributed and shaped his creativity.
Saiyid Ali Naqvi is the author of Indus Waters and Social Change. And is currently working on his second book ‘Sadequain Painter and Poet’ and his book of verse ‘Mashke Sukhan’ (The Practice of Poetry) He grew up with his cousin Sadequain in Amroha where they spent their childhood together in the same compound of homes in their mohalla in Amroha. From early adulthood they shared each other’s thoughts and passions. These are beautifully reflected in Sadequain’s mural, The Saga of Labour, which adorns the wall of the machine room of Mangla Dam Power Station. The author takes great pride in having persuaded both the artist and the engineers to create a mural that celebrates human endeavour for development and nature’s beauty.