College Art Center
Benjamin S. Rosenthal Library, 6th Floor
2000-2001 Art Center Exhibitions
- October 5, 2000
oil on canvas, 10" x 8"
Chernow, nationally known artist, combines words and images of women in
her art. Her work is based on female movie personages of the 1930s
and 40s. These women, taken from the old movies she loved to watch
growing up in Flushing, New York, convey a sense of intimacy and nostalgia.
They investigate the links between identity and representation.
Art curator Deborah Frizzell writes, "by combining word and image, Chernow's Fictitious Icons transmute mythic film goddesses and their signature glossy snapshot stills into ordinary women, self-reliant working women in the process of seeking and forming identities, fictitious and illusionistic, they are also believable and yet elusive. And most important, they require us to finish their story."
oil on canvas, 10" x 8"
oil on canvas, 10" x 8"
exhibit will consist of 35 oils on canvas. Each painting parodies
the chauvinistic publicity produced about aspiring female stars of the
1930s. Each canvas is accompanied by an invented biography, written in
the manner of the 1930s publicity stills.
The artist says, "My work is based on specific images related to American films from the 1930s, 1940s and early 50s. Film characters, settings, publicity releases, fan magazines, and other film related genre are departure points, reinterpreted, often with contemporary models used in place of the original film catalyst. Gender is important, but establishing a dramatic moment is paramount."
Chernow is an elected member of the National Academy. Her work has won numerous prizes and is in many public collections, including The Metropolitan Museum of Art and Yale University Art Gallery.
of South America from
the 1930s and 1940
PHOTOGRAPHS BY MARTE PREVITI
Spanish and Latin American Art
12 - November 24, 2000
and Latin American Art at Queens College is pleased to present the photographs
of Marte Previti, an exhibition curated by Jerald R. Green.
Marte Previti, a chemical engineer by profession (Cooper Union, NYC), was assigned to Allied Chemical Corporation's Buenos Aires, Argentina office in the early 1930's. He began photographing almost immediately upon his arrival in South America. He entered his work in photography competitions and received several awards. His photographs began appearing in Buenos Aires and Santiago, Chile newspapers.
Previti's South American images recorded Argentina, Chile, Peru, and Bolivia during the 1930's and 1940's. They depict cityscapes of South American capitals, as well as daily life in smaller villages. Numerous photographs portray Argentineans and other South Americans engaged in leisure time activities; other images represent the world of work at a time which could not possibly have anticipated the technological revolution of the second half of the twentieth century. Previti also photographed several of South America's important Precolumbian sites, such as Peru's Machu Picchu.
Previti's images are characterized by the highly dramatic and pictorial effects of nature upon the handiwork of man, as well as by the photographer's ability to capture the material designs and daily patterns of life in South America which would be overlooked by a less observant image maker.
Sculpture and Works on Paper
Review of exhibition
28, 2000 - January 18, 2001 Gallery talk: Thursday, November 30, 4:30-5:00
(Enigma of the Lovers) 31"x58"x31"
copper, silver & palladium leaf
1999; 30" x 60" x 60"
glass, steel, wood copper
and Waiting, 1999
glass, copper, bronze, honey, ink, water
Photos: Peter Bellamy
former West Coast artist now living in Manhattan, Kathy Goodell will be
showing multi-media sculptures (glass, wood, copper, steel, fabric and
magnifying lenses) and works on paper. The show will consist of both floor
and suspended pieces. The works on paper are collages relating to ideas
in her sculptures
Peggy Cyphers, art critic of Arts magazine, has said of her work,"(her sculptures are) ethereal in their implication of a space that is inhabited by the unseen, matter which looks to have left its skeletal structure for a new form. Baroque and constructivist devices merge in Goodell's works, their efficacious natures obsessively hand-made and exacting in their symmetry and biological patterning." Kathi Norklun of the Woodstock times has said, "the pleasures of gravity sling seductively through (her work).there is a complex honesty that tugs at the viewer with a gut-felt urgency."
Of her own work the artist says, "My primary interest is in the interrelationships between sculpture and the body's vitality and vulnerability, its conditions of seeing, feeling and being. In her current work a silk sack, hand colored body red is magnified through a large lens, to gargantuan proportions; honey incased in a glass vessel crystallizes with the cold but softens with the warmth of light. In another piece, entitled, `In the Beginning,' a singular piece becomes two, revealing the center, a dark vortex. In yet another, the center expands and encapsulates a hemispherical vacuum, sheltered by a glass membrane. These sculptural situations reflect my idiosyncratic relationship to the body and spirit, and attempt to address the complexity of our lives, the vibrancy and stillness, the familiarity mixed with strangeness, the disharmony and harmony of just being alive."
Goodell has had numerous one-person
exhibitions, most recently at the Willoughby Sharp Gallery in New York,
and group exhibits, most recently at the Klienert\James Art Center in Woodstock,
New York, and the Snug Harbor Cultural Center in Staten Island, N.Y. This
coming February she will be included in a drawing exhibition at The Wake
Forest University Art Gallery in Winston-Salem, North Carolina. Her works
are in numerous public and private collections. She has also been the recipient
of numerous grants and awards, including two from the National Endowment
for the Arts and two from The New York Foundation for the Arts. Goodell
currently teaches studio art at SUNY New Paltz and The School of Visual
Arts, in New York City.
of Chimborazo, Ecuador PHOTOGRAPHS BY LIGIA BOTERO
Spanish and Latin American Art
29-March 16, 2001
and Latin American Art at Queens College is pleased to announce the
exhibition Portraits of Chimborazo. Photographs by Ligia Botero.
The exhibition is installed in the Art Center (sixth floor) of the Benjamin
S. Rosenthal Library. The exhibit opens on Monday, January 29, 2001 and
it may be visited until March 16, 2001. A reception for the exhibition
is scheduled for Wednesday, February 7 from 5-7pm. Ms. Botero will attend
and will be available to discuss her work. Art Center hours are Monday-Thursday,
10am-8pm and Friday, 12noon-5pm. The exhibit is curated by Jerald R. Green.
Born in Bogota, Colombia, photojournalist and social documentary photographer Ligia Botero lives and works in New York City. Her poignant and compassionate photo essay Portraits of Chimborazo affords the viewer a penetrating vision into the lives of the Ecuadorian farmers who struggle to eke out a marginal subsistence by cultivating the land surrounding Chimborazo, a volcano which rises to 20,700 feet. The farmers cling to a life-cycle which depends almost entirely upon an ancient, communal way of life which is characterized by a symbiotic relationship between man and his environment. This life-cycle gives meaning to the very existence of the Chimborazo campesinos.
The Chimborazo farmers lead lives deeply rooted in Andean societal traditions and, as a result, they are far removed from the mainstream of Ecuadorian urban dwellers. Their traditional life-style has insulated them from the fashions and values of the twenty-first century--even those of small towns and villages in Ecuador. The young farmers, however, have tasted the pleasures of the city and, combined with the tardy arrival of modern agricultural techniques and previously unknown land-distribution practices, this traditional society is experiencing a major threat to its existence. Portraits of Chimborozo is an effort to document the fears and hopes of the Chimborazo campesinos at a precise moment in time.
Ligia Botero holds a bachelors degree in fine arts and she completed an independent studies program in photography at the International Center of Photography. Portraits of Chimborazo appeared in Americas, the journal of the Organization of American States where it was seen by the exhibition curator. Her photo essay on child labor and education in Ecuador will appear shortly.
The photographer has exhibited her work widely in the New York area and she has printed for International Center of Photography exhibitions and for Magnum.
Not Go Gentle:
Poetry and the Paintings of
Guest Curator: Vernita Nemec
- May 5, 2001
Thursday, April 26, 4-5 pm, moderated by Elizabeth Pallitto, with Carter
Ratcliff, guest poet
|The Queens College
Art Center is pleased to present a retrospective of paintings entitled
"Do Not Go Gentle: Poetry and the Paintings of Bruce Rosen," beginning
Thursday, March 22 and continuing through Saturday, May 5, 2001. Vernita
Nemec is guest curator.
In the words of critic and essayist Carter Ratcliff, "Rosen was devoted to literature. . . . Literature and its medium, language, haunt his art." Ratcliff went on to observe:
The title of the current exhibition mirrors the title of that humanities course, which Rosen introduced in The New School catalogue with the words of Dylan Thomas, "Rage, rage against the dying of the light," adding that "the best literature of aging challenges passive stereotypes, revealing the resilience of the human spirit and its undiminished capacity for heroism."
Viewers of the Rosen retrospective at the Queens College Art Center may be presented with a similar challenge and a similar insight.
Christina Mossaides Strassfield, Curator of Guild Hall Museum from 1990 to 1996, will share first-hand knowledge of the artist at a gallery talk on Wednesday, March 28 at 4 pm. An opening reception will follow from 5 to 8 pm.
Carter Ratcliff, art critic and Contributing Editor of Art in America, is guest poet at a poetry reading on Thursday, April 26 at 4 pm. The poems of Bruce Rosen will be read by Ed Warshow and Brynn Rosen. Poet Elizabeth Pallitto of Queens College is moderator. A reception follows the reading.
Gallery hours are Mondays to Thursdays, 10am to 8 pm, and Fridays, 12 to 5 pm. Closed weekends and holidays EXCEPT Saturday, May 5, 2-4pm. During spring break, April 9 to 13, hours will be Monday to Friday, 12 to 5 pm.
For more information, call the ARTS hotline (in March) at 718-997-ARTS or 718-997-3770.
|Sea Change, 1992||Dream Series #4, 1993||Untitled, 1990s|
more information about Bruce Rosen and the participants, click HERE
Spanish and Latin American Art
May 9 -
July 19, 2001
Or, for programs, hours and directions, the ARTS hotline at 718 997-ARTS.
Or, visit our website: http://forbin.qc.edu/Library/art/artcenter.html