Queens College Art Center Calendar of Events

Exhibition Hours :

Benjamin S. Rosenthal Library, 6th Floor Art Center exhibits are open during Art Library Hours
2nd and 3rd floor display cases can be viewed during scheduled Rosenthal Library Hours

For more information, call 718 997-3770. Or, for programs, hours and directions, the ARTS hotline at 718 997-ARTS.

2003-2004 Art Center Exhibitions
2002-2003 Art Center Exhibitions
2001-2002 Art Center Exhibitions
2000-2001 Art Center Exhibitions
1999-2000 Art Center Exhibitions
1988-1989 to 1998-1999 Art Center Exhibitions

2004 - 2005 Art Center Exhibitions

By Land or By Sea:
Dennis Cady
Paintings, Prints, and Sculpture, 1982-2004

September 9 - October 27, 2004

Gallery talk and reception: Thursday, September 9, 2004, 5-8 p.m.

Eagle Creek Forest, Oregon
Acrylic on canvas
50 x 40 in.

The New York landscape painter, based in New York City and the Hudson Valley, exhibits over 50 works ranging from 1982 to 2004. Included is landscape imagery from the United States, Canada, and Europe, as well as recent figural wood sculptures carved over the past two years in the artist's Hudson Valley studio in Newburgh, NY. Cady's passion for landscape has taken him all over the world in search of new lands to experience and, through his paintings, to capture their image and spirit.

The paintings and prints include works on canvas, watercolors, woodcuts, monoprints, and linocuts. They are light-filled, richly colored works with a sense of freshness, animation, and presence that celebrate and capture the changing moods and moments of each unique setting. In a career spanning nearly 40 years, Cady has traveled and painted in all regions of the United States, including New York and the Hudson Valley, Long Island, the Catskill and Adirondack regions, the Southeast, Southwest, Midwest, and Northwest from where he hails, as well as Nova Scotia, Newfoundland, Labrador, France, and Spain.

The works combine the keen perception of impressionist sensibility with exuberant, expressionistic brushwork

Cady is represented in public and corporate collections throughout the United States and abroad, and his work has been included in national and international exhibitions.

Yiannes: Ceramic Sculpture

November 3 - December 23, 2004

Co-Sponsored by the Foundation for Hellenic Culture, New York,
and by the Department of Art, Queens College

Gallery talk and reception: Thursday, November 4, 2004, 5-8 p.m.
This exhibition is dedicated to the memory of Professor Jolyon Hofsted.

Still Life with Amphora and Fish
Ceramic and mixed media
25 x 19 x 12 in.

The Greek-born New York City artist Yiannes exhibits clay and multi-media sculptures selected from his work of the past three decades. Born in Athens, Yiannes immigrated to the United States in 1967 and has drawn on the multiple dimensions of his experience. As American Ceramics magazine editor Ronald Kuchta observed in a 2000 exhibition catalog, Yiannes "has never forgotten his roots and his cultural homeland. His idiom may be thoroughly American - conceptual, abstract expressionist and pop - but the inevitable pull of his original identity never leaves him. It also marks his works."

The superbly crafted works are grounded in the earth and employ other natural and man-made materials as well, selected and imaginatively worked for maximum reality and expressiveness. The natural world and human constructions provide the subjects and forms. The sculptures are animated by Yiannes's civic awareness and social concerns, surreal playfulness, humor, irony and wit. Molded by the nuanced, richly referenced consciousness of an artist thoughtfully and sensitively engaged with his world, the sculptures invoke the poetry of humble everyday things and explore the metaphors of the human condition.

"What most clearly established the importance and originality of Yiannes's ceramic sculpture," said Edmund Keeley of Princeton University on the occasion of Yiannes's early exhibition in New York," is his synthesis of imaginative craftsmanship and humane thinking. His discovery of subtle surfaces in ordinary things, his transformation of the commonplace into the beautifully illuminating by surprising juxtapositions, and his projection of a serious vision through wit and a cunning playfulness all speak for the essential humanity - a modernized classical humanity - of his unique artistic enterprise."

Yiannes has exhibited in the United States and in Europe and is represented in public and private collections throughout the United States and abroad. He has also organized exhibitions of ceramic art and produced and directed video-films, most recently The Metamorphosis of the Bottle (2001).

An alumnus of the Brooklyn Museum Art School and the New School of Social Research in New York and recipient of prestigious fellowships, awards and grants, Yiannes has lectured at educational and art institutions in New York and California. He has taught at several colleges and art schools in New York and is currently an adjunct professor in the Queens College Art Department.

Time and the Tabletop:
Still Life Paintings by Harold Bruder,

February 1 - April 7, 2005

Co-sponsored by the Department of Art, Queens College

Gallery talk: Wednesday, February 2, 2005, 12:15-1:30 p.m.

Reception: Thursday, February 3, 2005, 5-7 p.m.

Winter Still Life (detail)
Oil on canvas
36 x 80 in.

The exhibition presents recent still life paintings, an impressive new body of work, by the seminal American realist artist Harold Bruder. Commenting on Bruder's recent exhibition at the Mitchell Algus Gallery in New York City, the painter and sculptor Audrey Flack described "an artist who was in the forefront of the American realist movement...one of the first artists of his generation to exhibit realist paintings in the early 1960's--and, in 1962, the very first to hold an exhibition of paintings derived from photographs. Coming out of an abstract-expressionist background, he became a pioneer in this ground-breaking movement." Flack concluded, "It is through the study of individualistic artists like Harold Bruder that the volatile transitions of the second half of the twentieth century art world can begin to be understood.

Of his current work, Bruder says: "All of the paintings in this exhibit were painted in natural light from setups on a tabletop in my studio at 72nd Street and Broadway. I favor complex ensembles because the outcome is very unpredictable and surprises often occur. I like the feeling of being out of control within the very contained rectangle that bounds the pictorial space...that very containment allows for a great deal of freedom in searching for meaning when painting from gesturing mannequins, brightly colored gourds, or man-eating plants (they've been described as such)...My daily work consists of traveling to the studio and putting in a few hours of Zen-like contemplation at the easel. At times I make progress and see something I've never seen before. Even after more than fifty years each painting is a new journey."

Bruder has exhibited in major museums and galleries through the United States, including 11 solo shows in New York City since 1961, and is represented in prestigious public and private collections. Among his awards are those from the National Endowment for the Arts and the American Academy of Arts and Letters.

Alumnus of the Cooper Union, Pratt Institute and The New School, Bruder has been a graphics designer, lectured widely, and taught in art programs including the Kansas City Art Institute, Pratt Institute, National Academy of Design, and the Aspen Summer School. At Queens College, where he inspired several generations of art students (1965-1995), as professor and later chairman of the Art Department, he is now Professor Emeritus.

Suzanne Benton:
Face & Figure - Selected Works,

April 12 - July 14, 2005

Gallery talk and performance: Tuesday, April 12, 2005, 5:00 - 6:00 pm
Reception: Immediately follows, 6:00 - 8:00 pm

Anarkali II
Steel and bronze
18 3/4 x 12 1/2 x 10 in.

Face & Figure presents 55 works from 1955 to 2005 in which the artist explores the human form and varied aspects of the human experience in multiple media, reflecting the diversity of her art. Benton's works have been exhibited at hundreds of museums, universities, and galleries throughout the United States and abroad, and this exhibition marks her 50 years in art.

"Suzanne Benton's artistic oeuvre is rich with original recastings of myths, biblical, literary and art historical sources, as well as oral tales and multicultural images she has gathered on working journeys through Africa, Asia, Europe, the Mediterranean, and the Middle East," says Gloria Orenstein of University of South California in her catalogue essay. "…Her works exemplify both the strength of her creative force and the powers unleashed in women artists…".

The exhibition begins with a woodcut and an acrylic color study from Benton's college years, followed by oil paintings and drawings of children and nudes. In 1969, feminist activism electrified Benton's work and led to the metal sculpture, masks, and mask performances that began her mature period. During Women's International Year (1976), Benton embarked on a yearlong world journey, the first of many trips. In 1982 she began to employ Chine colle, color-filled prints with collage elements often inspired and informed by her multicultural experiences and humanitarian interests. Secret Future Works (a series started in 1988), Portrait Boxes (a series begun in 1996), and the many works done since her return to painting in 1997 testify to an abiding interest in both what is hidden and what can be revealed.

"A fascination with the intersections of the personal and the archetypal has carried me through life's journeys," says Benton. "In making art and teaching throughout the world, I have sought to learn and reconfigure unquestioned myths, expanding my art and understanding in the process. Whatever awareness I have attained now abides in my work."

Benton's multidisciplinary work has brought her to 29 countries, often sponsored in part by the United States Information Service (U.S.I.S.), and she has been awarded dozens of artist residencies, including Fulbright lecturer (India 1992) and Resident Artist at Harvard University (1997). She has taught at Oberlin College, India's Khala Bhavan Art School in Santiniketan, and the University of Dhaka, Bangladesh. She has also lectured at over 80 institutions, including the Boston Museum School of Fine Arts, Brooklyn College, the Tokyo School of Fine Arts, Nairobi University, the Institute of Fine Arts in Tunis, and the JJ School of Art in Bombay. Since 1971, Benton has performed with her metal masks from her repertoire of 56 tales at hundreds of prestigious venues, including Lincoln Center, the Wadsworth Athenaeum, the Metropolitan Museum of Art, and the Bombay Center for the Performing Arts. She has also led mask workshops worldwide.

Benton is the author of the fundamental The Art of Welded Sculpture (Van Nostrand Reinhold 1975) and of numerous articles. Her work has been covered in over a hundred articles and reviews and 32 books. A graduate of Queens College (Suzanne Elkins, BA 1956), Benton studied with such outstanding faculty as painter John Ferren, watercolorist Barse Miller, printmaker Louis Hechenbleikner, sculptor Peter Lipman-Wulf, and art historian Robert Goldwater, who introduced her to the power of ancient and indigenous art.

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Last Updated April 2005