Paul W. Zuccaire Gallery Stony Brook univerSity SePt 15 - oct 24, 2015
FACULTY EXHIBITION2015
Paul W. ZuccaireG A L L E R Y
Staller Center for the Arts
Stony Brook University
Stony Brook NY 11794-5425
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INTRODUCTION
Stony Brook university is fortunate tohave distinguished artists on our faculty,whose work engages a broad range ofmedia, crossing boundaries in sometimesplayful and sometimes challenging ways.our faculty include artists whose work iscommissioned and exhibited inter -nationally. the work shown here providesjust a taste of the range, creativity andintellectual depth of their practice.
What is not on view is the commitmentand focus they also bring as teachersand mentors to our students, by example,and in the classroom and studio. theStudio program at Stony Brook offers ademanding three-year Master of Finearts degree, as well as a Bachelorsdegree with concentrations in digitalmedia and photography, painting,printmaking, ceramics and sculpture,preparing students for successful careersin art making and art handling, in videoand media production, in education andcuratorial practice. our faculty alsoserve a wide range of students whochoose to pursue a minor in Studio art orin Digital arts, while completing theirdegrees in other fields.
in addition to the expertise our facultyprovide in the classroom, they also bringtheir knowledge and stature within theart world of new york, from theHamptons to the galleries and museumsof Manhattan and beyond, enhancingthe reputation of Stony Brook as a worldclass research university. our studiofaculty collaborate and engage withscholars and scientists across thedisciplines, bringing critical conceptualand visual consciousness tocontemporary concerns.
We want to thank karen levitov, Directorof the Paul W. Zuccaire Gallery, for herenergy and commitment in making thisexhibit possible, and for her freshperspective on the world ofcontemporary art.
Please take time to engage with theseworks, question them, learn from them,and enjoy them.
Barbara e. FrankAssociate Professor and ChairDepartment of Art
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KristaBIEDENBACHAssistant to the Director, Pollock-Krasner House and Study Center
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Mike Gralla, 2015
From the Life of Engineer D.M., 2014
IsakBERBICAssistant Professor, Photography
From the Life of Engineer D.M. presents text and photographic material, drawing fromprivate, found and media images, staging a story of expatriate guest-work, politicalconflict, a rare vacation and life back home. the installation, presented as a sequenceof photographs and footnotes, a narrative based on unknown details of actual events,tells the stories of the life of engineer "D.M.," an expert on thermostable materials usedin the production of industrial chimney-stacks. D.M.’s work took him, and his camera,through libya, lebanon, east Germany, italy, the non-aligned and east africa, datingfrom the 1970’s until the 1990’s.
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Toby BUONAGURIOProfessor, Ceramics, Ceramic Sculpture and Drawing
For more than forty years i have createdidiosyncratic ceramic sculpture. inspired byextensive international travel, and anunapologetic affection for Popular culture,american and otherwise.
My latest work represents the nextgeneration of figures. androgynousrobots, created over the past fourdecades, a hallmark of my work, havehad a radical change of appearance.More than a facelift, they have had acomplete body makeover. now deployedas statuesque, physically enhancedfemales: “fembots on steroids,” they arestripped of nuts and bolts and anyreference to mechanical paraphernalia.Manicured with high octane colors,brilliant reflective surfaces, andproprietary processes, i consider them avariant representation for the female icon.
Neon Auroras: Sapphire Ruby, 2015
Sila (video still), 2012
Melissa F. CLARKELecturer in Art, Affiliate of cDACT(Consortium for Digital Arts, Technologyand Culture)
Sila is a generative audio-visual installation that employs algorithms to give a sense ofshape shifting, falling ice and climatic cycles. it is an installation about arctic ice andthe Greenlandic culture surrounding it. it explores my 2012 expedition up thenorthwest coast of Greenland through video, sound and printed works. the video ismade of thousands of images of icebergs, ice and glaciers captured in the arcticduring the summer of 2012. using a custom algorithm, the images are compositedover time. the sound is sonified data, water, Greenlandic voices and ice that plays out.next to the video one sees a grid of small photos of ice and daily Greenlandic life,including hunters, youth, soccer games and family dinners, as well as images pulledfrom the video.
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Grounded in the tradition of creating meaning and histories through representation,my work draws on the power and potential of (the) image to investigate questions ofsubjectivity and social equity.
Both artist and artwork strive to exist, and encourage ways of being, beyond thebounds of circumstance in a grounded action oriented way. From a position ofblackness, which can often be simultaneously invisible and hyper-visible, this requiresimagination, mediation, intentionality, knowledge of self and other, vulnerability,fortitude and the kind of luck only hard work and commitment to purpose can produce.
Sentients (video still), 2014
Stephanie DINKINSAssociate Professor and Director for Digital Art Minor, Image Based Object& Installation, Photography, Video Art
Takafumi IDEInstructional Support Technician
debacle (detail), 2015
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LoVIDTali HINKISArtist-in-Residence, cDACT (Consortium forDigital Arts, Culture, and Technology)
Kyle LAPIDUSAssistant Professor and Director ofNeuromodulation in the Department of Psychiatry
throughout their projects, the art duo lovidexplores the ways contemporary societyand culture seep into our individual andcollective consciousness, shapingperceptions of themselves, others, and thenatural world. Many of our works developorganically as interdisciplinary projects,which include video, sound, textile,participatory events, book-art and net-art,featuring playful and tactile elements. Wedraw our audiences into immersiveexperiences via audiovisual environmentsin our performances and installations, orparticipatory and audience-ledengagements that merge physical andvirtual spaces. our interdisciplinarypractice allows us to translate ideas fromone genre to the next, often transferringexperiences that are media-born to tactileand material-based works. We juxtaposeanalog and digital engineering withtraditional art or craft forms to reflect onthe role of handmade production in a timeincreasingly dominated by machines andvirtual interactions.
The Other Side of Ground, 2010
the american city remains the inspiration for my work, with an historical reverence tothe generations of artists who share my love and motivation. this preoccupation wasdeveloped through my conviction that architecture is one of humankind's greatestachievements, considering our humble beginnings. My meticulously hand drawnetchings take months to complete due to my obsession with detail, and intenseinvolvement with every technical aspect of the medium. My fascination withexaggerated perspective, unusual vantage points and elongated shadows, continues tocharacterize my images. My images are intentionally devoid of humans, allowing theviewer exclusivity by minimizing any distractions. unlike the naked eye or thelimitations and distortion of a camera, every object near and far is rendered in extremefocus, accentuating the depth of the image, and allowing for more clarity andheightened observation.
Tribune Tower, 2013
Martin LEVINEProfessor, Printmaking
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NobuhoNAGASAWAProfessor, Sculpture, Installation and Public Art
the title of the installation Utsusemi derivesfrom two Japanese characters representingemptiness and cicada. combined togetherthe characters mean shell of cicada.Metaphorically the word Utsusemi impliesan awareness of impermanence, a literaryand aesthetic concept cultivated in eighthcentury Japan known as Mono no Aware.at its core is a deep empathic appreciationof the ephemeral beauty manifest insynesthesia, a neurological phenomenonin which stimulation of one sense causesthe automatic experiences of another sensein a cognitive pathway. cicadas symbolizeimmortality and the ultimate prospect oftranscendent rebirth. Some are known tolive in the earth for seventeen years,emerge to shed their skin to transform, andsing only to mate and die. Similar tocicadas, lotuses grow in the mud and riseto bloom, symbolizing the human capacityto rise above the world’s impurities. Saltsignifies the Japanese ritual of purification.light breathes slowly and releases thesound as an intimate experience. themetaphoric center of this installation is thepath leading toward the sound and light,which one must enter alone. the path isan entrance to the liminality between lifeand death.
Utsusemi 空蝉 (detail), 2015 Watch Hill, 2014
Jason PARADISAdjunct Lecturer, Drawing, Painting, Mixed Media
this body of work is based on direct observation of the night sky over Watch Hill. iwas in residence at the Fire island national Sea Shore during the summer of 2014.each night, i made ink drawings of the constellations, satellites, planets, and cloudsthat were visible overhead. each morning, i plotted that information to a grid ofpainted panels. this culminated into an installation that includes dimensional elementsthat reference the boardwalk trail. ultimately, i arrived at an interpretation that not onlymeditates on subtle shifts that occur daily but also demonstrates how the elements ofnature are unified.
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HowardenaPINDELLProfessor, Drawing and Painting
i started working on the astronomySeries about ten years ago after takingan astronomy course at the new Schooluniversity. they were usually drawingson papyrus or different color bark paper.i would draw from star charts in thecenter of various astronomy magazines. i have drawn them and have madeetchings of them.
Constellations is the most recent piece inthis series that i made as the surpriseartist for the norwalk PrintmakingWorkshop in connecticut. i used an oddprocess where you draw with Sharpiemarkers on a steel-faced copper plate. ichose to use a round format to relate tothe cosmos.
Mel PEKARSKYProfessor Emeritus, Drawing, Painting, Theory and Public Art
it didn't start out this way, me and thedesert. at first it was an epiphany, aconfluence of form and meaning,abstraction and representation. But nowi’m mostly watching the land waiting forour next move, and i try to bring that backwith me and show it to you.
Heating Up (detail), 2015
Constellations, 2015
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Dan RICHHOLTTechnical Specialist, Sculpture Facilities
Mankind with Memories (detail), 2015
X-Ray #10, 2013
Andreas RENTSCHAdjunct Lecturer, Photography
in the X-ray series, the double-sided emulsion is continuously exposed to light. themark-making is created through my application of traditional black & whitephotographic chemicals by hand onto the film’s surfaces. the evidence of my actions isoften revealed after several weeks, or is completely deconstructed by the chemistry. theX-ray film becomes a revelatory tool, exposing hidden appearances, almost like aforensic expert unearthing concealed truths under the layers.
this series was triggered upon seeing the horrifying images of the public stoning inafghanistan of a loving couple by their own community, including relatives. theseworks continue an ongoing exploration of the connection of fate, geography andpolitics in the direction of justice.
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Kimberly RUTH Adjunct Lecturer, Photography
the works in the Inconsistent Repetition series explore the idea of language as aconstruct of misinterpretations and games that confuses the primal nature of humanrelationships. Further, the works show a connection between infants and primates thatsuggest the beauty of truth found in pre-verbal communication.
Inconsistent Repetition (video still), 2015
Lorena SALCEDO-WATSONVisiting Artist and Adjunct Lecturer inPrintmaking, Lithography and Drawing
My imagery describes temporal qualitiesof life. Based on a fascination withbotany, entomology and anatomy, icreate visual links that interconnect lifeforms and embrace ambiguities innature’s architecture. My drawingsinterpret aspects of nature filteredthrough personal experience,observation and imagination. i wish toevoke unconscious visual associations,pulling the viewer into ambiguouslyfamiliar terrain. life forms merge in anetwork of connections, extendingbeyond ourselves, bridging the degreesof separation between a human sternumand an insect’s thorax... my wingsmerging with those of a dragonfly…revealing pathways infinitelytransforming into curiously familiarmoments and spaces.
Dislocation, 2014
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Margaret SCHEDEL Assistant Professor, Composition and Computer Music
analog sound relies on tactile movements that directly produce sound waves, a kind oftouch sometimes forgotten in our digital realm of discrete bits. A Train of a ThousandWings uses the audification techniques of the earliest electronic music instruments,creating a periodic signal through electro-magnetic means. Specifically, this piecetransforms an early electronic instrument into a soundscape, plunging the listener intothe interior workings of the Hammond organ. like many early analog electronicinstruments, the Hammond organ hid its mechanism, the tone wheel, from view inside adecorative cabinet. this piece invites you to explore the beauty of its mechanicalworkings by exposing the transformation of movement into sound. listeners manipulatethe soundscape by changing the positions of handmade pickups and the speed of themotor, recapturing the material feel of an age long past.
Patrice SCANLONMultimedia Resources Specialist for the Library Technology, Discovery, and Digital Initiatives
A Train of a Thousand Wings (detail), 2015
Maya SCHINDLERAdjunct Lecturer, Drawing
as an artist today, i try to observe theworld, and i do that by pointing, editing,cropping and selecting (and in doing sointerpreting the objective world in asubjective manner). i know that when iattempt to objectively show "what is," imust leave much out. When doing that, iattempt to reveal more than one meaningor truth to an image, and only by revealingwhat is "just" enough for it to "be" or to betrue—or maybe one can call it reflection.as an artist today, i indulge my subjectivityby the actual image choice.
Cecil the Lion, 2015
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Lorraine WALSHArt Director and Curator, Simons Center for Geometry and PhysicsVisiting Associate Professor, Department of Art
Pleurotus is inspired by John cage, thelegendary composer, musician, artist,writer and amateur mycologist. a geniusinnovator with a playful spirit, cage onceclaimed he studied mushrooms because itwas next to music in the dictionary. themushroom featured here, in both drawingand animation, is the P. ostreatus, a genusof gilled mushrooms, collected on my ownmycological forays.
using cage’s compositions and mushroomgills, Pleurotus explores drawing in analogand digital media, considering how they’remore unified than detached. the drawingsmay have been created with code and thedata-driven video handcrafted with itsdeliberate slow animation. Drawing, a so-called analog medium, is oftendisassociated with anything binary.However, analog and digital expressionare inseparable. they exist together andthe combination thereof creates anaesthetic that observes one of drawing’sfundamental greatnesses: its capability tomediate eye and hand in a negotiation thatsimultaneously slows and expands ourperception.
Chanika SVETVILASProgram Associate of Cultural Programs,Charles B. Wang Center
the abilify medication guides are 17.5” x24” with text about 6 pt. font size and thesecondary one that reinforces the statedmedication side effects is 9.5” x 14.5”with a 10 pt. font size. i can read theentire medication guides out loud in almostthree hours. the pharmaceutical market isvalued at $300 billion and the cost ofmedication is inaccessible to many. Somemedication side effects can be debilitatingand even cause death.
charcoal contains carbon and remainingash after water is removed. activatedcharcoal is used to absorb chemicalsubstances. For these reasons, i chosecharcoal as my drawing medium on themedication guides pasted with rice paste.
Side Effects, 2015 Pleurotus 1, 2012
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Isak BerbicFrom the Life of EngineerD.M., 2014Digital c-printtwo prints, 40 x 40” each
Krista BiedenbachKLGB, 2015MDF Woodcut30 x 40”
Mike Gralla, 2015MDF Woodcut30 x 40”
Toby BuonagurioNeon Auroras: Sapphire Ruby, 2015ceramic41 x 16 x 20”
Melissa F. ClarkeSila, 2012Generative video and soundDimensions variable
Sila, 2012cibachrome printFourteen prints, 3 x 3” each
Stephanie DinkinsPut Your Hands Up, 2015video projection
Sentients, 2014video installation
Takafumi Idedebacle, 2015Mixed media264 x 48 x 48”
Martin LevineThe Guardians, 2005aquatint etching16 ½ x 12”
Rooftops, Tribeca, 1997aquatint etching with chine-collé5 ½ x 6"
Tribune Tower, 2013aquatint etching20 x 22”
LoVid (Tali Hinkis and Kyle Lapidus)The Other Side of Ground,2010Digital prints from video recordingthree prints: 15 x 21”; 17 ½ x 44”; 13 ½ x 19 ½”
Video Taxidermy, 2015Synthesizer-based video,video stills printed onpolyester, synthetic filling,thread
Nobuho NagasawaUtsusemi 空蝉, 2015Mixed mediaDimensions variable
Jason ParadisWatch Hill, 2014Mixed mediaDimensions variable
Watch Hill Skies, 2014ink and pencil on papernine drawings, 12 ¾ x 16 ¾” each
Mel PekarskyDesert Books III, IV and V,1998-2014Mixed media on papereach page approx. 6 ½ x 5”
Heating Up, 2013-2014oil, oil crayon, coloredpencil and pencil on canvas60 x 40"
Howardena PindellConstellations, 2015open bite etching, edition 25/10018” diameter on 30 x 22" paperthis edition was producedas part of the edition clubmembership program of thecenter for contemporaryPrintmaking, norwalk,connecticut. HowardenaPindell is represented byGarth Greenan Gallery,nyc.
Flight/Fields, 1988-1989etching, aquatint, lithographand chine-collé, edition 25/3019 ½ x 23"Private collection.Howardena Pindell isrepresented by GarthGreenan Gallery, nyc.
Katrina Foot Print DrawnMonths before Katrina Hit,2005-2007color lithograph, a/P 27½ x 33”Private collection.Howardena Pindell isrepresented by GarthGreenan Gallery, nyc.
Andreas RentschX-Ray #10, 2013Hand-applied black andwhite chemicals on X-ray film80 x 224”
Dan RichholtMankind with Memories,2015Bronze, steel, monofilamentand acrylic on canvas120 x 144 x 24”
Kimberly RuthDouble Oh, 2015Pegboard, fur and acrylic paint46 ½ x 55”
Inconsistent Repetition, 2015HD video with sound6:01 minutes
Lorena Salcedo-WatsonDislocation, 2014charcoal and watercolor on paper57 x 46”
Wingspan, 2013charcoal and watercolor on paper46 x 57”
Margaret Schedel and Patrice ScanlonA Train of a ThousandWings, 2015Hammond organ tone wheeland little bits41 x 11 x 11”
Maya SchindlerAnonymous #1, 2015Watercolor on Mylar30 x 40”
Cecil the Lion, 2015Watercolor on Mylar30 x 40”
Chris SemergieffTrain Barge Terminal East,2015oil on linen22 x 38”
Train Barge Terminal West,2015oil on linen22 x 40”
Chanika SvetvilasSide Effects, 2015charcoal on paper144 x 78”
Lorraine WalshPleurotus in 4’33”, 2013video animation4:33 minutes
Pleurotus 1-10, 2012ink on rives BFk paperten drawings, 22 x 15” each
cHeckliSt oF tHe eXHiBition
Martin Levine, Tribune Tower (detail), 2013
Paul W. ZuccaireG A L L E R Y
Staller Center for the ArtsStony Brook UniversityStony Brook, NY 11794-5425
[email protected]://ZuccaireGallery.stonybrook.edu
Gallery HoursTuesday–Friday, 12-4 pm, Saturday, 7-9 pm Also open during intermission and one hour prior to most Staller Center season performancesFree Admission
© 2015 Paul W. Zuccaire GalleryStony Brook UniversityBrochure design: [email protected]
ISBN: 978-0-9909614-1-3
acknoWleDGeMentS
it is a privilege to exhibit the creative work of Stony Brook university’stalented faculty artists. i would like to express my appreciation to the facultyand staff of the art Department, especially Barbara Frank, chair, and Johnlutterbie, former chair, and the artists who created the extraordinary work inthis exhibition.
i would also like to thank the staff of the Staller center for the arts, notablyalan inkles, Director, and Samantha clink, Gallery and community relationsassistant. Many thanks as well to Pete Pantaleo for his installation expertiseand the student gallery assistants.
the Faculty exhibition 2015 and the 2015-2016 Paul W. Zuccaire Galleryschedule are made possible by a generous grant from the Paul W. ZuccaireFoundation. additional funding is provided by the county of Suffolk and theFriends of Staller center. i am very grateful for their support.
karen levitovDirector and Curator
takafumi idedebacle (detail), 2015
