News tagged:

New York

  • ANN: Welcome to our New Member, The St. Petersburg Arts Project!

    We are delighted to announce that The St. Petersburg Arts Project is now a member of SHERA

    ‘St. Petersburg Arts Project’ is a New York based non-for-profit foundation, originally established in 1999 to promote cultural exchange between American and Russian art communities. For the past 17 years the foundation has successfully launched festivals and exhibitions in many cities such as London, New York, Washington, St. Petersburg and Berlin, to engage artists and audiences from the two countries in cultural exchange. In 2005, the foundation expanded its mission to multi-cultural artistic community building. The foundation continues to rely upon traditional means of communication such as publication of articles in international journals, lectures and the organization of exhibitions. Additionally, it uses and develops new media technologies to reach artists and the general public in different corners of the world.

  • Exhibition: Making Continuity Contemporary: Eastern Europe in New York

    Derfner Judaica Museum + The Art Collection at Hebrew Home at Riverdale is pleased to announce its latest exhibition:
    Making Continuity Contemporary: Eastern Europe in New York
    Elma and Milton A. Gilbert Pavilion Gallery
    March 13–July 17, 2016**

    This exhibition featuring work by eight artists originally from Eastern Europe addresses themes of personal history, geographical dislocation, identity, and intellectual freedom. In different ways, each artist explores the disruptions and continuities in their cultural backgrounds, whether through pictorial abstraction, participatory projects, auditory or written language, or conceptual reinterpretation of cultural symbols. Their mediums also range widely and include hand-drawn animation and audio, chemigrams, painting, mixed media, photography, sculpture, and installation.

    Maryna Bilak, a Ukrainian artist originally from the Carpathian mountains, came to the U.S. to study art at the New York Studio School in 2012. Using her knowledge of traditional Ukrainian textile motifs, she incorporates these patterns into 3-dimensional paintings in which she manipulates color and shape by folding canvas and in multimedia installations in which she assembles hand-painted stones.

    Alina and Jeff Bliumis’s series “Casual Conversations in Brooklyn” (2007) engages questions of how cultural experiences and identities intersect. The photographers spent a day in Brighton Beach—home to a large Jewish and Russian-speaking community—and offered passersby the opportunity to choose from three different signs featuring the words “Russian,” “Jewish,” and “American,” or to create their own. On view are a selection of subjects photographed holding the signs they chose—sometimes more than two—to represent their cultural identity. Alina and Jeff Bliumis were born in Belarus and Moldova, respectively.

    Yevgenia Nayberg, who grew up in Kiev, Ukraine, is represented by the painting “Bird Dictionary” (2011), a rumination on the process of learning a new language. Phrases in Cyrillic text are incorporated into the work, labeled as ordinary things: “regular person,” “regular landscape,” and “standard moon.” However, the reality is the opposite, and the work touches on the idea that learning a new language is strange and surreal for non-speakers. The artist also pays homage to Suprematism in another work on view, a triptych entitled “Happy Man Series” (2013).

    Bulgarian-born artist Eva Nikolova references Balkan architecture in her hand-drawn animation and chemigrams—paintings on light sensitive paper—that construct narratives about memory and personal dislocation. In the animation “Zemya Zemya” (2008), the iconic architectural form of the Orthodox Christian church is seen through a series of free-associative events, leaving interpretation of the narrative up to the viewer. According to the artist, the title is a doubling of the Bulgarian word for earth, land, or ground and refers to the signage on rockets designating the missile type—ground-to-ground or surface-to-surface. The architectural images in Nikolova’s works function as cultural emblems—whether intact or seemingly dilapidated—and explore shifting identities.

    Acclaimed illustrator Peter Sís’s work using the motif of wings references themes of freedom and liberation. In two illustrations from his adaptation of “The Conference of the Birds” (2011)—a 12th century Persian epic poem published by The Penguin Press—a surrealistic flock of birds in the shape of an eye that spreads across a richly colored surface, one blue, one yellow, demonstrates the process of journeying. Sís emigrated to the United States from Czechoslovakia in 1982.

    Diana Shpungin’s “You Will Remember This” (2011) is a hand-drawn animation derived from video footage of her father recorded several months before his death. In it he recounts anecdotes about life in Soviet Latvia, including the tale of acquiring his first car and the black market culture of the USSR in the late 1950s.

    Leonard Ursachi’s drawings of bunkers and a maquette for “Fat Boy”—a large sculpture on view in Prospect Park in Brooklyn—engage what the artist describes as “the bunker mentality.” Ursachi’s native Romania is dotted with bunkers abandoned after the Soviet period—symbols that instill a sense of fear and the unknown. He defected from the country in 1980.

    As a member of the American Alliance of Museums, Hebrew Home at Riverdale by RiverSpring Health is committed to publicly exhibiting its art collection throughout its 32-acre campus including the Derfner Judaica Museum and a sculpture garden overlooking the Hudson River and Palisades. The Derfner Judaica Museum + The Art Collection provide educational and cultural programming for residents of the Hebrew Home, their families and the general public from throughout New York City, its surrounding suburbs and visitors from elsewhere. Hebrew Home is a nonprofit, non-sectarian geriatric organization serving more than 12,000 elderly persons in greater New York through its resources and community service programs.

    Museum hours: Sunday–Thursday, 10:30 a.m.–4:30 p.m.
    Art Collection and grounds open daily, 10:30 a.m.–4:30 p.m.
    Call 718-581-1596 for holiday hours and to schedule group tours.
    Further information please visit our website

    Full catalogue available online: [https://artathhar.wordpress.com/2016/03/17/making-continuity-contemporary-eastern-europe-in-new-york/}(https://artathhar.wordpress.com/2016/03/17/making-continuity-contemporary-eastern-europe-in-new-york/)

    This exhibition is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

  • Member News: Natasha Kurchanova publishes interviews with contemporary Russian artists

    Member and current President of SHERA Natasha Kurchanova has recently published interviews in Studio International with two Russian-American artists who are living and working in the New York. Her interview with Yevgeniy Fiks can be found here, and her interview with Emilia Kabakov can be found here.

  • Exhibition: Normalities (Austrian Cultural Forum, New York; January 20–April 12, 2016)

    http://www.acfny.org/media/press-images-texts/normalities/

    The Austrian Cultural Forum New York is pleased to present Normalities, a show starring artists from the Western Balkan region (Albania, Bosnia and Herzegovina, Kosovo, Macedonia, Montenegro, and Serbia), Croatia, as well as from Austria and the United States. Artists include Flaka Haliti, Armando Lulaj, Damir Očko, and Irena Lagator Pejović, whose works were featured at the 55th and 56th Venice Biennials in 2013 and 2015, respectively.

    For philosopher Slavoj Žižek the very name “Balkans” is almost synonymous with “otherness” and deliberately used to distinguish oneself from one’s very neighbor. In the past century, the region was a laboratory of extraordinary political circumstances, and still is by all means a place in constant transition. In recent times, Southeastern Europe has gone through a massive transformation in an economical as well as political sense. Migration has made Vienna the fastest growing European capital, the city with the third-largest Serbian population, and home to many emerging artists. The integration of the Western Balkan countries into the European Union is a clear goal, but still an ongoing process. Apart from these political aspects of normalization, the concept of “normality” becomes all the more attractive within various different theoretical frameworks and disciplines, from philosophy and psychology to sociology and, of course, the arts.

    The works showcased in Normalities go beyond art of a post-conflict society. They range from print, collage, and sculpture to photography and video, support the approach of constantly questioning normality. Some artistic positions deal with overcoming the past: Cvijanović, Lulaj and Hasanović’s artworks deal directly with history as they choose an event or person of great historical importance and manage to create a new reading by shifting symbols. Others address the friction between private and political. In his series of staged portraits Muja, for example, depicts aspects of national identification. Knebl uses her own body as a projection surface in her sculpture dealing with hate speech. Haliti, Jureša and Stanojkoviќ focus on sociological and cultural topics such as de-masking of mechanisms of male bonding, questions of migration or the death of cinemas—dimensions in which issues of normality pervade through and guide society. Prvački’s video At the Tips of Your Fingertips is a performance which literally shows the “laundering” of one dollar bills. Lagator Pejović, Brown and Dražić’s pieces could be described as investigating modes of perception, but all of them also engage with the materiality of the artworks and associations evolving out of a certain choice of material or format. Von Gabain’s work—a plaster cast of a Starbucks cup—can be seen as ironic comment on industrial norms. The analysis of architecture, especially driven by an interest in gender topics, is part of Sagadin’s installation. In TK, Očko investigates human shivering as a mechanism of resistance in a time of global insecurity, anxiety, and fear.

  • Member News: Liudmila Davydova lecture "Antique Art in Contemporary Culture" (Harriman Institute, Columbia University, New York; January 27, 2016)

    http://harriman.columbia.edu/event/antique-art-contemporary-culture

    Liudmila Davydova will present a lecture “Antique Art in Contemporary Culture,” which will take place on Wednesday, January 27 at noon at the Harriman Institute, Columbia University, 420 West 118th Street, 12th floor, Room 1219, NY, NY 10027.

    Liudmila Ivanovna Davydova is Curator of Greek Sculpture at the Hermitage where she lectures frequently on the history of the museum and its collection, including the holdings of the Department of Classical Antiquity. She is also a Professor at the I. Repin Institute of Painting, Sculpture and Architecture of the Academy of Fine Arts where she teaches ancient art. This year, she proposed a course “Live Antiquity” for the Youth Educational Center of the Hermitage. In this course, she uncovers relevant aspects of the art of Ancient Greece to our lives today.

    Professor Davydova’s lecture “Antique Art in Contemporary Culture,” is designed to convey to listeners the sense of contemporaneity of classical heritage. This lecture will demonstrate the extent to which contemporary artists integrate achievements of ancient sculptors, painters, and architects into their work and the fabric of our lives. It will be illustrated by individual works as well as recent exhibitions that took place in Russia and in Europe.

  • Member News: Causa Artium podcasts about Russian Art

    WHAT WE TALK ABOUT WHEN WE TALK ABOUT RUSSIAN ART

    WHEN: Sunday, 20 December 2015 at 4pm
    WHERE: The Prince Theatre – part of the Producers’ Club, Upstairs at 358 West 44th Street New York, NY, 10036

    Causa Artium is kicking off a new initiative – a new ongoing series of podcasts about Russian Art. It’s about “WHAT WE TALK ABOUT WHEN WE TALK ABOUT RUSSIAN ART” – as viewers, as scholars and critics.

    • What is the conversation we usually get …and what parts of it are not really the point?
    • More centrally: what are the most important things about Russian art – of any period, any movement, any artist – that we really need to be focusing on, but aren’t ……yet?

    On Sunday 20 December, we gather to hear the initial experts speak to this question – their talks will become the first podcasts in the new program. Then they’ll join forces in a round-table discussion of the issues raised in the talks – and more. Come and listen, ask your own questions, meet the experts!

    Talks will be in Russian and in English, at the speaker’s election.

    Participants will include:

    • Aleksandra Shatskikh, possibly the world’s premiere expert on Malevich and early 20th-century Russian avant-garde art.
    • Natalia Kolodzei, art historian, curator, director of one of the world’s greatest collections of post-war Russian art.
    • Elena Sarni, artist and curator
    • Margaret Samu, art historian and scholar, teaches at New York University, the Parsons School of Design, Yeshiva University, the New School, and the Metropolitan Museum of Art.
  • Event: Private Nationalism: Pressing Issues in Central European Contemporary Video Art (Knockdown Center; December 12, 2015)

    http://knockdown.center/event/private-nationalism/

    Video screening and panel discussion Co-presented by Edit András, Ilona Németh, Viera Levitt, the Clakula-Gauthier Art production and Magdalena Moskalewicz

    Including the work of Tibor Horváth, László Nagyvári Nosek, Csaba Nemes, Bálint Szombathy (Hungary) /András Cséfalvay, Matej Kaminský, Ilona Németh, Martin Piaček, Tomáš Rafa, Mark Ther, Matej Vakula (Czech Republic and Slovakia /C.T Jasper and Joanna Malinowska (Polish Pavilion of the Venice Biennial, 2015)

    Private Nationalism Project initiated by Approach Art Association, Pécs (project leader (Rita Varga) took place as an exhibition series at arts venues throughout Central Europe and beyond. Using visual artworks, discussions, and publications, the project directed attention to the urgency of totalizing nationalist developments of the former Soviet bloc by shedding light on overlooked issues of the daily life, and the subtle processes by which ideologies infiltrate and are absorbed into the citizenry.

    Knockdown Center hosts a screening and discussion generated from this expansive project that involved the work of many curators and artists as it traveled and changed shape in each city: Budapest, Bratislava, Dresden, Krakow, Košice, Prague.

    The presentation is divided into 3 parts focusing on Hungary, Czech Republic, Slovakia and Poland. Each screening section will be followed by a 15min discussion.

    Hungarian part will be presented by Edit András (Hungary/USA, art historian)
    Czech and Slovak part will be presented by Ilona Németh (Slovakia, artist), Matej Vakula (Slovakia/USA, artist) and Viera Levitt (Slovakia/USA, UMass Dartmouth Gallery Director)
    Polish part will be presented by Magdalena Moskalewicz (Poland/USA, art historian and curator)
    Supported by Trust of Mutual Understanding, NY

  • Six Postdoctoral Positions at Harriman Institute, Columbia University (2016-17)

    Applications are due by January 15, 2016

    The Harriman Institute postdoctoral fellowships allow junior scholars to spend a specified term (from one semester to two years, depending on the type of fellowship) in residence at Columbia University in New York. All fellows are assigned a faculty mentor. Postdoctoral fellows are expected to concentrate on their own research and writing; to give a brownbag seminar on their research, and to post a related Working Paper on the Institute’s website; and to be active participants in the Institute’s scholarly community and events. All postdoctoral fellows receive university IDs that provide access to the full range of resources within the Columbia library system, and the Institute makes every effort to provide desk space for all postdoctoral fellows. The Institute provides funds to sponsor workshops, conferences, and special events planned by fellows around their particular interests.

    The Harriman Institute has three types of postdoctoral fellowships: general (three positions, two years), the INTERACT Central Asia (one position, one year), Serbian Studies (one position, one year); and Ukrainian Studies (one position, one semester). Candidates should indicate which program(s) they are applying for in their cover letters.

    Eligibility for the 2016 competition is restricted to those who have received the Ph.D. between July 31, 2013 and June 30, 2016 and who do not hold a tenure-track position. All fellows must successfully defend and deposit their dissertations prior to the commencement of the fellowship.

    Information on each program and application details: http://harriman.columbia.edu/visitor-programs/fellows

  • Conference: 100 Years of Suprematism (Harriman Institute, New York; December 11-12, 2015)

    The Malevich Society will host “100 Years of Suprematism,” a conference organized in celebration of the centenary of Kazimir Malevich’s invention of Suprematism and the first public display of his Suprematist paintings in December, 1915. The two-day conference, organized in association with the Harriman Institute, the Lazar Khidekel Society, and SHERA, will be held on Friday and Saturday, December 11-12, 2015, at the Davis Auditorium, Schapiro Center, Columbia University, New York City (directions: http://apam.columbia.edu/directions-davis-auditorium-cepsr.

    The conference promises to be an historic event, featuring presentations by an international and renowned group of scholars. Among them are leading researchers in the field from the United States, Russia, and the United Kingdom. The event will also include a presentation of Kazimir Malevich: Letters and Documents, Memoirs and Criticism (London: Tate, 2015).

    The conference program, abstracts, and registration are available on The Malevich Society’s website. Although registration will be available at the door on December 11 and 12 (based on space availability), registration online is encouraged to ensure a seat. Attendance is free.

    Questions can be sent to info@malevichsociety.org.

  • Opportunities: Two Visiting István Deák Visiting Professorships in East Central European Studies (Columbia University, New York)

    Columbia University invites applications for two István Deák Visiting Professorships in East Central European Studies for one semester each (Fall or Spring) in the academic year 2016-2017. The professorship, commemorating Professor Deák’s legacy of excellence in research and teaching, is open to scholars who have active interest and accomplishments in East and Central European studies. ONE appointment will be at the rank of Visiting Professor. The second will be an open-rank appointment to be filled at any level from Visiting Assistant to Visiting Full Professor.

    The visiting professors will be appointed in one of the Humanities or Social Science Departments of the Faculty of Arts and Sciences and will teach two courses, one a course of broad interest for upper-level undergraduates, and the other for graduate students. The visitors are expected to give one public lecture and participate in the academic life of the University, whose interests in East and Central European studies are well represented on campus by the East Central European Center, the European Institute, and the Harriman Institute.

    Please provide a letter of application, curriculum vitae, the names of three persons who may be asked to provide a letter of reference, and a modest sample (article or book chapter) of scholarship. The letter of application should include a statement of which semester the applicant prefers, a short list of possible courses which the applicant might teach, and a description of the applicant’s current research interests.

    Minimum qualifications: Ph.D. or professional equivalent. Distinction in research and teaching in the field of East and Central European Studies.

    Application Deadline: Open Until Filled

    Review Begins Date: 12/1/2015

    Special Instructions to applicants: All applications must be made through Columbia University’s online Recruitment of Academic Personnel System (RAPS). Using RAPS, applicants can upload the following required materials : a letter of application; curriculum vitae; the names of three persons who may be asked to provide a letter of reference; and a modest sample (article or book chapter) of scholarship. The letter of application should include a statement of which semester the applicant prefers, a short list of possible courses which the applicant might teach, and a description of the applicant’s current research interests. RAPS will accommodate uploads of maximum two (2) megabytes in size).

    For inquiries about the position please contact Alan Timberlake.
    For questions about the RAPS application process please contact Jamie Bennett.
    To apply, go to: academicjobs.columbia.edu/applicants/Central?quickFind=61665