Four Exhibitions at the Samuel Dorsky Museum

by Editorial Staff

Four marvelous new exhibitions have been installed at the Samuel Dorsky Museum of Art on the SUNY New Paltz campus.  Opening receptions for all will be held in the museum on Saturday, February 6, 2016 from 5-​​7pm.
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Curated by Tumelo Mosaka

January 20 — April 10, 2016  •  Alice and Horace Chandler and North Galleries Opening reception Saturday, February 6, 2016, 5 – 7 pm

Full Circle is a venture into the departures, encounters, discoveries, and transgressions that inform Andrew Lyght’s artistic practice and life. While living and working for decades in various cultural contexts such as Guyana, Canada, and the United States, Lyght has pursued an extensive inquiry into the mechanics of art making. Curated by Tumelo Mosaka, Andrew Lyght: Full Circle is the artist’s first museum exhibition since he moved to Kingston, NY in 2006. Best known for his flexible and volumetric forms, vibrant paintings, and abstract linear drawings, Lyght creates a wide range of works that analyze the structural properties of painting and reanimate pictorial space as an open system. Over the many years he has developed an art form that explores the built environment as a dynamic pictorial subject, introducing new ways of seeing the world around us.

Andrew Lyght, LyghtForms Drawing Time-Rust Type D-022,1990

LyghtForms Drawing Type D-​​022, 1990, Prismacolor pencil, rust on paper, 28 x 39 in. Courtesy the artist

 Andrew Lyght: Full Circle, installation view at Samuel Dorsky Museum of Art, SUNY New Paltz, 2016

Andrew Lyght: Full Circle, installation view at Samuel Dorsky Museum of Art, SUNY New Paltz, 2016, photo: Bob Wagner

To this day, I remain intrigued by this enigmatic view, and how it mirrors the pictorial space and sense of hope and infinite possibility it inspires. It is a fascination that has driven my visual inquiry and practice for more than fifty years. It has guided the conceptual, structural, and aesthetic development of my work. Using many of the formal elements of drawing, painting and sculpture, such as line, curved planes and color. I envisioned works of art that filled the air, the physical space giving a sense of flight and a sense of weightlessness.

Andrew Lyght, Working on Air Rights NYLyght in Attic of artist Susan Spencer Crowe

Andrew Lyght working in artist Susan Spencer Crowe’s attic, May 2010, photo: Lee Quirk.

I have never divided nor made a distinction between life and career in art. It is not a career for me, it is a life.

—Andrew Lyght


Andrew Lyght, In Flight Flock/Sheathing 0670LM, 2013–2014

In Flight Flock/​Sheathing 0670LM, 2013 – 2014, acrylic paint, Prismacolor pencil on plywood sheathing, oak block, nylon cord, 6 panels: each 36 x 24 in., photo: Bob Wagner


Curated by Jennifer Scanlan

February 6 – July 10, 2016  •  Morgan Anderson and Corridor Galleries,
Opening reception Saturday, February 6, 2016, 5 – 7 pm

In the 21st century, design has become personal. Bombarded by an endless array of mass-​​produced objects in big box stores and on the Internet, people are increasingly attracted to the unique and custom-​​made.

Sharan Elran, Unlimited Edition—Glazed porcelain

Sharan Elran, Unlimited Edition — 1 of 6,227,020,800, 2015, Glazed porcelain
15 x 6 in. diameter, Courtesy the artist

Drawing on designers and makers in the Hudson Valley and environs, this exhibition considers the ways in which the contemporary design object is customized for the individual, from the one-​​of-​​a-​​kind objects made by craft techniques to the latest technological advances of 3D printing.

Deborah Ehrlich, Blue Hill at Stone Barns magnum decanter

Deborah Ehrlich, Blue Hill at Stone Barns magnum decanter, n.d., 12 5/​8 x 4 ¼ in., Hand-​​blown Swedish crystal, Courtesy the artist

Michael Puryear, Sideboard, 2008

Michael Puryear, Sideboard, 2008, Bubinga, wenge, 32 x 48 x 14 in.
Courtesy the artist

The exhibition will include approximately 25 designers/​makers and demonstrate a range of approaches to design.

Blackcreek spoons

Blackcreek Mercantile, Spoons installation (detail), Chestnut, 14 ft. 10 ½ in.
Courtesy the artist

Participating artists:

Atlas Industries, Sheila Bridges, Doug Bucci, Tom Burtonwood, Emily Cobb, Deborah Ehrlich, Sharan Elran, EyeBodega, Kieran Kinsella, Christopher Kurtz, LALOON, Malfatti Glass, Andrew Molleur, Nervous System, Michael Puryear, Kathy Ruttenberg, Courtney Starrett, Thornwillow Press, Joshua Vogel & Blackcreek Mercantile, Jessica Wickham

Kathy Ruttenberg, The Mysterious Lagomorph, 2015

Kathy Ruttenberg, The Mysterious Lagomorph, 2015, Ceramic, wood, plaster, fabric, electrical wiring, 46 x 20 in. diameter


Curated by Daniel Belasco

February 6 – July 10, 2016  •  Sara Bedrick Gallery,
Opening reception Saturday, February 6, 2016, 5 – 7 pm

Holography first became available to artists in the late 1960s. Within its first decade, Rudie Berkhout (1946 – 2008) emerged as one of the new medium’s leading innovators. The Floating World will feature the Dutch-​​born, New York-​​based artist’s captivating “Transmission” works of the 1970s and 80s.

 Rudie Berkhout, Delta IV, 1982

Rudie Berkhout, Delta IV, 1982, transmission hologram: silver-​​halide glass plate, 12 x 16 in. Courtesy Rudie Berkhout Estate.

 Rudie Berkhout and Delta II, 1982

Rudie Berkhout and Delta II, 1982. Courtesy Rudie Berkhout Estate.

Rear-​​mounted lights illuminate glass plates to project holographic images into space. The viewer steps into and away from the plates to interact with the ever-​​changing geometrical forms and organic textures, which reference electronic music, Asian cultures, and local landscape.

 Rudie Berkhout, The New Territories, 1984

Rudie Berkhout, The New Territories, 1984, transmission hologram: silver-​​halide glass plate, two parts: each 12 x 16 in. Courtesy Rudie Berkhout Estate.

The exhibition will be accompanied by the first catalogue dedicated to Berkhout, published in partnership with the Center for the Holographic Arts, New York.

Rudie Berkhout, Transfer 137, 1980

Rudie Berkhout, Transfer 137, 1980, transmission hologram: silver-​​halide glass plate, 8 x 10 in., 12 x 16 in. overall. Courtesy Rudie Berkhout Estate.


Curated by Daniel Belasco

Howard Greenberg Family Gallery  •
February 6 – July 10, 2016 (Part I)
, August 31 – December 11, 2016 (Part II), Opening reception Saturday, February 6, 2016, 5 – 7 pm

Dealer and specialist Howard Greenberg has significantly impacted the study and collecting of photography over the past four decades, expanding the field to include once-​​underappreciated artists and movements around the globe.

Eugène Atget

Eugène Atget, Prison (Demoli), c. 1898, Albumen print on paper, 7 x 8 5/​8 in.
Gift of Howard Greenberg

Among his legacies are 1,145 photographs donated to The Dorsky Museum, forming a rich study collection of works by 101 artists, from singular prints by European masters Eugène Atget and Julia Margaret Cameron to in-​​depth holdings of over 100 prints by New Yorkers Morris Huberland and Carl Van Vechten.

Arnold Eagle

Arnold Eagle, Tenement Kids, c. 1935 – 37, Gelatin silver print on paper, 10 x 13 ¼ in. Gift of Howard Greenberg © artist estate

On the Street and in the Studio is a two-​​part exhibition that evaluates more than 70 highlights and novelties. Part I will focus on street photography, defined as spontaneous photographs taken in urban public spaces. Part II focuses on portraiture and the personal relationship between photographer and subject. Many of these prints have never been exhibited. The two exhibitions affirm the history of photography as a continual work-​​in-​​progress.

Sid Grossman

Sid Grossman, Untitled (New York), 1939, Vintage gelatin silver print on paper, 7 1/​8 x 8 7/​8 in. Gift of Howard Greenberg © Howard Greenberg Gallery, New York

Featured Image, Emily Cobb, The Elk with Antlers that Never Stopped Growing, 2010, Glass-​​filled nylon, photopolymer, gypsum, Courtesy the artist

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