Linda Mary Montano (b. 1942, Saugerties, NY) is a seminal figure in contemporary feminist performance art and her work since the mid-1960s has been critical in the development of video and performance by, for, and about women. Attempting to dissolve the boundaries between art and life, Montano’s work explores her art/life through shared experience, role adoption, and intricate life altering ceremonies, some of which last for many years. This exhibition, which will highlight Montano’s rarely screened video work, alongside new commissions and a performance that address acts of healing and issues surrounding death.
Image: Linda Montano, I’m Dying–My Last Performance, 2015, 29 minutes, color, video. Image copyright of the artist, courtesy of Video Data Bank, www.vdb.org, School of the Art Institute of Chicago.
Timothy Greenfield-Sanders: The Trans List
August 29–December 9, 2018
Samuel Dorsky Museum of Art, SUNY New Paltz
Anastasia James, Curator
Featuring forty portraits by photographer and filmmaker Timothy-Greenfield Sanders (b. 1952 Miami Beach, FL), The Trans List explores the range of experienced lived by Americans who identify as transgender (an umbrella term for people whose gender identity does not conform to that typically associated with the sex they were assigned at birth). Transgender, transsexual, genderqueer, gender-fluid, and non-binary are just a few of the multitude of self-identifiers in the trans community.
Through his portraiture, Greenfield-Sanders provides a platform to a diverse group of individuals to tell their stories of their experience with identity, family, career, love, struggle, and accomplishment.
The Trans List is part of a larger body of work titled, IDENTITY: Timothy Greenfield-Sanders The List Portraits which was conceived by Greenfield-Sanders to illuminate the breakthrough of marginalized communities. The series is comprised of 151 uniquely compelling large-format photographs of pioneers in five distinct-but-often-overlapping groups. Each installment (The Black List, The Latino List, The Women’s List, The Out List, and The Trans List) calls attention to cultural progress as exemplified by the stories of its subjects, people who have overcome obstacles to achieve success in disparate walks of life.
Timothy Greenfield-Sanders was born in Miami Beach, Florida, 1952. He received his Bachelor of Arts degree from Columbia University in Art History and a Master Degree in film from the American Film Institute in Los Angeles. Greenfield-Sanders has achieved critical acclaim for his intimate portraits of world leaders and major culture figures. His portraits are in numerous museum collections including the Museum of Modern Art, The Metropolitan Museum, The Whitney Museum and National Portrait Gallery, and his feature documentary Lou Reed: Rock and Roll Heart was awarded a Grammy in 1999. Greenfield-Sanders has four books in print including his acclaimed XXX:30 Porn-Star Portraits. In 2006, his photographs from the war in Iraq were published and exhibited worldwide, and purchased by the United States Library of Congress. He lives and works in New York City.
Timothy Greenfield-Sanders, Laverne Cox, 2015, inkjet print, courtesy the artist
Timothy Greenfield-Sanders, Nicole Maines, 2015, inkjet print, courtesy the artist
Timothy Greenfield-Sanders, Shane Ortega, 2015, inkjet print, courtesy the artist
Timothy Greenfield-Sanders, Kylar Broadus, 2015, inkjet print, courtesy the artist
“Alive and Yelling: Trans Zines and Radical Subcultures” organized by SUNY New Paltz students in conversation with the exhibition. Programs include zine making workshops and zine readings
Screening and conversation with the artist, Upstate Films, Rhinebeck
Performance/Lecture by Kate Bornstein, SUNY New Paltz
Barbara Morgan (1900-1992) was an American photographer best known for her photographs of the modern dance movement from the 1930s and 1940s that display a physical and psychological energy in their evocative richness. Born in Buffalo, Kansas in 1900, Morgan grew up in Southern California. From 1919-1923 she attended the University of California at Los Angeles where she received formal art training based on Arthur Wesley Dow’s principles of art “synthesis,” a method that emphasized that art should be created by elements of composition, like line, mass, and color. In 1925, she joined the faculty and was known as an outspoken advocate for modern art during a time period when her colleagues were more traditionally oriented. During this period Morgan primarily worked in the mediums of drawing, printmaking, painting, and watercolor. She first began to experiment with photography as the result of her marriage to Willard D. Morgan, a writer who illustrated his articles with his own photographs. In 1931, in response to Willard’s illustrated articles, E. Leitz Inc. offered him a job publicizing their new 35mm camera and the couple moved to New York City where Morgan set up a printmaking studio on 23rd Street. In 1931, she set up a new studio with a darkroom at 10 East 23rd Street and began experimenting with the technical darkroom aspects of photography in 1931. Morgan was an early member of the Photo League in New York, a group whose members included Berenice Abbot, Walter Rosenblum, Aaron Siskind, Arthur Leipzig, and Lisette Model among many others.
In 1935 Morgan attended a performance of the Martha Graham Dance Company and almost immediately conceived of her 1941 book project Martha Graham; Sixteen Dances in Photographs. She would continue to photograph the company for a decade. In 1945, with sponsorship by the National Gallery and the State Department, she mounted the exhibition La Danza Moderna mounted enlargements exhibited first at the Museum of Modern Art, New York. Included in this exhibition are five iconic photographs from this period including images of Merce Cunningham, Martha Graham, and Jose Limon. In displaying a mastery of technique, Morgan’s photographs were educational. Displayed in travelling exhibitions, the images introduced people across the world to modern dance, then a relatively unknown art form.
Also featured in this exhibition are works that demonstrate Morgan’s unique contribution to the technique of photomontage. Although photomontage was practiced in Europe as early as the 1930s, at the time when Morgan began to experiment with this method it was still alien to American photography. Strongly influenced by her relationship with Lucia and Laszlo Moholy-Nagy, the resultant images, four of which are featured here, are imbued with themes of social concern and act as a bridge between her interest in the natural or constructed environment and her interests in the human condition and emotional truth.
Barbara Morgan, Martha Graham – American Document (Trio), 1938, printed ca. 1980, gelatin silver print, gift of Howard & Ellen Greenberg, collection of Samuel Dorsky Museum of Art.
Barbara Morgan, Brainwashed, 1966–1969, printed ca. 1983, gelatin silver print, collection Samuel Dorsky Museum of Art, State University of New York at New Paltz, gift of Howard & Ellen Greenberg, collection of Samuel Dorsky Museum of Art.
Time Travelers: Hudson Valley Artists 2018
June 16-November 11, 2018
Samuel Dorsky Museum of Art, New York
Anastasia James, Curator
“TIME TRAVELERS” presents work that draws inspiration from the concept of time travel and embraces the slippery notions of time. The works in the exhibition recognize the universal human desire to experience a time other than our own. They act as locations for explorations of, or challenges to, the standard chronological sequence.
Moving freely across artistic disciplines and mediums, including textiles, painting, installation, sculpture, performance and photography, “TIME TRAVELERS” promises to transform the Museum into a space-time continuum full of visual pleasures and conceptual delights.
Featuring works by Michael Bernstein, Lynn Dreese Breslin, Kyle Cottier, Daniella Dooling, Harry Leigh, Mollie McKinley, Alison McNulty, Tony Moore, Yvonne Muller, Antonella Piemontese, and Greg Slick.
Alison McNulty, Untitled (Hudson Valley Ghost Column 1), 2017, Historic Hudson Valley-made Lahey bricks salvaged from Newburgh and unprocessed Cormo sheep wool sourced from New Paltz fiber farm, courtesy the artist
Kyle Cottier, fearlessly nod away / see the forest for the trees, 2018, wood and rope, courtesy the artist
Daniella Dooling, Striker Fan III, 2016, vintage typewriter striker fan, resin, and aluminum lab hardware, courtesy the artist
Mollie McKinley, Cholla Bag and Toe Hole Stocking, Reaching, 2018, archival inkjet print, courtesy the artist
Installation images courtesy of Mollie McKinley
Sabbath: The 2017 Dorothy Saxe Invitational
Nov 12, 2017–Feb 25, 2018
Contemporary Jewish Museum
Anastasia James, Co-Curator Inviting fifty-seven artists to comment on Sabbath—the day of rest—gives the diverse group an opportunity to examine the depth of the fourth commandment, its influences, and its universality. A pillar of many religions and a staple of the modern workweek, the ideas in the Sabbath are integral to how time is viewed.
Continuing the Invitational’s commitment to the art of craft, each work is three-dimensional, with artists exploring the theme through a wide range of materials such as ceramic, wood, and glass. The works of art are displayed both on shelves and under vitrines on pedestals, filling the gallery with colorful and surprising forms.
The CJM welcomed participating artists from around the United States to interpret this day from their own unique perspective and to engage with its contemporary relevance. All works of art in the exhibition is for sale; proceeds benefit the artists and The CJM exhibition program.
Cover image: Nicole Phungrasamee Fein, Sabbath Basket, 2017. Paper, 5 in. x 11 in. x 11 in. Courtesy of the artist and Hosfelt Gallery. Photo by Ben Blackwell.
Models for a System: Allison Smith and Christina Zetterlund
July 20, 2017–July 3, 2018
Contemporary Jewish Museum, San Francisco
Anastasia James, Curator
Allison Smith and Christina Zetterlund present Models for a System, the seventh installation of In That Case. Smith first met Zetterlund during a 2015 residency in Stockholm and together they discovered a shared interest in the politics of handcraft and its role in both progressive and conservative social movements in which a “return” to past forms of making is often tied to populist notions of self-reliance and opting out of “the system”—be it mass production, art world hierarchies, government intervention, elitism, globalism, or other forces that seem threatening to individuals.
As educators who share a love of craft, their research led them to the writings of Otto Salomon (1849–1907), a Jewish Swedish educator whose work focused on the term, slöjd, or educational sloyd, a movement that promoted handcraft as a formative method of self development through the creation of useful, everyday objects termed “models.” Salomon’s ancestors were some of the first Jewish individuals to be given legal immigration status in Sweden, and his uncle August Abrahamson, who had become a wealthy businessman in the wholesale trade, was one of the first Jews to be granted special landowning rights as well. A diverse group of luminaries of variously gendered, religious, ethnic, and political backgrounds gathered at his estate at Nääs Castle, a seventeenth-century mansion near Gothenburg, Sweden. This is where Salomon first hatched his idea of a craft school for the children of local workers, which soon became a renowned teacher training program that in many ways sparked the development of trade and art schools in many parts of the world including the United States.
For their Havruta installation, Smith and Zetterlund took Salomon’s educational theories as a starting point, in order to engage viewers in discussions that address the role of craft—past and present—in formations of the nation state. They ask, given the intensities of this political moment, what does the current upsurge in craft really mean? Models for a System reflects on what Zetterlund in her research has called “material meaning making,” which considers craft as a critical platform for the investigation of systems of power, as well as Smith’s investigation of reenactment culture, in which nationalism is performed as a form of education as well as entertainment. Conducted over a series of emails, shared texts, Skype sessions, and in-person visits in Stockholm, Nääs, and San Francisco, their exchanges have resulted in a display of objects, an active blog, and a pending publication. Using wallpaper reproduced from the Nääs Castle smoking room and wood flooring akin to that in Salomon’s first classrooms, Smith and Zetterlund have used the case to frame a complicated discussion that is both ambiguous and double-edged. The objects were selected for their potentially multiple readings, suggesting the ways craft functions today within both fundamentalist survivalist groups as well as hipster DIY culture simultaneously.
To underscore their arguments and/or further make their “case,” Smith and Zetterlund present a series of images, using picture frames that reference one of the models in Salomon’s system and also recall the hashtag symbol. Each framed image relates to key ideas elaborated upon in the blog, from #statecraft to #prepper and more. Smith and Zetterlund’s year-long project unfolds over time and is punctuated by a series of public events. For more info, visit modelsforasystem.wordpress.com.
Allison Smith has exhibited her work nationally and internationally since 1995. She has produced over twenty-five solo exhibitions, installations, performances, and artist-led participatory projects for venues such as SFMOMA, Public Art Fund, The Aldrich Contemporary Art Museum, The Arts Club of Chicago, among many others. She was, until recently, Associate Professor and Chair of the Sculpture Program at California College of the Arts and is now Associate Professor of Art at the Carnegie Mellon University School of Art in Pittsburgh.
Christina Zetterlund is a socially engaged craft and design historian active as an educator, researcher, writer, and curator. She is currently working as a Professor in Art with a specialization in Craft History and Theory at Konstfack in Stockholm, Sweden. Previously she was a curator at Röhsska, a museum of design and applied arts, as well as acted as a special advisor in design at the Swedish Ministry of Enterprise and Innovation. In 2013 she initiated the Craft in Sweden project (konsthantverkissverige.se) that so far has resulted in an anthology (2014), an exhibition (2016), and workshops (2014-present).
Cary Leibowitz: Museum Show is the first comprehensive career survey and solo museum exhibition devoted to the New York-based contemporary artist, Cary Leibowitz (b. 1963). Since the early 1990s, when he became widely known as, “Candyass,” a moniker that Hilton Als writes, “becomes yet another means of deflecting criticism,” Leibowitz has carried on with an interdisciplinary practice that turns a critical eye on subjects of identity, modernism, the art market, queer politics, and kitsch. In his comically self-effacing text-based works, for which he is best known, he mixes his obsessions with popular culture and fine art with elements of social commentary, self-loathing, institutional critique, and stand-up comedy. His work manages to seamlessly blend comedy and neurosis in such a way that questions about appearance and identity become a running commentary on the self/other.
In 1990, directly after the success of his first solo exhibition at Stux Gallery, New York, Leibowitz spoke with Vince Aletti for TheVillage Voice, “The defense I’ve always had about my work is that, all right, it might not be like genius stuff and it might not be earth-shattering and it copies a lot of other people, but it’s documentation. This is some guy who grew up in the suburbs in 1963 and he’s gay and he’s making work and a gallery’s showing him.” Since then, Leibowitz has turned his ability to translate his feelings of inadequacy into art. And, the result is “unmistakable work that is the product of a riveting and consistent practice—driven by anxieties, neuroses, and premonitions of difference—that transform self-doubt and social skepticism into something much larger than niche art-world critique: a heartrending and intimate meditation on our inescapable secret doubleness, the lacerating, manipulative and above all debilitating self-aware conscience that lies always beneath, or behind, or just around the corner, with a mocking wink.” By making failure, particularly personal failure, his medium and showing particular preference for the lowbrow, the pathetic, the inexpensive, the throw-away, Leibowitz throws post-modernism’s slick critique of modernism into harsh relief. His palpable disdain for what is popular makes him an artist who has been forever intentionally out of step of the traditional narrative, but it is exactly this otherness that makes him, as critic Robert Atkins wrote, “A Jeff Koons for the rest of us.”
The exhibition features nearly 350 original artworks and multiples from 1987 to the present: paintings, commercially manufactured multiples, works on paper, archival material, and fabric works. In one series of paintings, he professes his love to forty artists with whom his own works find affinity: “I love Andy Warhol . . . I Love Gilbert and George . . . I Love Robert Gober . . . I Love Cady Noland, etc.” In another series, eleven identical pink panels that read, “Stop Copying Me,” are interrupted by a single panel that asks the viewer, “Do These Pants Make Me Look Jewish?” A diptych titled, “Sad Rainbow, Happy Rainbow,” pokes fun at Frank Stella’s frigid masterpieces and imbues them with psychological humor. The exhibition also includes many of Leibowitz’s multiples, mass-produced items that carry on many of the extended narratives that run through Leibowitz’s work. A white porcelain fish-shaped dish reads, “Fucked up homo bar-mitzvah gay boy worries too much about what his mother will wear.” Knit caps with “Fran Drescher Fan Club” emblazoned on the front, foam footballs that read, “Candyass Sissy,” an industrial mesh carpet that reads, “Loser Line Forms Here,” a Marcia Tucker seat cushion, a Cindy Sheehan megaphone, and a miniature baseball bat that reads, “I Want To Love You Butt . . .” are just a few examples.
Cary Leibowitz: Museum Show is organized by The Contemporary Jewish Museum and is curated by CJM Associate Curator Anastasia James. The exhibition is accompanied by a 256-page fully-illustrated hardcover catalog with contributions by James and Leibowitz, as well as Hilton Als, David Bonetti, Fran Drescher, Glen Helfand, Rhonda Lieberman, and Simon Lince.
Stanley Kubrick: The Exhibition is the first retrospective exhibition of the legendary filmmaker’s work. Born in 1928, Stanley Kubrick was raised in a middle-class Jewish family in the Bronx, in New York City. After working as a photographer for LOOK magazine, he began making short films on a shoestring budget, and made his first major Hollywood film, The Killingin 1956. Following the release of two feature-length films, Paths of Glory (1957) and Spartacus (1960), his reputation was established. Over five decades, Kubrick utterly reconceived each genre in which he worked, taking on a broad variety of subjects, themes, and ideas, producing and directing such masterpieces as: 2001: A Space Odyssey (1968), A Clockwork Orange (1971), Barry Lyndon (1975), and The Shining (1980). Kubrick reinvented his visual style with each film while repeatedly touching on a set of preoccupations, such as social psychology in an increasingly technological world, alienation and sociopathology, and the impact of bureaucracy and government on individuals. Because his films refuse to conform to genre conventions they always take unexpected turns. These surprises are deepened by his stylistic approach and creative integrity, which compelled him to perfectionism and an almost literary approach to narrative. He drew inspiration from many other artists and art forms, and he in turn influenced a vast array of other mediums, including film, art, and design. Just as the films themselves reflect the fragmentation of experience, the elements on display—including moving images, film stills, and supplementary objects—constitute a series of fragments that speak to each film as a whole and to the craft of filmmaking.
Though he was not raised in a religious household, through his family—descendants of Eastern European Jews—and neighborhood, Kubrick was immersed in a strongly Jewish context. The West Bronx in the 1920s was where Kubrick first encountered many of the people who would have profound influences on his career, including Marvin Traub, who introduced Kubrick to photography; Alexander Singer, cinematographer for Kubrick’s first film Day of the Fight; Gerald Fried, who composed the score for his first five films; and writer Howard Sackler who wrote an early screenplay for Kubrick. In his essay, “An Alternative New York Jewish Intellectual,” Geoffrey Abrams argues that Kubrick’s engagement with a community of Jewish writers and intellectuals situates him in proximity to the “New York Intellectual Family,” a generation of writers and literary critics for whom “their religious/ethnic heritage had a direct and important influence on their work.” Kubrick’s films deal with, in a grand manner, the concerns of the post-Holocaust world. By presenting this exhibition at The Contemporary Jewish Museum we have the opportunity to explore and encourage dialogue on not only the vast influence Kubrick’s films have had on arts and culture in the twenty-first century, but also on the influence of Kubrick’s Jewishness on his own filmmaking.
This exhibition is organized by the Deutsches Filmmuseum, Frankfurt am Main, Christiane Kubrick and The Stanley Kubrick Archive at University of the Arts London and was organized at The Contemporary Jewish Museum by Anastasia James and featured focused content of his unrealized film projects.
In conjunction with Stanley Kubrick: The Exhibition on view at The CJM, the Alamo Drafthouse is showing Kubrick films in color, the YBCA is presenting the film series Kubrick in Black and White, and the SF Symphony is playing 2001: A Space Odyssey with a full orchestra.
Usually the first thing I do when I come home in New York is take the coat off. Drop it in the middle of the room on the floor. Pull down my pants and have a long tinkle. Then with my pants half on and half off I run and plug my tape recorder into the house current, roll back to side A and listen to what I’ve just done. This thrills me!! While I listen I put backing on all of the Polaroids, and if it’s a new person I’ve photographed or a new subject matter, I fill out a new file card for them and put them away. I’ve smoked a few Marlboros in the meantime and probably ordered up from room service a chocolate malted or two and a cheeseburger heavy on the ketchup. – Brigid Berlin (1970, Cologne)
Brigid Berlin is an American artist and former Warhol superstar. She is best known as Warhol’s closest confidante and for her obsessive diaristic recordings of her life during the 1960s and 1970s. For decades, Berlin’s practice has been defined by a spirit of fanatical documentation. “The key word is record. Brigid’s need to rebel has always been matched by her need to document her reblliousness,” Bob Colacello has written. “In recording life, she captured our times. By myopically depicting her own transgressions and self-indulgences, she has prophetically reflected the narcissism and exhibitionism, the craving for fame and confusing of fame and infamy that have become staples of American popular culture.” The New York Times has called Berlin an “outsider artist…fetishistically devoted to the expression of a strangely personal iconography.” But Berlin was “always an insider,” as John Waters writes in the forward to her forthcoming book of Polaroids. “Brigid knew everybody; her portraits are a walk through art history (de Kooning, Brice Marden, Rauschenberg, Cy Twombly), yet she was no collector…Brigid didn’t want to own art; she wanted to be art, and she was—on permanent loan to bohemian society.”
Most of Berlin’s artistic output evolved from the making of her “trip books,” essentially diaries comprised of photos, collages, drawings, clippings, and other ephemera that she would work on while high on amphetamines. She has always thrived on repetition, detail, and excess, and as a result resists being categorized as an artist who works within a single medium and tends to belabor a certain motif to exhaustion as an exploration of each medium’s possibilities. From 1968 to 1974 she created audio recordings and used Polaroid film to capture her surroundings, making thousands of cassettes and photographs. According to Berlin, she recorded “absolutely everything”. In the 1970s, she began a series of “tit paintings” – colorful prints made by pressing her painted or inked breasts to paper. Like Warhol, Berlin used the new technologies of the day to document her own life. But unlike Warhol, she reveled in pushing the mechanical boundaries of that same equipment, creating portraits and still-lives in double-exposure, a feat not previously achieved by any artist.
The eldest daughter of Muriel “Honey” Johnson Berlin, a socialite, and Richard E. Berlin, chairman of the Hearst Media empire for 52 years, Berlin became a self-described “troublemaker” at an early age and spent most of her life reacting against, and sending up, the social conventions of her youth. She appeared in many of Warhol’s films including The Chelsea Girls (1966), Imitation of Christ (1967), **** (1967), The Loves of Ondine (1967), Nude Restaurant (1967), Tub Girls (1967), Women in Revolt (1971), and Andy Warhol’s Bad (1976). In the 1990s, she appeared in two films by John Waters, Serial Mom (1994) and Pecker (1998). In 2000, she was the subject of a documentary, Pie in the Sky: the Brigid Berlin Story, directed by Vincent Fremont and Shelly Dunn Fremont. The exhibition presented here features a series of nearly thirty self-portrait double-exposure Polaroids taken between 1968-1973, chosen from the artist’s personal collection. They offer a view of the dark wit and self-reflective cynicism found in much of Berlin’s work. Accompanying the Polaroids is a selection of her infamous Tit Prints, along with an assortment of archival material.
13 Most Wanted Men: Andy Warhol and the 1964 World's Fair
April 27–September 7, 2014
Queens Museum, NY
September 29, 2014-January 4, 2015
The Andy Warhol Museum, Pittsburgh
Anastasia James, Assistant Curator
50 years have passed since an up-and-coming Pop provocateur named Andy Warhol sparked a minor scandal at the 1964 New York World’s Fair. As part of a prominent set of public commissions for the Philip Johnson-designed New York State Pavilion’s exterior, Warhol chose to enlarge mug shots from a NYPD booklet featuring the 13 most wanted criminals of 1962. Forming a chessboard of front and profile views, 13 Most Wanted Men was installed by April 15, 1964, and painted over by Fair officials’ direction with silver paint a few days later. When the Fair opened to the public, all that was visible was a large silver square. Later in the summer of 1964, Warhol produced another set of the Most Wanted Menpaintings with the screens he had used to make the mural and nine of these are assembled, forming the core of the 175 or so objects in the exhibition.
The exhibition takes Warhol’s 13 Most Wanted Men as its single subject, addressing its creation and destruction and placing it in its artistic and social context by combining art, documentation, and archival material. Parallel to the striking, somber Men canvases, materials in the exhibition are organized in strict chronological order so the viewer can appreciate the interrelations of underground and establishment; art, protest, and gay life; painting, sculpture, and film in a key year for Warhol; fine art and mainstream culture; and the lives and careers of the major players. A sampling of paintings and sculpture from that year; artists’ and photojournalists’ documentation of the Fair and of the Factory; and never-before-displayed materials from The Andy Warhol Museum archives unwind the mystery behind who ordered the painting-over of the Men and people and places that shaped the work and the incident. For example, Warhol’s open-ended Screen Test sub-series titled Thirteen Most Beautiful Boys (in its first-ever near-complete presentation) and a selection of Warhol’s Box Sculptures(including Brillo) which premiered April 21, the day before the Fair, are interwoven with photographs and documents from artists’ protests against the increased police presence in the run-up to the Fair from Jonas Mekas’ and Peter Moore’s archives and handwritten drafts of Warhol’s "break-up note” to the Eleanor Ward Gallery before his move to Leo Castelli Gallery (to whom he consigned the rejected replacement to the mugshot mural: 25 portraits of Robert Moses himself–which were themselves lost in the years that followed).
Ray Johnson: The Dover Street Years, 1953-1960
March 18–April 15, 2012
Center for Curatorial Studies, Bard College
Anastasia James, Curator
“Ray Johnson: The Dover Street Years provides the occasion for a new understanding and appreciation of the artist’s most significant early achievements. Composed of nearly 40 works, the exhibition will present a selection of collages from the years 1953-1960 when Johnson lived and worked at 2 Dover Street in Lower Manhattan.