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| ...lUCpg2agV251DAAxFnPPh9vJlCng&oe=689B54E9 | The large mosaic for the Lehman College athletics center, the APEX, is a montage of images of the Lehman campus and the Bronx. Howardena Pindell researched the Lehman photo archives to get a sense of the history of the campus, the neighborhood, and the borough. Crovatto Mosaics in Spillemberg, Italy fabricated the mosaic wall, sponsored by the Dormitory Authority for the Lehman College gymnasium. The composition features students engaged in athletic activities; historic buildings in the Bronx; the tree-lined walkways on campus; and the Lehman College swimming pool. The shimmering light and vibrant colors emphasize the vitality and lushness of the physical setting. The final mosaic applies the color nuances of the artist's preparatory collage study.
Howardena Pindell is the recipient of numerous awards and grants for work in a variety of media and techniques. Her work, which deals with the notion of divine expression through visual beauty, clearly drawing on numerous nonwestern sources, is widely exhibited both nationally and internationally. Paintings and prints by Pindell are on view in the New York area at the Metropolitan Museum of Art, the Whitney Museum of American Art, the Museum of Modern Art, the New Museum of Art, the Brooklyn Museum, and The Studio Museum in Harlem.
#bronxpublicart #LehmanCollege @nyculture @lehmancuny #publicart | |
| ...lUCpg2agV251DAAxFnPPh9vJlCng&oe=689B54E9 | The large mosaic for the Lehman College athletics center, the APEX, is a montage of images of the Lehman campus and the Bronx. Howardena Pindell researched the Lehman photo archives to get a sense of the history of the campus, the neighborhood, and the borough. Crovatto Mosaics in Spillemberg, Italy fabricated the mosaic wall, sponsored by the Dormitory Authority for the Lehman College gymnasium. The composition features students engaged in athletic activities; historic buildings in the Bronx; the tree-lined walkways on campus; and the Lehman College swimming pool. The shimmering light and vibrant colors emphasize the vitality and lushness of the physical setting. The final mosaic applies the color nuances of the artist's preparatory collage study.
Howardena Pindell is the recipient of numerous awards and grants for work in a variety of media and techniques. Her work, which deals with the notion of divine expression through visual beauty, clearly drawing on numerous nonwestern sources, is widely exhibited both nationally and internationally. Paintings and prints by Pindell are on view in the New York area at the Metropolitan Museum of Art, the Whitney Museum of American Art, the Museum of Modern Art, the New Museum of Art, the Brooklyn Museum, and The Studio Museum in Harlem.
#bronxpublicart #LehmanCollege @nyculture @lehmancuny #publicart | |
| ...O41dl1f11ndZv_rd8Tbdbw1PYPeA&oe=689B66A6 | Nancy Drosd's painting, Night Swimmer, was selected for acquisition by the art committee for the Lehman College athletics facility known as the APEX. The oil on canvas, one in a series of works based on swimmers, depicts a woman swimming in the dark reflective waters of a pool. The painting, originally slated for installation within a conference room in the athletic center, now resides upon a wall on the second floor of the facility.
Nancy Drosd received a Painting Scholarship from the Skowhegan School of Painting and Sculpture, Skowhegan, Maine, and a BA in Fine Arts from Brandeis University, Waltham, Massachusetts. Her paintings have been exhibited at The Tatischeff Gallery, NY; Jan Weiss Gallery, NY.; and The Metropolitan Museum of Miami, Miami, FL, among others and is included in the collections of The Smithsonian Institution; New York Public Library; Lehman College (CUNY); New York City Health and Hospitals; and Bellevue Hospital Center. Many of her paintings are about running or swimming, used as a metaphor for life on the move in the city. Nancy Drosd lives and works in New York City.
#bronxpublicart #LehmanCollege @nyculture @lehmancuny #publicart | |
| ...O41dl1f11ndZv_rd8Tbdbw1PYPeA&oe=689B66A6 | Nancy Drosd's painting, Night Swimmer, was selected for acquisition by the art committee for the Lehman College athletics facility known as the APEX. The oil on canvas, one in a series of works based on swimmers, depicts a woman swimming in the dark reflective waters of a pool. The painting, originally slated for installation within a conference room in the athletic center, now resides upon a wall on the second floor of the facility.
Nancy Drosd received a Painting Scholarship from the Skowhegan School of Painting and Sculpture, Skowhegan, Maine, and a BA in Fine Arts from Brandeis University, Waltham, Massachusetts. Her paintings have been exhibited at The Tatischeff Gallery, NY; Jan Weiss Gallery, NY.; and The Metropolitan Museum of Miami, Miami, FL, among others and is included in the collections of The Smithsonian Institution; New York Public Library; Lehman College (CUNY); New York City Health and Hospitals; and Bellevue Hospital Center. Many of her paintings are about running or swimming, used as a metaphor for life on the move in the city. Nancy Drosd lives and works in New York City.
#bronxpublicart #LehmanCollege @nyculture @lehmancuny #publicart | |
| ...3vTrcmO2HNb-jSn6q1Ca4rS0ykuQ&oe=689B5CB6 | Jackie Ferrara's 107-foot concrete block pergola, Covered Walkway, is located on Lehman's College Walk, a tree-lined corridor, and extends onto the gym plaza. The walkway provides an entry portal from the street through the gym, and onto the campus proper. The design explores the architectural space of a passageway. As it is entered and traversed, Covered Walkway claims "time" as an element. Its rhythmically-spaced slates create fluttering patterns of light and shadow, and frame views of the campus. The walls are punctuated by intervals of penetrated space which increase in frequency as the wall evolves into columns. Overhead the spacing of the bars increases, allowing views of the trees. It is the experience of moving through the space that is central to the artist's intent "where the viewer becomes part of the piece rather than seeing it as an object." The site design was developed in close collaboration with the architect, Rafael Viñoly.
Jackie Ferrara was born in Detroit, Michigan. Her public architectural and landscape works can be seen throughout the United States and England. At the new gymnasium at Lehman College (CUNY), Ferrara has designed a concrete walkway which straddles 114' of the Lehman's College Walk, 20' of which are on the new gymnasium plaza. The walkway was sponsored by Percent for Art Commission. Other works by Ferrara in the New York area can be seen at The Brooklyn Museum of Art; Solomon R. Guggenheim Museum; Metropolitan Museum of Art; Museum of Modern Art; and Whitney Museum of American Art.
#bronxpublicart #LehmanCollege @nyculture @lehmancuny #publicart | |
| ...3vTrcmO2HNb-jSn6q1Ca4rS0ykuQ&oe=689B5CB6 | Jackie Ferrara's 107-foot concrete block pergola, Covered Walkway, is located on Lehman's College Walk, a tree-lined corridor, and extends onto the gym plaza. The walkway provides an entry portal from the street through the gym, and onto the campus proper. The design explores the architectural space of a passageway. As it is entered and traversed, Covered Walkway claims "time" as an element. Its rhythmically-spaced slates create fluttering patterns of light and shadow, and frame views of the campus. The walls are punctuated by intervals of penetrated space which increase in frequency as the wall evolves into columns. Overhead the spacing of the bars increases, allowing views of the trees. It is the experience of moving through the space that is central to the artist's intent "where the viewer becomes part of the piece rather than seeing it as an object." The site design was developed in close collaboration with the architect, Rafael Viñoly.
Jackie Ferrara was born in Detroit, Michigan. Her public architectural and landscape works can be seen throughout the United States and England. At the new gymnasium at Lehman College (CUNY), Ferrara has designed a concrete walkway which straddles 114' of the Lehman's College Walk, 20' of which are on the new gymnasium plaza. The walkway was sponsored by Percent for Art Commission. Other works by Ferrara in the New York area can be seen at The Brooklyn Museum of Art; Solomon R. Guggenheim Museum; Metropolitan Museum of Art; Museum of Modern Art; and Whitney Museum of American Art.
#bronxpublicart #LehmanCollege @nyculture @lehmancuny #publicart | |
| ...cWjjqToY25tqOSc0z6LI65u4wELw&oe=689B698D | Ronald Baron's sculpture, My Time is Now, located at the Bedford Park entrance to the APEX, Lehman College's athletic facility, announces the function of the building with irony and humor. A large trophy cup - made of many objects, including basketballs, baseballs, tennis balls, weights, college yearbooks, plaques, soccer shoes and a softball mitt - connects the sculpture to the history of the college and to the activities of the building. The work has been cast from actual objects in bronze, aluminum, and stainless steel using the traditional lost wax technique, as well as direct burnout. The work is a conceptualization of the interaction of academic and physical education, symbolically the relationship between the mind and the body. The bowl of the sculpture is a lacy structure created by hundreds of tiny trophy figures representing awards for a range of athletic events. The colored patinas and textures replicate those of the original objects. ⚽🏀⚾🏆
Ronald Baron was born in Springfield, Massachusetts in 1957, and in 1984 he graduated from the University of Wisconsin, Madison. He studied at the University of California where he received his MFA in 1987. Baron's bronze sculptures have been widely displayed in both solo and group exhibitions at sites in New York such as Exit Art, White Columns, and the Sculpture Center. His work can be seen in both public and private installations including Lehman College (CUNY) and the Estée Lauder Co. Headquarters in New York.
#bronxpublicart #LehmanCollege | |
| ...cWjjqToY25tqOSc0z6LI65u4wELw&oe=689B698D | Ronald Baron's sculpture, My Time is Now, located at the Bedford Park entrance to the APEX, Lehman College's athletic facility, announces the function of the building with irony and humor. A large trophy cup - made of many objects, including basketballs, baseballs, tennis balls, weights, college yearbooks, plaques, soccer shoes and a softball mitt - connects the sculpture to the history of the college and to the activities of the building. The work has been cast from actual objects in bronze, aluminum, and stainless steel using the traditional lost wax technique, as well as direct burnout. The work is a conceptualization of the interaction of academic and physical education, symbolically the relationship between the mind and the body. The bowl of the sculpture is a lacy structure created by hundreds of tiny trophy figures representing awards for a range of athletic events. The colored patinas and textures replicate those of the original objects. ⚽🏀⚾🏆
Ronald Baron was born in Springfield, Massachusetts in 1957, and in 1984 he graduated from the University of Wisconsin, Madison. He studied at the University of California where he received his MFA in 1987. Baron's bronze sculptures have been widely displayed in both solo and group exhibitions at sites in New York such as Exit Art, White Columns, and the Sculpture Center. His work can be seen in both public and private installations including Lehman College (CUNY) and the Estée Lauder Co. Headquarters in New York.
#bronxpublicart #LehmanCollege | |
| ...PEiYgyiZEF37RFT9xZEtlA84fK0A&oe=689B7A9D | Michael Poast is a resident and has maintains a studio space in Long Island City, Queens, NYC. Poast describes his sculptures as being created from strong emotions. The torch cut steel beams release energy and force an explosion of visual sound. Bridged together, stacked wedged, and welded they create dynamic compositions incorporating energetic zig-zags, and linear cuts. These forms , heated and twisted, open up spaces and compliment the solid steel. Poast’s recent explorations into thresholds, by which he means the carving out of spatial areas and volumetric forms, has led him to use linear forms to imply volume. The negative shapes and torsion filled forms become a positive volume, transversing yet another dimension. A composer as well, he uses color as a notation system for musical expression which he calls color music. He sometimes performs using his sculptures, relating the sound the steel produces when struck with hammers and timpani mallets. 🔨
#bronxpublicart #publicart #LehmanCollege@nyculture @lehmancuny | |
| ...PEiYgyiZEF37RFT9xZEtlA84fK0A&oe=689B7A9D | Michael Poast is a resident and has maintains a studio space in Long Island City, Queens, NYC. Poast describes his sculptures as being created from strong emotions. The torch cut steel beams release energy and force an explosion of visual sound. Bridged together, stacked wedged, and welded they create dynamic compositions incorporating energetic zig-zags, and linear cuts. These forms , heated and twisted, open up spaces and compliment the solid steel. Poast’s recent explorations into thresholds, by which he means the carving out of spatial areas and volumetric forms, has led him to use linear forms to imply volume. The negative shapes and torsion filled forms become a positive volume, transversing yet another dimension. A composer as well, he uses color as a notation system for musical expression which he calls color music. He sometimes performs using his sculptures, relating the sound the steel produces when struck with hammers and timpani mallets. 🔨
#bronxpublicart #publicart #LehmanCollege@nyculture @lehmancuny | |
| ...zvzHK6sbibGoy0ipl2NwEuJynxnA&oe=689B6DF2 | Inspired by the World Peace Bell Park in South Korea, this Peace Bell was gifted to the Lehman College by Yong Lee, a friend of the college. It serves as a reminder of peace and friendship between the Lehman College and the Republic of Korea. This bell is rung on the 21st of September of every year to celebrate the International Day of Peace and non-violence. 🔔🕊
#bronxpublicart #LehmanCollege @nyculture @lehmancuny #publicart | |
| ...zvzHK6sbibGoy0ipl2NwEuJynxnA&oe=689B6DF2 | Inspired by the World Peace Bell Park in South Korea, this Peace Bell was gifted to the Lehman College by Yong Lee, a friend of the college. It serves as a reminder of peace and friendship between the Lehman College and the Republic of Korea. This bell is rung on the 21st of September of every year to celebrate the International Day of Peace and non-violence. 🔔🕊
#bronxpublicart #LehmanCollege @nyculture @lehmancuny #publicart | |
| ...pGdAmuAX8KJUIaxVYnqk2XHR3YTA&oe=689B7251 | This Olmec colossal head is a replica of “The King,” a sculpture unearthed in San Lorenzo Tenochtitlán, Veracruz, Mexico, in 1964. Colossal heads are a representative art form of the Olmec, one of the first major cultures of Mesoamerica with achievements including advances in the fields of science, mathematics, astronomy, architecture, city planning, as well as art. The King is thought to represent a ruler, possibly wearing a ballplayer’s helmut. The replica is a gift from the Mexican government in celebration of the CUNY Institute of Mexican Studies, which is housed at Lehman. 🗿
#bronxpublicart #LehmanCollege @nyculture @lehmancuny #publicart | |
| ...pGdAmuAX8KJUIaxVYnqk2XHR3YTA&oe=689B7251 | This Olmec colossal head is a replica of “The King,” a sculpture unearthed in San Lorenzo Tenochtitlán, Veracruz, Mexico, in 1964. Colossal heads are a representative art form of the Olmec, one of the first major cultures of Mesoamerica with achievements including advances in the fields of science, mathematics, astronomy, architecture, city planning, as well as art. The King is thought to represent a ruler, possibly wearing a ballplayer’s helmut. The replica is a gift from the Mexican government in celebration of the CUNY Institute of Mexican Studies, which is housed at Lehman. 🗿
#bronxpublicart #LehmanCollege @nyculture @lehmancuny #publicart | |
| ...WtCXtetS_4owMLWg0BcOghGblZSQ&oe=689B780A | Congratulations to the NYCDOE Bronx Honors Program! Art Teachers and Art students came together to be inspired, create and learn together! #kidsart #bronxkids #bronxart @lehmancuny | |
| ...WtCXtetS_4owMLWg0BcOghGblZSQ&oe=689B780A | Congratulations to the NYCDOE Bronx Honors Program! Art Teachers and Art students came together to be inspired, create and learn together! #kidsart #bronxkids #bronxart @lehmancuny | |
| ...IaWoimTZzX-ij5cNVugkvy240uzA&oe=689B7490 | Today’s Inclusive Family Program explored the Thesis Exhibition! Join us next time on June 8. Link above for free tickets @lehmancuny | |
| ...IaWoimTZzX-ij5cNVugkvy240uzA&oe=689B7490 | Today’s Inclusive Family Program explored the Thesis Exhibition! Join us next time on June 8. Link above for free tickets @lehmancuny | |
| ...uI7q86UzPth1v8U0-sUGmPuMBxkA&oe=689B5FCD | It’s happening!
Join us for the 2025 Thesis Exhibition! Opening Reception Wednesday May 21, 5-8pm. Link for free tickets above. @lehmancuny @lehmanart @lehman_arts.n.humanities | |
| ...uI7q86UzPth1v8U0-sUGmPuMBxkA&oe=689B5FCD | It’s happening!
Join us for the 2025 Thesis Exhibition! Opening Reception Wednesday May 21, 5-8pm. Link for free tickets above. @lehmancuny @lehmanart @lehman_arts.n.humanities | |
| ...igMzz-gGEwMuEhwaRbolBH_BVDvA&oe=689B4EB1 | MTA Arts and Design Call for Artists
MTA Metro-North Railroad • Bronx Stations
Botanical Garden, Williams Bridge, and Woodlawn
MTA Arts & Design seeks images of artists’ previous work to review in consideration for new permanent Percent for Art projects, in conjunction with the renovation of Botanical Garden, Williams Bridge, and Woodlawn stations on Metro-North’s Harlem Line in the Bronx. An approved fabricator will translate the final artwork designs into durable media. The artworks are projected to be realized in glass and metal. An artist’s prior experience with these materials will not be taken into consideration when reviewing images.
SELECTION PROCESS
A selection panel comprised of arts and design professionals will select finalists to develop original proposals. Finalists will be given site specifications and a detailed over-view of the project to create a proposal for site-specific artwork for the stations, for which they will receive an honorarium of $1,250. Following the selection panel’s review of proposals, one artist per station will be selected to receive the commission.
The budget for design and fabrication of the artwork at each station is to be determined. The selected artist will receive an artist fee and be required to produce final designs, select a fabricator and oversee the fabrication and installation of the artwork, with project management by MTA Arts & Design.
TO APPLY
Eligibility is based upon artistic merit as evidenced in previous work, exhibition history, awards, honors, and publications, and demonstrated proficiency and technical knowledge of the medium(s) in which the artist regularly works.
All artists interested in being considered for projects must apply online. Please submit up to 20 images along with a short application form, a bio, CV, and brief artist statement to mtaarts.submittable.com.
Submissions must be complete by midnight EST on Monday, June 2, 2025.
Please direct inquiries for MTA Arts & Design to arts@mtahq.org
@mtaartsdesign #bronx #bronxartists | |
| ...igMzz-gGEwMuEhwaRbolBH_BVDvA&oe=689B4EB1 | MTA Arts and Design Call for Artists
MTA Metro-North Railroad • Bronx Stations
Botanical Garden, Williams Bridge, and Woodlawn
MTA Arts & Design seeks images of artists’ previous work to review in consideration for new permanent Percent for Art projects, in conjunction with the renovation of Botanical Garden, Williams Bridge, and Woodlawn stations on Metro-North’s Harlem Line in the Bronx. An approved fabricator will translate the final artwork designs into durable media. The artworks are projected to be realized in glass and metal. An artist’s prior experience with these materials will not be taken into consideration when reviewing images.
SELECTION PROCESS
A selection panel comprised of arts and design professionals will select finalists to develop original proposals. Finalists will be given site specifications and a detailed over-view of the project to create a proposal for site-specific artwork for the stations, for which they will receive an honorarium of $1,250. Following the selection panel’s review of proposals, one artist per station will be selected to receive the commission.
The budget for design and fabrication of the artwork at each station is to be determined. The selected artist will receive an artist fee and be required to produce final designs, select a fabricator and oversee the fabrication and installation of the artwork, with project management by MTA Arts & Design.
TO APPLY
Eligibility is based upon artistic merit as evidenced in previous work, exhibition history, awards, honors, and publications, and demonstrated proficiency and technical knowledge of the medium(s) in which the artist regularly works.
All artists interested in being considered for projects must apply online. Please submit up to 20 images along with a short application form, a bio, CV, and brief artist statement to mtaarts.submittable.com.
Submissions must be complete by midnight EST on Monday, June 2, 2025.
Please direct inquiries for MTA Arts & Design to arts@mtahq.org
@mtaartsdesign #bronx #bronxartists | |
| ...gTRHSM5fPmcBF1uC-rSHqL87cVqQ&oe=689B4E29 | Join us for the 2025 Thesis Exhibition! Opening Reception Wednesday May 21, 5-8pm. Link for free tickets above. @lehmancuny @lehmanart @lehman_arts.n.humanities | |
| ...gTRHSM5fPmcBF1uC-rSHqL87cVqQ&oe=689B4E29 | Join us for the 2025 Thesis Exhibition! Opening Reception Wednesday May 21, 5-8pm. Link for free tickets above. @lehmancuny @lehmanart @lehman_arts.n.humanities | |
| ...piRWqmJ2q8A3StitFLjFhoxBsSwA&oe=689B4C04 | Surprised Unknown: The Art of Wrapping site specific rotunda installation by Luis Stephenberg
Undercover ID, 2025
Mixed media, site-specific Rotunda installation, 319-inch diameter
Courtesy of the artist
In Undercover ID, Luis Stephenberg transforms the Lehman College Art Gallery's Rotunda into a complex meditation on perception and containment. Through masterful orchestration of space and material, Stephenberg reveals how our senses shape identity, while being shaped by social and economic structures. At the installation's core, four enigmatic figures emerge from a central column, each wrapped form embodying one of the human senses—sight, sound, taste, and touch. These shrouded presences stand in silent dialog with the surrounding walls of branded burlap, where carefully placed knots mark points of tension and connection. The circular arrangement of burlap panels, stamped with "Undercover ID" like agricultural commodity bales, creates a perimeter where knots punctuate the intersections of supporting ropes. The knots, appearing at regular intervals along the walls, form a rhythmic counterpoint to wrapped figures at the center, suggesting the tension between individual sensory experience and external systems of containment. Two folds in the burlap reveal GPS locations of the Art Gallery that produce dialog between embodied sensation and digital tracking. Stephenberg's use of rugged materials—particularly the branded burlap that recalls Puerto Rico's colonial agricultural past—points to how sensory experience becomes packaged within larger systems of commerce and control.
@lehmancuny @cuny @nyscouncilonthearts @nyculture #luisstephenberg | |
| ...piRWqmJ2q8A3StitFLjFhoxBsSwA&oe=689B4C04 | Surprised Unknown: The Art of Wrapping site specific rotunda installation by Luis Stephenberg
Undercover ID, 2025
Mixed media, site-specific Rotunda installation, 319-inch diameter
Courtesy of the artist
In Undercover ID, Luis Stephenberg transforms the Lehman College Art Gallery's Rotunda into a complex meditation on perception and containment. Through masterful orchestration of space and material, Stephenberg reveals how our senses shape identity, while being shaped by social and economic structures. At the installation's core, four enigmatic figures emerge from a central column, each wrapped form embodying one of the human senses—sight, sound, taste, and touch. These shrouded presences stand in silent dialog with the surrounding walls of branded burlap, where carefully placed knots mark points of tension and connection. The circular arrangement of burlap panels, stamped with "Undercover ID" like agricultural commodity bales, creates a perimeter where knots punctuate the intersections of supporting ropes. The knots, appearing at regular intervals along the walls, form a rhythmic counterpoint to wrapped figures at the center, suggesting the tension between individual sensory experience and external systems of containment. Two folds in the burlap reveal GPS locations of the Art Gallery that produce dialog between embodied sensation and digital tracking. Stephenberg's use of rugged materials—particularly the branded burlap that recalls Puerto Rico's colonial agricultural past—points to how sensory experience becomes packaged within larger systems of commerce and control.
@lehmancuny @cuny @nyscouncilonthearts @nyculture #luisstephenberg | |
| ...f7kVggXZPWrzr5_gOVK07XsAzB2g&oe=689B6B54 | Lehman Stages and The Lehman College Art Gallery proudly present
The Herbert H. Dance Company (Herbie)
in SURPRISES UNKNOWN
A DANCE CONCERT & CONVERSATION
Featuring: Hazel Avila . Caroline Roque Barrera . Kimberly Garcia . Wilson Hernandez. Sky Mercado
and Cordelia Vohnout . Choreography by Tae Gi Kim & Cordelia Vohnout
Wednesday, April 30th at 4pm
Thursday May 1st at 7pm
Friday May 2nd at 7PM
The Lehman College Art Gallery .
Free Admission. Seating is LIMITED
Reservations required.
LInk above
herbie.bpt.me
@nyscouncilonthearts @lehmanstages @lehmancuny @cunyedu @nyculture @herberthdance | |
| ...f7kVggXZPWrzr5_gOVK07XsAzB2g&oe=689B6B54 | Lehman Stages and The Lehman College Art Gallery proudly present
The Herbert H. Dance Company (Herbie)
in SURPRISES UNKNOWN
A DANCE CONCERT & CONVERSATION
Featuring: Hazel Avila . Caroline Roque Barrera . Kimberly Garcia . Wilson Hernandez. Sky Mercado
and Cordelia Vohnout . Choreography by Tae Gi Kim & Cordelia Vohnout
Wednesday, April 30th at 4pm
Thursday May 1st at 7pm
Friday May 2nd at 7PM
The Lehman College Art Gallery .
Free Admission. Seating is LIMITED
Reservations required.
LInk above
herbie.bpt.me
@nyscouncilonthearts @lehmanstages @lehmancuny @cunyedu @nyculture @herberthdance | |
| ...HYlXpki9THkU4UobzzOHVo_A0eug&oe=689B5DBB | Lehman Stages and The Lehman College Art Gallery proudly present
The Herbert H. Dance Company (Herbie)
in SURPRISES UNKNOWN
A DANCE CONCERT & CONVERSATION
Featuring: Hazel Avila . Caroline Roque Barrera . Kimberly Garcia . Wilson Hernandez. Sky Mercado
and Cordelia Vohnout . Choreography by Tae Gi Kim & Cordelia Vohnout
Wednesday, April 30th at 4pm
Thursday May 1st at 7pm
Friday May 2nd at 7PM
The Lehman College Art Gallery .
Free Admission. Seating is LIMITED
Reservations required.
LInk above
herbie.bpt.me
@nyscouncilonthearts @lehmanstages @lehmancuny @cunyedu @nyculture @herberthdance | |
| ...HYlXpki9THkU4UobzzOHVo_A0eug&oe=689B5DBB | Lehman Stages and The Lehman College Art Gallery proudly present
The Herbert H. Dance Company (Herbie)
in SURPRISES UNKNOWN
A DANCE CONCERT & CONVERSATION
Featuring: Hazel Avila . Caroline Roque Barrera . Kimberly Garcia . Wilson Hernandez. Sky Mercado
and Cordelia Vohnout . Choreography by Tae Gi Kim & Cordelia Vohnout
Wednesday, April 30th at 4pm
Thursday May 1st at 7pm
Friday May 2nd at 7PM
The Lehman College Art Gallery .
Free Admission. Seating is LIMITED
Reservations required.
LInk above
herbie.bpt.me
@nyscouncilonthearts @lehmanstages @lehmancuny @cunyedu @nyculture @herberthdance | |
| ...saYzblfG5qWK-DLspgz7Nd81aSWA&oe=689B5FA1 | Diane Smook
One Red Bale, County Route 21, Ghent, New York, 2012
Route 9, Livingston, New York, 2020
Photographs
Courtesy of the artist
One Red Bale captures a singular mystery: a lone crimson-wrapped bale set against undulating hills. In this photograph and in Route 9, both from her ongoing chronicle of Columbia County's agricultural landscape, Diane Smook explores the visual language of contemporary farming practices. Her images reveal both intentional and arbitrary aspects of rural labor, in which the farmers' practical decisions inadvertently create artistic compositions on the landscape. Smook, encountering the unexplained splash of color in One Red Bale, recognized its compelling visual power. Her photograph’s panoramic format emphasizes the bale's solitude, while its bright artificial hue transforms it into an enigmatic focal point in the pastoral scene. Route 9 presents a more systematic arrangement, where a precise line of white-wrapped cylindrical bales creates an almost architectural presence in the landscape. Route 9 also documents the shift from traditional rectangular hay bales to modern round ones, protected by plastic wrapping against the elements. Smook, who photographs agricultural scenes near her home, creates an artistic aesthetic that also reveals the consequences of technological change in agriculture, where necessary adaptations articulate the character of today’s rural landscape.
@dianesmookphotography @nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery #artgallery | |
| ...saYzblfG5qWK-DLspgz7Nd81aSWA&oe=689B5FA1 | Diane Smook
One Red Bale, County Route 21, Ghent, New York, 2012
Route 9, Livingston, New York, 2020
Photographs
Courtesy of the artist
One Red Bale captures a singular mystery: a lone crimson-wrapped bale set against undulating hills. In this photograph and in Route 9, both from her ongoing chronicle of Columbia County's agricultural landscape, Diane Smook explores the visual language of contemporary farming practices. Her images reveal both intentional and arbitrary aspects of rural labor, in which the farmers' practical decisions inadvertently create artistic compositions on the landscape. Smook, encountering the unexplained splash of color in One Red Bale, recognized its compelling visual power. Her photograph’s panoramic format emphasizes the bale's solitude, while its bright artificial hue transforms it into an enigmatic focal point in the pastoral scene. Route 9 presents a more systematic arrangement, where a precise line of white-wrapped cylindrical bales creates an almost architectural presence in the landscape. Route 9 also documents the shift from traditional rectangular hay bales to modern round ones, protected by plastic wrapping against the elements. Smook, who photographs agricultural scenes near her home, creates an artistic aesthetic that also reveals the consequences of technological change in agriculture, where necessary adaptations articulate the character of today’s rural landscape.
@dianesmookphotography @nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery #artgallery | |
| ...CpS4LooW-yfI-WfOsmNkCMvO7yiQ&oe=689B5FAF | Paul Fenniak
House by the Water, 2022
Oil on canvas
Courtesy of Forum Gallery, New York
In Fenniak's enigmatic House by the Water, a luminous white construction tent acts as a ghostly veil, endowing the house beneath its billowing form with mystery. The painting's composition creates a compelling tension between revelation and concealment–the stark white fabric catches light with crystalline precision, yet stubbornly guards its secret beneath its folds, the house lurking a shadowy, sullen object. This draped form echoes art historical traditions of the covered object, from Magritte's shrouded lovers to Christo and Jeanne-Claude's monumental, wrapped installations, while maintaining its own contemporary mystery. The setting itself speaks to desolate isolation: the suggestion of a winter season in a summer town. Barely discernable in the fog, another house stands in the background, while dark water pools before it, ominously close to the structure. Fenniak's luscious handling of oil paint captures the interplay of light on fabric, water, and architecture, creating an atmosphere that hovers between the dreary and the divine. The ordinary act of covering something–perhaps to protect it from the elements–transforms into a meditation on the things we choose to hide or reveal. We become witnesses to this scene of domestic mystery, invited to contemplate what lies beneath.
@forumgallery #paulfenniak i @nyscouncilonthearts @nyculture @lehmancuny @cunyedu #bronxgallery #artgallery | |
| ...CpS4LooW-yfI-WfOsmNkCMvO7yiQ&oe=689B5FAF | Paul Fenniak
House by the Water, 2022
Oil on canvas
Courtesy of Forum Gallery, New York
In Fenniak's enigmatic House by the Water, a luminous white construction tent acts as a ghostly veil, endowing the house beneath its billowing form with mystery. The painting's composition creates a compelling tension between revelation and concealment–the stark white fabric catches light with crystalline precision, yet stubbornly guards its secret beneath its folds, the house lurking a shadowy, sullen object. This draped form echoes art historical traditions of the covered object, from Magritte's shrouded lovers to Christo and Jeanne-Claude's monumental, wrapped installations, while maintaining its own contemporary mystery. The setting itself speaks to desolate isolation: the suggestion of a winter season in a summer town. Barely discernable in the fog, another house stands in the background, while dark water pools before it, ominously close to the structure. Fenniak's luscious handling of oil paint captures the interplay of light on fabric, water, and architecture, creating an atmosphere that hovers between the dreary and the divine. The ordinary act of covering something–perhaps to protect it from the elements–transforms into a meditation on the things we choose to hide or reveal. We become witnesses to this scene of domestic mystery, invited to contemplate what lies beneath.
@forumgallery #paulfenniak i @nyscouncilonthearts @nyculture @lehmancuny @cunyedu #bronxgallery #artgallery | |
| ...Sx9GEym3wFRUbt1m5JpWSId2H4-A&oe=689B7CEE | Sight and Sound:A Musical Journey of Visual Art
THURSDAY, MAY 1, 2025 1:00 PM EST
Click link above to register
@lehmancuny @cuny @nyscouncilonthearts @nyculture | |
| ...Sx9GEym3wFRUbt1m5JpWSId2H4-A&oe=689B7CEE | Sight and Sound:A Musical Journey of Visual Art
THURSDAY, MAY 1, 2025 1:00 PM EST
Click link above to register
@lehmancuny @cuny @nyscouncilonthearts @nyculture | |
| ...2RKwLtulRt9C8dS-PyhLnSKrwdhg&oe=689B5AB2 | Claudia DeMonte
Magic Potion, 2023
Mixed media on wood
Courtesy of the artist
In Magic Potion Claudia DeMonte explores the universal human desire to control fate through mystical means. Like a genie's lamp waiting to be rubbed or Pandora's box before its fateful opening, DeMonte's vessel carries the tantalizing promise of the unknown within its sealed confines. The work connects to humanity's enduring relationship with talismans and protective symbols—from the warning Hamsa hand to the fortune-bringing Four-leaf clover. DeMonte notes how symbols can carry contradictory meanings across cultures, such as the snake, which represents evil in Irish folklore but brings good fortune in Indian traditions. This duality enriches the mystery of her sealed vessel, leaving us to wonder whether it contains blessings or curses. As part of DeMonte's broader artistic investigation of women's experiences in global society, her magic potion bottle speaks to the age-old association between women and mystical power. Like the classical Fates who spun, measured, and cut the thread of destiny, this artist presents us with an object that seems to contain transformative potential—yet keeps its secrets tantalizingly concealed, inviting but never satisfying our desire to know what lies within. The artist says her work, “tempts you to open it, to see what it beholds.”
@claudiademonte @nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery #artgallery | |
| ...2RKwLtulRt9C8dS-PyhLnSKrwdhg&oe=689B5AB2 | Claudia DeMonte
Magic Potion, 2023
Mixed media on wood
Courtesy of the artist
In Magic Potion Claudia DeMonte explores the universal human desire to control fate through mystical means. Like a genie's lamp waiting to be rubbed or Pandora's box before its fateful opening, DeMonte's vessel carries the tantalizing promise of the unknown within its sealed confines. The work connects to humanity's enduring relationship with talismans and protective symbols—from the warning Hamsa hand to the fortune-bringing Four-leaf clover. DeMonte notes how symbols can carry contradictory meanings across cultures, such as the snake, which represents evil in Irish folklore but brings good fortune in Indian traditions. This duality enriches the mystery of her sealed vessel, leaving us to wonder whether it contains blessings or curses. As part of DeMonte's broader artistic investigation of women's experiences in global society, her magic potion bottle speaks to the age-old association between women and mystical power. Like the classical Fates who spun, measured, and cut the thread of destiny, this artist presents us with an object that seems to contain transformative potential—yet keeps its secrets tantalizingly concealed, inviting but never satisfying our desire to know what lies within. The artist says her work, “tempts you to open it, to see what it beholds.”
@claudiademonte @nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery #artgallery | |
| ...2X99W3CrfiJEkXzVlsWaHIAWVmCw&oe=689B71AE | Join us!
String Sextets
Thursday, April 24, 1 pm
String players from the String Orchestra of New York City will delight us in sextets by Frank Bridge and Bohuslav Martinu.
Click link above to register for your free tickets!
@lehmancuny @cuny @nyscouncilonthearts @nyculture | |
| ...2X99W3CrfiJEkXzVlsWaHIAWVmCw&oe=689B71AE | Join us!
String Sextets
Thursday, April 24, 1 pm
String players from the String Orchestra of New York City will delight us in sextets by Frank Bridge and Bohuslav Martinu.
Click link above to register for your free tickets!
@lehmancuny @cuny @nyscouncilonthearts @nyculture | |
| ...EbETgCletlwBl3yLtB991cBuAgVw&oe=689B6E05 | E.V. Day
Mummified Barbie, 2010 (three)
Barbie doll, beeswax, twine
and silver glitter
Courtesy of the artist and Carolina Nitsch Gallery
In her Mummified Barbie series, E.V. Day transforms the iconic doll through an act of ritual concealment, wrapping Barbie's familiar form in layers of beeswax, twine, and glitter. This process of “mummification” both preserves and obscures, creating an object that hovers between mysterious cultural artifact and contemporary critique. Through the act of wrapping, Day deliberately conceals Barbie's famous attributes—the impossible proportions, the fixed rictus smile, the ready-for-anything pose—that have made her such a potent symbol of idealized femininity. The resulting form becomes simultaneously sacred and absurd: a glamorous mummy that connects ancient death preservation practices with the torture of modern beauty rituals. The addition of silver glitter to the wrapped surface adds a knowing wink to this transformation, maintaining Barbie's association with glamour even in her bound state. By mummifying Barbie, Day positions the doll within a longer history of fetishized feminine figures, from ancient Venus statues to contemporary beauty icons. The wrapped form becomes both relic and commentary, inviting us to consider how societies across time have preserved, presented, and constrained representations of feminine beauty.
@evdayartist @carolinanitsch @nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery #artgallery | |
| ...EbETgCletlwBl3yLtB991cBuAgVw&oe=689B6E05 | E.V. Day
Mummified Barbie, 2010 (three)
Barbie doll, beeswax, twine
and silver glitter
Courtesy of the artist and Carolina Nitsch Gallery
In her Mummified Barbie series, E.V. Day transforms the iconic doll through an act of ritual concealment, wrapping Barbie's familiar form in layers of beeswax, twine, and glitter. This process of “mummification” both preserves and obscures, creating an object that hovers between mysterious cultural artifact and contemporary critique. Through the act of wrapping, Day deliberately conceals Barbie's famous attributes—the impossible proportions, the fixed rictus smile, the ready-for-anything pose—that have made her such a potent symbol of idealized femininity. The resulting form becomes simultaneously sacred and absurd: a glamorous mummy that connects ancient death preservation practices with the torture of modern beauty rituals. The addition of silver glitter to the wrapped surface adds a knowing wink to this transformation, maintaining Barbie's association with glamour even in her bound state. By mummifying Barbie, Day positions the doll within a longer history of fetishized feminine figures, from ancient Venus statues to contemporary beauty icons. The wrapped form becomes both relic and commentary, inviting us to consider how societies across time have preserved, presented, and constrained representations of feminine beauty.
@evdayartist @carolinanitsch @nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery #artgallery | |
| ...8CEzJ209tnkAP0i1B7uNL-VbsJDQ&oe=689B79FC | Avital Burg
Box in a Corner, 2013
Oil on canvas
Courtesy of the William Louis-Dreyfus Estate 2016
Six Boxes, 2014
Oil on linen
Courtesy of the artist
Avital Burg transforms the overlooked poetry of urban refuse into contemplative still life. Her fascination with cardboard boxes began during a student exchange at London's Slade School, where the temporary nature of her stay made her acutely aware of these humble vessels of transition. What started as practical containers for her eventual return to New York evolved into rich subjects for her artistic exploration. The artist said, “When I first moved to New York, I was struck by the presence of cardboard boxes in public spaces—the piles left out for recycling felt like installations of consumption and personal memory, each one holding traces of the lives or commodities they once carried.” Working directly from boxes found on city streets, Burg observes how each carries its own distinct character—unique hues that challenge her paint-mixing skills, wrinkles and tears that map past journeys, and stamps and tape that chronicle their histories. Through Burg's patient observation and masterful oil technique, these disposable containers become repositories of memory, each crease and fold suggesting the invisible narratives of lives and objects that once passed through the temporary shelter the boxes provided for a time.
@wldfoundation @avitalburg @nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery #artgallery | |
| ...8CEzJ209tnkAP0i1B7uNL-VbsJDQ&oe=689B79FC | Avital Burg
Box in a Corner, 2013
Oil on canvas
Courtesy of the William Louis-Dreyfus Estate 2016
Six Boxes, 2014
Oil on linen
Courtesy of the artist
Avital Burg transforms the overlooked poetry of urban refuse into contemplative still life. Her fascination with cardboard boxes began during a student exchange at London's Slade School, where the temporary nature of her stay made her acutely aware of these humble vessels of transition. What started as practical containers for her eventual return to New York evolved into rich subjects for her artistic exploration. The artist said, “When I first moved to New York, I was struck by the presence of cardboard boxes in public spaces—the piles left out for recycling felt like installations of consumption and personal memory, each one holding traces of the lives or commodities they once carried.” Working directly from boxes found on city streets, Burg observes how each carries its own distinct character—unique hues that challenge her paint-mixing skills, wrinkles and tears that map past journeys, and stamps and tape that chronicle their histories. Through Burg's patient observation and masterful oil technique, these disposable containers become repositories of memory, each crease and fold suggesting the invisible narratives of lives and objects that once passed through the temporary shelter the boxes provided for a time.
@wldfoundation @avitalburg @nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery #artgallery | |
| ...CeDi0Y5UEPppYC8992Tm9EFOI6VQ&oe=689B7AF8 | Nick Briggs
Wrapped Caryatids on the Euston Road, London, 2011
Silver gelatin print
Courtesy of the artist
In this atmospheric photograph, Briggs captures a striking moment of architectural transformation when the historic caryatids of St Pancras Church were temporarily shrouded during restoration. The four classical female figures, normally standing as graceful architectural supports, take on an eerily modern presence beneath their protective wrappings. The ghostly forms seem both present and absent, their identities concealed yet their powerful silhouettes remain. The wrappings transform the neoclassical caryatids into something more ambiguous—figures that could be emerging from or disappearing into their coverings. The figures have fascinating history. Their sculptor, Charles Rossi, discovered they were too tall but only after installation began. His remarkably pragmatic solution —he chopped chunks from their midsections and then rejoined the sculpted bodies, leaving these London "handmaidens" with dumpier proportions than their ancient Greek counterparts in the British Museum. Through Briggs's lens, these wrapped monuments echo both ancient Greek sculptures and 20th-century artistic interventions, particularly recalling Christo and Jeanne-Claude's famous wrapped buildings and monuments. The black-and-white medium Briggs employs enhances the sculptural quality of the draped forms, while the square format of the print creates a stark, contemporary composition. This photograph preserves a fleeting moment when practical conservation measures inadvertently created an artistic intervention of their own.
@nickbriggsphoto @nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery #artgallery | |
| ...CeDi0Y5UEPppYC8992Tm9EFOI6VQ&oe=689B7AF8 | Nick Briggs
Wrapped Caryatids on the Euston Road, London, 2011
Silver gelatin print
Courtesy of the artist
In this atmospheric photograph, Briggs captures a striking moment of architectural transformation when the historic caryatids of St Pancras Church were temporarily shrouded during restoration. The four classical female figures, normally standing as graceful architectural supports, take on an eerily modern presence beneath their protective wrappings. The ghostly forms seem both present and absent, their identities concealed yet their powerful silhouettes remain. The wrappings transform the neoclassical caryatids into something more ambiguous—figures that could be emerging from or disappearing into their coverings. The figures have fascinating history. Their sculptor, Charles Rossi, discovered they were too tall but only after installation began. His remarkably pragmatic solution —he chopped chunks from their midsections and then rejoined the sculpted bodies, leaving these London "handmaidens" with dumpier proportions than their ancient Greek counterparts in the British Museum. Through Briggs's lens, these wrapped monuments echo both ancient Greek sculptures and 20th-century artistic interventions, particularly recalling Christo and Jeanne-Claude's famous wrapped buildings and monuments. The black-and-white medium Briggs employs enhances the sculptural quality of the draped forms, while the square format of the print creates a stark, contemporary composition. This photograph preserves a fleeting moment when practical conservation measures inadvertently created an artistic intervention of their own.
@nickbriggsphoto @nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery #artgallery | |
| ...Wq178MmyY78VxN7WFzf9cB0_vGhg&oe=689B6162 | Sight and Sound: A Musical Journey of Visual Art
May 1st, 2025
1:00 PM
What does your favorite work of art "sound" like? How can a musical composition give a deeper meaning to visual art?
Join Soprano, Yolanda F. Johnson for a very special afternoon of music, where we explore music’s relationship to art, through operatic arias, art songs, spirituals and more.
Sight and Sound: A Musical Journey of Visual Art also features the world premiere of a specially commissioned new musical work, created for Ms. Johnson, by renowned late composer, James Cohn. The work is created for voice and piano trio, and is inspired by French Post-Impressionist Paul Gauguin's famous painting Three Tahitians (1899).
Ms. Johnson will be joined by Michael Eisenberg (piano), Laura Jean Goldberg (violin) and Kate Dillingham (cello). You won't want to miss this!
Click link above to register for your free tickets!
@nyscouncilonthearts @nyculture @lehmancuny @yolanda.f.johnson | |
| ...Wq178MmyY78VxN7WFzf9cB0_vGhg&oe=689B6162 | Sight and Sound: A Musical Journey of Visual Art
May 1st, 2025
1:00 PM
What does your favorite work of art "sound" like? How can a musical composition give a deeper meaning to visual art?
Join Soprano, Yolanda F. Johnson for a very special afternoon of music, where we explore music’s relationship to art, through operatic arias, art songs, spirituals and more.
Sight and Sound: A Musical Journey of Visual Art also features the world premiere of a specially commissioned new musical work, created for Ms. Johnson, by renowned late composer, James Cohn. The work is created for voice and piano trio, and is inspired by French Post-Impressionist Paul Gauguin's famous painting Three Tahitians (1899).
Ms. Johnson will be joined by Michael Eisenberg (piano), Laura Jean Goldberg (violin) and Kate Dillingham (cello). You won't want to miss this!
Click link above to register for your free tickets!
@nyscouncilonthearts @nyculture @lehmancuny @yolanda.f.johnson | |
| ...fWHXdDTlepArmK8DRzX60GYKP6Ag&oe=689B48F4 | Douglas Goldberg
Portrait (Traveling by Night), 2022
Atlantic Black Marble
Portrait at a Tender Age, 2021
Rosa Portogallo Marble
Courtesy of Ulterior Gallery and the artist
In enigmatic marble reliefs Douglas Goldberg explores the delicate interplay between revelation and concealment. His masterful stone carving present mysterious compositions whose features are obscured by fabric-like drapery, creating arresting tension between presence and absence. The shadowy surface of Portrait (Traveling by Night) enhances the sense of nocturnal movement. The draped form suggests metaphorical mourning, its identity veiled yet somehow more powerfully present through its concealment. The flowing contours of the carved stone capture a moment of transition, where the act of covering paradoxically reveals something essential about human vulnerability and protection. Portrait at a Tender Age, carved from warm creamy marble, evokes childhood's delicate nature through its gentle folds and intimate scale. The wrapped form speaks to the ways young identity is both sheltered and shaped by its coverings. Together, these works invite contemplation of how identity persists—or perhaps intensifies—when hidden from direct view, suggesting that the act of wrapping might serve not to obscure but, instead, to preserve something precious within.
@ulteriorgallery @douglas_goldberg @nyscouncilonthearts @nyculture @lehmancuny @cuny
#bronxgallery #artgallery | |
| ...fWHXdDTlepArmK8DRzX60GYKP6Ag&oe=689B48F4 | Douglas Goldberg
Portrait (Traveling by Night), 2022
Atlantic Black Marble
Portrait at a Tender Age, 2021
Rosa Portogallo Marble
Courtesy of Ulterior Gallery and the artist
In enigmatic marble reliefs Douglas Goldberg explores the delicate interplay between revelation and concealment. His masterful stone carving present mysterious compositions whose features are obscured by fabric-like drapery, creating arresting tension between presence and absence. The shadowy surface of Portrait (Traveling by Night) enhances the sense of nocturnal movement. The draped form suggests metaphorical mourning, its identity veiled yet somehow more powerfully present through its concealment. The flowing contours of the carved stone capture a moment of transition, where the act of covering paradoxically reveals something essential about human vulnerability and protection. Portrait at a Tender Age, carved from warm creamy marble, evokes childhood's delicate nature through its gentle folds and intimate scale. The wrapped form speaks to the ways young identity is both sheltered and shaped by its coverings. Together, these works invite contemplation of how identity persists—or perhaps intensifies—when hidden from direct view, suggesting that the act of wrapping might serve not to obscure but, instead, to preserve something precious within.
@ulteriorgallery @douglas_goldberg @nyscouncilonthearts @nyculture @lehmancuny @cuny
#bronxgallery #artgallery | |
| ...D7bVa6_gK3Kou3E5tK3ScpvxXVVA&oe=689B74CA | Jen Mazza
Nuit Blanche 1, 7, 9, 2004
Nuit Blanche 7, 2004
Nuit Blanche 9, 2004
Oil on canvas
Courtesy of the Ulterior Gallery and the artist
In Mazza's Nuit Blanche series, pristine white opera gloves become the vehicle for an exquisite choreography of tension and restraint. Her intimate paintings capture moments where elegance collides with violence–long formal gloves twist and strain around unseen hands, their immaculate surfaces interrupted by glimpses of red that suggest the pain of the body beneath the fabric. The flashes of crimson transform these paintings from pure studies of formal elegance into something far more visceral and unsettling. The strategic reveal of red through wrist openings in the twisted fabric show the discord between surface refinement and underlying biological reality, and the artist's masterful rendering transforms these accessories of high society into psychological portraits of contained struggle. The works' small scale and stark black backgrounds focus our attention on these moments of constrained violence, while Mazza's precise brush strokes captures every fold and shadow of the straining white fabric. The title Nuit Blanche (White Night) takes on new meaning in this context –it is remindful not just sleeplessness but also the dark undercurrents that pulse beneath society's polished exterior.
@ulteriorgallery @jen_mazza @nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery #artgallery | |
| ...D7bVa6_gK3Kou3E5tK3ScpvxXVVA&oe=689B74CA | Jen Mazza
Nuit Blanche 1, 7, 9, 2004
Nuit Blanche 7, 2004
Nuit Blanche 9, 2004
Oil on canvas
Courtesy of the Ulterior Gallery and the artist
In Mazza's Nuit Blanche series, pristine white opera gloves become the vehicle for an exquisite choreography of tension and restraint. Her intimate paintings capture moments where elegance collides with violence–long formal gloves twist and strain around unseen hands, their immaculate surfaces interrupted by glimpses of red that suggest the pain of the body beneath the fabric. The flashes of crimson transform these paintings from pure studies of formal elegance into something far more visceral and unsettling. The strategic reveal of red through wrist openings in the twisted fabric show the discord between surface refinement and underlying biological reality, and the artist's masterful rendering transforms these accessories of high society into psychological portraits of contained struggle. The works' small scale and stark black backgrounds focus our attention on these moments of constrained violence, while Mazza's precise brush strokes captures every fold and shadow of the straining white fabric. The title Nuit Blanche (White Night) takes on new meaning in this context –it is remindful not just sleeplessness but also the dark undercurrents that pulse beneath society's polished exterior.
@ulteriorgallery @jen_mazza @nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery #artgallery | |
| ...6TuDKw63lb4z-FYb7WrN0oie0blQ&oe=689B4D34 | Humaira Abid
(on pedestal)
Zaad-e-raah (Provisions for a Journey), 2020
Pine wood, carved
Fragments of Home Left Behind II No. 3, 2019-20
Pine wood, carved, black wood stain, gouache, pigments on handmade wasli paper, Plexiglas
Courtesy of the artist
In her poignant sculptures Abid meticulously carves everyday objects to explore themes of displacement and migration. Zaad-e-raah, meaning "provisions for a journey" in Urdu, takes the form of a simple sack that Abid renders with extraordinary precision in pine wood. Like real luggage carried by refugees, the sack, a closed bag completely conceals its contents—perhaps a family heirloom or photograph that, as Abid notes, serves as "one thing, at least, that they can connect with the past." Her second work here, Fragments of Home Left Behind echoes the motif of migration in the image of a figure that is seen in the carved rearview mirror—a symbol of this migrant’s past being left behind. The figure carries the same sack depicted in Zaad-e-raah, creating a powerful dialogue between the two works. Combining carved wood with traditional South Asian artistic techniques including gouache on wasli paper, the intimate scale of Fragments draws viewers into its narrative of displacement and survival. "I primarily work in wood," Abid explains, "because it's primarily a male-dominated medium, and I thought it was lacking [in] a female voice."
@humaira_atelierh @nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery #artgallery | |
| ...6TuDKw63lb4z-FYb7WrN0oie0blQ&oe=689B4D34 | Humaira Abid
(on pedestal)
Zaad-e-raah (Provisions for a Journey), 2020
Pine wood, carved
Fragments of Home Left Behind II No. 3, 2019-20
Pine wood, carved, black wood stain, gouache, pigments on handmade wasli paper, Plexiglas
Courtesy of the artist
In her poignant sculptures Abid meticulously carves everyday objects to explore themes of displacement and migration. Zaad-e-raah, meaning "provisions for a journey" in Urdu, takes the form of a simple sack that Abid renders with extraordinary precision in pine wood. Like real luggage carried by refugees, the sack, a closed bag completely conceals its contents—perhaps a family heirloom or photograph that, as Abid notes, serves as "one thing, at least, that they can connect with the past." Her second work here, Fragments of Home Left Behind echoes the motif of migration in the image of a figure that is seen in the carved rearview mirror—a symbol of this migrant’s past being left behind. The figure carries the same sack depicted in Zaad-e-raah, creating a powerful dialogue between the two works. Combining carved wood with traditional South Asian artistic techniques including gouache on wasli paper, the intimate scale of Fragments draws viewers into its narrative of displacement and survival. "I primarily work in wood," Abid explains, "because it's primarily a male-dominated medium, and I thought it was lacking [in] a female voice."
@humaira_atelierh @nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery #artgallery | |
| ...09-Nfhtxe7accAr_LkAOP4hGHUyA&oe=689B4623 | Kseniya Oudenot
Bedsheets, 2018
Fabric, resin, sand, acrylic paint and volcanic ash
Together 2018
Metal, plastic, glass, resin spray paint and acrylic paint
Courtesy of the artist
In Together, Oudenot presents two silvered heads that appear to meet in an anticipated kiss. Haunting and poetic, the sculpture engages in direct dialogue with René Magritte's iconic
The Lovers,1928, where the Belgian surrealist depicted two figures kissing through wrapped fabric veils. Like Magritte, Oudenot explores how concealment can paradoxically heighten emotional resonance. While Magritte's wrapped lovers suggest the impossibility of true connection—their kiss forever separated by cloth barriers—Oudenot's forms seem to merge at their meeting point, their surfaces and identities less obscured. The piece captures that ineffable moment when two separate entities begin to lose their boundaries, suggesting both the promise and the terror of truly merging with another. In Bedsheets, volcanic ash and acrylic paint merge with fabric and resin to create a windswept form that appears frozen in motion. The dramatic interplay of black and white suggests a frozen, crystalline quality that captures the exact moment when darkness seeps into light. The work's textile foundation—the humble bedsheet—becomes a vehicle for exploring themes of intimacy and distance, the domestic and the sublime.
@kseniyaoudenot @nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery #artgallery | |
| ...09-Nfhtxe7accAr_LkAOP4hGHUyA&oe=689B4623 | Kseniya Oudenot
Bedsheets, 2018
Fabric, resin, sand, acrylic paint and volcanic ash
Together 2018
Metal, plastic, glass, resin spray paint and acrylic paint
Courtesy of the artist
In Together, Oudenot presents two silvered heads that appear to meet in an anticipated kiss. Haunting and poetic, the sculpture engages in direct dialogue with René Magritte's iconic
The Lovers,1928, where the Belgian surrealist depicted two figures kissing through wrapped fabric veils. Like Magritte, Oudenot explores how concealment can paradoxically heighten emotional resonance. While Magritte's wrapped lovers suggest the impossibility of true connection—their kiss forever separated by cloth barriers—Oudenot's forms seem to merge at their meeting point, their surfaces and identities less obscured. The piece captures that ineffable moment when two separate entities begin to lose their boundaries, suggesting both the promise and the terror of truly merging with another. In Bedsheets, volcanic ash and acrylic paint merge with fabric and resin to create a windswept form that appears frozen in motion. The dramatic interplay of black and white suggests a frozen, crystalline quality that captures the exact moment when darkness seeps into light. The work's textile foundation—the humble bedsheet—becomes a vehicle for exploring themes of intimacy and distance, the domestic and the sublime.
@kseniyaoudenot @nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery #artgallery | |
| ...cW9jkSTc3QEaK0iiprafStjmui5g&oe=689B7667 | Join us for a Curator’s Tour of our current exhibition, Surprises Unknown: The Art of the Wrapping with Bartholomew Bland.
Tuesday, April 8, 11:00am
Click link above to register for your Free ticket!
@nyscouncilonthearts @nyculture @lehmancuny @cuny
#bronxgallery #artgallery | |
| ...cW9jkSTc3QEaK0iiprafStjmui5g&oe=689B7667 | Join us for a Curator’s Tour of our current exhibition, Surprises Unknown: The Art of the Wrapping with Bartholomew Bland.
Tuesday, April 8, 11:00am
Click link above to register for your Free ticket!
@nyscouncilonthearts @nyculture @lehmancuny @cuny
#bronxgallery #artgallery | |
| ...VPk8Psvr97enQ00OBpCWryYy2VwA&oe=689B78D3 | Enjoy a bit of The New York Mandolin Ensemble performing today in the gallery!
@nyculture @nyscouncilonthearts @nymandoensemble @lehmancuny #mandolin | |
| ...VPk8Psvr97enQ00OBpCWryYy2VwA&oe=689B78D3 | Enjoy a bit of The New York Mandolin Ensemble performing today in the gallery!
@nyculture @nyscouncilonthearts @nymandoensemble @lehmancuny #mandolin | |
| ...Y9av_ZXRHETfEUfcCgkjc-ps3dxw&oe=689B4AF6 | Join us this Sunday!
Inclusive Family Program
Printmaking
Sunday
April 6, 2025
10:30 am – 12:30 pm
Create an Original Print!
Experience an inquiry-based inclusive family tour of our exhibition, Wrapped Packages: Surprises Unknown. Create your own relief print based on the work of Andy Warhol. Click link above to register for your free tickets. @nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery #artgallery | |
| ...Y9av_ZXRHETfEUfcCgkjc-ps3dxw&oe=689B4AF6 | Join us this Sunday!
Inclusive Family Program
Printmaking
Sunday
April 6, 2025
10:30 am – 12:30 pm
Create an Original Print!
Experience an inquiry-based inclusive family tour of our exhibition, Wrapped Packages: Surprises Unknown. Create your own relief print based on the work of Andy Warhol. Click link above to register for your free tickets. @nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery #artgallery | |
| ...YE_zTc6IWVIpeGqCXp1eR-dwFSTA&oe=689B6AE5 | Luanne Rimel
Reveal, 2018
Blue Tarp/ Manhattan, 2019
Photographs, digitally printed on silk, pieced, hand stitched
Courtesy of the artist and Duane Reed Gallery
In Luanne Rimel's photographs, construction scaffolding becomes the stage for revealing the poetry of urban transformation. Capturing the dramatic interplay between concealment and disclosure that characterizes cities, her wrapped works suggest a city in constant change. Blue Tarp/Manhattan presents the utilitarian beauty of a construction tarp, its cerulean folds creating an accidental abstraction against the geometric precision of scaffolding bars. The fabric's undulating surface, wrapped tightly yet billowing, is translated by the artist onto silk through digital printing and enhanced by hand stitching, to transform an everyday protective covering into a rumination on the ephemeral nature of urban landscapes. In Reveal, Rimel turns her lens to buildings wrapped in metallic sheeting, where crumpled silver surfaces create a topography of light and shadow. Its composition suggests both a rising curtain and a glimpse behind it, playing with notions of what lies beneath the surface of architectural metamorphosis. Together, the works speak to the anticipation in urban renewal and the suspense between what is hidden and what is about to emerge. By focusing on temporary structures and materials, Rimel elevates often overlooked elements of the urban landscape into contemplative studies of transition. The works invite viewers to consider construction sites not as inconveniences, but as cocoons of possibility.
@luannerimel @reedgallery @nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery | |
| ...YE_zTc6IWVIpeGqCXp1eR-dwFSTA&oe=689B6AE5 | Luanne Rimel
Reveal, 2018
Blue Tarp/ Manhattan, 2019
Photographs, digitally printed on silk, pieced, hand stitched
Courtesy of the artist and Duane Reed Gallery
In Luanne Rimel's photographs, construction scaffolding becomes the stage for revealing the poetry of urban transformation. Capturing the dramatic interplay between concealment and disclosure that characterizes cities, her wrapped works suggest a city in constant change. Blue Tarp/Manhattan presents the utilitarian beauty of a construction tarp, its cerulean folds creating an accidental abstraction against the geometric precision of scaffolding bars. The fabric's undulating surface, wrapped tightly yet billowing, is translated by the artist onto silk through digital printing and enhanced by hand stitching, to transform an everyday protective covering into a rumination on the ephemeral nature of urban landscapes. In Reveal, Rimel turns her lens to buildings wrapped in metallic sheeting, where crumpled silver surfaces create a topography of light and shadow. Its composition suggests both a rising curtain and a glimpse behind it, playing with notions of what lies beneath the surface of architectural metamorphosis. Together, the works speak to the anticipation in urban renewal and the suspense between what is hidden and what is about to emerge. By focusing on temporary structures and materials, Rimel elevates often overlooked elements of the urban landscape into contemplative studies of transition. The works invite viewers to consider construction sites not as inconveniences, but as cocoons of possibility.
@luannerimel @reedgallery @nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery | |
| ...rvM-x4rcN5SeTErrwjOowJ2iKnxA&oe=689B5FEB | Lehman Stages and The Lehman College Art Gallery proudly present
The Herbert H. Dance Company (Herbie)
in SURPRISES UNKNOWN
A DANCE CONCERT & CONVERSATION
Featuring: Hazel Avila . Caroline Roque Barrera . Kimberly Garcia . Wilson Hernandez. Sky Mercado
and Cordelia Vohnout . Choreography by Tae Gi Kim & Cordelia Vohnout
Wednesday, April 30th at 4pm
Thursday May 1st at 7pm
Friday May 2nd at 7PM
The Lehman College Art Gallery .
Free Admission. Seating is LIMITED
Reservations required.
LInk above
herbie.bpt.me
@nyscouncilonthearts @lehmanstages @lehmancuny @cunyedu @nyculture @herberthdance | |
| ...rvM-x4rcN5SeTErrwjOowJ2iKnxA&oe=689B5FEB | Lehman Stages and The Lehman College Art Gallery proudly present
The Herbert H. Dance Company (Herbie)
in SURPRISES UNKNOWN
A DANCE CONCERT & CONVERSATION
Featuring: Hazel Avila . Caroline Roque Barrera . Kimberly Garcia . Wilson Hernandez. Sky Mercado
and Cordelia Vohnout . Choreography by Tae Gi Kim & Cordelia Vohnout
Wednesday, April 30th at 4pm
Thursday May 1st at 7pm
Friday May 2nd at 7PM
The Lehman College Art Gallery .
Free Admission. Seating is LIMITED
Reservations required.
LInk above
herbie.bpt.me
@nyscouncilonthearts @lehmanstages @lehmancuny @cunyedu @nyculture @herberthdance | |
| ...m-X4Lh53BPXiwyg4ru4Go5gbr6gA&oe=689B4D17 | Sarah McKenzie
Frieze, 2014
Well, 2013
Oil and acrylic on canvas
Courtesy of the artist and the David B. Smith Gallery
Sarah McKenzie explores the liminal spaces of art fairs and gallery construction, where temporary architectural wrapping creates an uncanny atmosphere of transition and concealment. In Frieze McKenzie depicts the behind-the-scenes infrastructure of one of the world’s most famous international art fairs. Translucent plastic sheeting stretches across metal framework, concealing the industrial air conditioning units that make these temporary exhibition spaces habitable. The interplay between opacity and transparency reveals the careful orchestration required to transform a tent into a glamorous exhibition venue, while the diffused light filtering through the plastic membrane softens the industrial elements into an almost ethereal atmosphere. Well focuses on a partially wrapped staircase, where draped plastic transforms an ordinary architectural feature into something mysteriously sculptural. The creases and folds of the protective covering create abstract geometric patterns, while the exposed steps beneath ground the composition in the familiar. By focusing on the temporary wrappings that usually go unseen, McKenzie elevates these utilitarian coverings into subjects worthy of careful observation, finding poetry in the provisional moments of an exhibition’s preparation.
@dbsgallery @sarahmckenzieart @nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery #artgallery | |
| ...m-X4Lh53BPXiwyg4ru4Go5gbr6gA&oe=689B4D17 | Sarah McKenzie
Frieze, 2014
Well, 2013
Oil and acrylic on canvas
Courtesy of the artist and the David B. Smith Gallery
Sarah McKenzie explores the liminal spaces of art fairs and gallery construction, where temporary architectural wrapping creates an uncanny atmosphere of transition and concealment. In Frieze McKenzie depicts the behind-the-scenes infrastructure of one of the world’s most famous international art fairs. Translucent plastic sheeting stretches across metal framework, concealing the industrial air conditioning units that make these temporary exhibition spaces habitable. The interplay between opacity and transparency reveals the careful orchestration required to transform a tent into a glamorous exhibition venue, while the diffused light filtering through the plastic membrane softens the industrial elements into an almost ethereal atmosphere. Well focuses on a partially wrapped staircase, where draped plastic transforms an ordinary architectural feature into something mysteriously sculptural. The creases and folds of the protective covering create abstract geometric patterns, while the exposed steps beneath ground the composition in the familiar. By focusing on the temporary wrappings that usually go unseen, McKenzie elevates these utilitarian coverings into subjects worthy of careful observation, finding poetry in the provisional moments of an exhibition’s preparation.
@dbsgallery @sarahmckenzieart @nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery #artgallery | |
| ...eLPqZ-mm7DVZS8o4AyyIj-n2TyeQ&oe=689B6A75 | Caroline McCarthy
Mansize, 2017
HD Video
Courtesy of Green On Red Gallery and the artist
In Mansize Caroline McCarthy transforms the mundane act of pulling tissues from a box into a mesmerizing meditation on consumerism, gender, and the poetry of everyday objects. Her feature-length video shows 100 "Mansize" tissues being extracted one by one, each emerging as a distinct sculptural form, before yielding to the next tissue in a hypnotic sequence. The drama of each tissue's emergence is heightened by its initial concealment within the box─we cannot anticipate the exact shape or form until it unfolds before us. Like wrapped gifts or magic tricks, the tissues remain mysterious until the moment of revelation. McCarthy orchestrates this unveiling with precise attention to pacing and sound. As each tissue emerges, the soundtrack amplifies the violent rustle of paper, creating moments of dramatic tension before subsiding into charged silence. The work's title carries resonance, as Kleenex retired their "Mansize" branding in 2017─the same year as this film's creation—in favor of the gender-neutral "Extra Large." This timing positions the artwork as both a document of changing social attitudes and a wry commentary on how consumer products reflect and reinforce gender assumptions. By focusing intently on this single box of tissues, the artist reveals how everyday objects carry complex narratives about gender, marketing, and social values.
@greenonredgallery_dublin @carolinemccarthystudio @nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery #artgallery | |
| ...eLPqZ-mm7DVZS8o4AyyIj-n2TyeQ&oe=689B6A75 | Caroline McCarthy
Mansize, 2017
HD Video
Courtesy of Green On Red Gallery and the artist
In Mansize Caroline McCarthy transforms the mundane act of pulling tissues from a box into a mesmerizing meditation on consumerism, gender, and the poetry of everyday objects. Her feature-length video shows 100 "Mansize" tissues being extracted one by one, each emerging as a distinct sculptural form, before yielding to the next tissue in a hypnotic sequence. The drama of each tissue's emergence is heightened by its initial concealment within the box─we cannot anticipate the exact shape or form until it unfolds before us. Like wrapped gifts or magic tricks, the tissues remain mysterious until the moment of revelation. McCarthy orchestrates this unveiling with precise attention to pacing and sound. As each tissue emerges, the soundtrack amplifies the violent rustle of paper, creating moments of dramatic tension before subsiding into charged silence. The work's title carries resonance, as Kleenex retired their "Mansize" branding in 2017─the same year as this film's creation—in favor of the gender-neutral "Extra Large." This timing positions the artwork as both a document of changing social attitudes and a wry commentary on how consumer products reflect and reinforce gender assumptions. By focusing intently on this single box of tissues, the artist reveals how everyday objects carry complex narratives about gender, marketing, and social values.
@greenonredgallery_dublin @carolinemccarthystudio @nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery #artgallery | |
| ...H5siQy0DOYBf5hg-bTcKOOlv1LnQ&oe=689B6620 | Frank Paulin
Flower Messenger, Times Square, New York City, 1955
Gelatin silver print, printed c.1970s
Signed and annotated '55-3' on verso
Courtesy of Bruce Silverstein Gallery
A messenger of love or loss strides through Times Square in this arresting photograph by Frank Paulin. A man in a leather jacket and sunglasses holds an elaborate bouquet wrapped in crisp white paper, creating a compelling juxtaposition between his cool demeanor and his delicate cargo. Paulin's composition emphasizes this dynamic through his control of light and shadow. The bright white wrapping of the flowers stands out dramatically against the dark leather jacket and sunglasses, while the busy Times Square backdrop recedes into soft blur. A technical approach characteristic of the New York School of street photographers working in the 1950s, it documented the city's endless stream of unexpected moments and chance encounters. The sight of wrapped flowers moving through city streets has always carried particular emotional charge. Whether clutched in the hands of nervous suitors, jubilant well-wishers, or tender consolers, they signal that somewhere in the urban maze a significant moment is about to unfold. Here, the scale of the bouquet suggests a grand gesture in the making, while the messenger's purposeful stride hints at the anticipation that awaits at his destination. The image raises intriguing questions about the package’s purpose. Who will receive this impressive bouquet? Is it a gesture of romance, celebration, or condolence?
@brucesilverstein @nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery #artgallery #frankpaulin | |
| ...H5siQy0DOYBf5hg-bTcKOOlv1LnQ&oe=689B6620 | Frank Paulin
Flower Messenger, Times Square, New York City, 1955
Gelatin silver print, printed c.1970s
Signed and annotated '55-3' on verso
Courtesy of Bruce Silverstein Gallery
A messenger of love or loss strides through Times Square in this arresting photograph by Frank Paulin. A man in a leather jacket and sunglasses holds an elaborate bouquet wrapped in crisp white paper, creating a compelling juxtaposition between his cool demeanor and his delicate cargo. Paulin's composition emphasizes this dynamic through his control of light and shadow. The bright white wrapping of the flowers stands out dramatically against the dark leather jacket and sunglasses, while the busy Times Square backdrop recedes into soft blur. A technical approach characteristic of the New York School of street photographers working in the 1950s, it documented the city's endless stream of unexpected moments and chance encounters. The sight of wrapped flowers moving through city streets has always carried particular emotional charge. Whether clutched in the hands of nervous suitors, jubilant well-wishers, or tender consolers, they signal that somewhere in the urban maze a significant moment is about to unfold. Here, the scale of the bouquet suggests a grand gesture in the making, while the messenger's purposeful stride hints at the anticipation that awaits at his destination. The image raises intriguing questions about the package’s purpose. Who will receive this impressive bouquet? Is it a gesture of romance, celebration, or condolence?
@brucesilverstein @nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery #artgallery #frankpaulin | |
| ...luMezc1-sDIYEcPsWUkfk4Bhd-Cw&oe=689B4782 | Congratulations!
The work of Emma Garcia, El Zorro Travieso/ The Mischievous Fox has been selected from almost 1,000 entries to be part of the P.S. Art 2025 Exhibition at The Metropolitan Museum of Art!
The artwork was created as part of a collaboration between Lehman College Art Gallery and MS 322 through the generous funding of the Arts for Multilingual Learners and Students with Disabilities Grant Program. Lehman College Art Gallery Teaching Artist Crystal Benitez and Visual Arts Teacher Rebecca Menashe collaborated on a mulit session in school arts residency, students created their own sculptures based on Alebrijes, vibrant Mexican folk art sculptures.
P.S. Art Exhibition Opening Reception, June 10, 5pm at the Metropolitan Museum of Art @metmuseum
@sulam322 @rebeccamenashe @go4cris @nycschools @lehmancuny | |
| ...luMezc1-sDIYEcPsWUkfk4Bhd-Cw&oe=689B4782 | Congratulations!
The work of Emma Garcia, El Zorro Travieso/ The Mischievous Fox has been selected from almost 1,000 entries to be part of the P.S. Art 2025 Exhibition at The Metropolitan Museum of Art!
The artwork was created as part of a collaboration between Lehman College Art Gallery and MS 322 through the generous funding of the Arts for Multilingual Learners and Students with Disabilities Grant Program. Lehman College Art Gallery Teaching Artist Crystal Benitez and Visual Arts Teacher Rebecca Menashe collaborated on a mulit session in school arts residency, students created their own sculptures based on Alebrijes, vibrant Mexican folk art sculptures.
P.S. Art Exhibition Opening Reception, June 10, 5pm at the Metropolitan Museum of Art @metmuseum
@sulam322 @rebeccamenashe @go4cris @nycschools @lehmancuny | |
| ...ewqCRJtfjko-gaYEzdbqyfy7bwBg&oe=689B602A | Some contour sketching!Join us next time for Sketching in the Galleries!On view now! Surprises Unknown: The Art of the Wrapping
On view - February 8- May 3, 2025
Works by 35 artists, classic and contemporary, present the art of the wrapping in tempting variety ─humorous, luscious, or doleful─the box crushed, its ribbon shredded. Surprises Unknown: The Art of the Wrapping is a survey of contemporary art that takes as its leaping point the groundbreaking work of Christo and Claudio Bravo and their myriad wrapped projects to look at the thrill of the surprise-to-come that a package brings.
Artists in the exhibition:
Humaira Abid, Robert Attanasio, Claudio Bravo, Nick Briggs, Avital Burg, Christo,
E.V. Day, Claudia DeMonte, Paul Fenniak, Janet Fish, Douglas Goldberg, Sarah Hobbs, Leeah Joo, Ray Kleinlein, Lara Alcantara Lansberg, Saul Leiter, Jane Lund, Jon MacGregor, Jen Mazza, Caroline McCarthy, Sarah McKenzie, Margaret Morrison, Kseniya Oudenot, Frank Paulin, Luanne Rimel, James Rosenquist, Antonio Santin, Barbara Ségal, Jeanne Silverthorne, Diane Smook, Luis Stephenberg, Andy Warhol, William Wegman, and Brenda Zlamany
@margaretwmorrison #andywarhol @antoniosantin_ @avitalburg @barbarasegal @brenda_zlamany @carolinemccarthystudio @christojeanneclaude @claudiademonte @claudiobravo1 @dianesmookphotography @douglas_goldberg @evdayartist #paulfenniak #JaneLund #frankpaulin @humaira_atelierh @jbfish52 @jeanne_silverthorne @jen_mazza @kseniyaoudenot @laraalcantara @leeahjoo @wayneporcaro @luannerimel @nickbriggsphoto @raykleinlein_paintings #RobertAttanasio @sarah_hobbs @sarahmckenzieart #saulleiterfoundation @williamwegman
@lehmancuny @cuny @nyscouncilonthearts @nyculture | |
| ...ewqCRJtfjko-gaYEzdbqyfy7bwBg&oe=689B602A | Some contour sketching!Join us next time for Sketching in the Galleries!On view now! Surprises Unknown: The Art of the Wrapping
On view - February 8- May 3, 2025
Works by 35 artists, classic and contemporary, present the art of the wrapping in tempting variety ─humorous, luscious, or doleful─the box crushed, its ribbon shredded. Surprises Unknown: The Art of the Wrapping is a survey of contemporary art that takes as its leaping point the groundbreaking work of Christo and Claudio Bravo and their myriad wrapped projects to look at the thrill of the surprise-to-come that a package brings.
Artists in the exhibition:
Humaira Abid, Robert Attanasio, Claudio Bravo, Nick Briggs, Avital Burg, Christo,
E.V. Day, Claudia DeMonte, Paul Fenniak, Janet Fish, Douglas Goldberg, Sarah Hobbs, Leeah Joo, Ray Kleinlein, Lara Alcantara Lansberg, Saul Leiter, Jane Lund, Jon MacGregor, Jen Mazza, Caroline McCarthy, Sarah McKenzie, Margaret Morrison, Kseniya Oudenot, Frank Paulin, Luanne Rimel, James Rosenquist, Antonio Santin, Barbara Ségal, Jeanne Silverthorne, Diane Smook, Luis Stephenberg, Andy Warhol, William Wegman, and Brenda Zlamany
@margaretwmorrison #andywarhol @antoniosantin_ @avitalburg @barbarasegal @brenda_zlamany @carolinemccarthystudio @christojeanneclaude @claudiademonte @claudiobravo1 @dianesmookphotography @douglas_goldberg @evdayartist #paulfenniak #JaneLund #frankpaulin @humaira_atelierh @jbfish52 @jeanne_silverthorne @jen_mazza @kseniyaoudenot @laraalcantara @leeahjoo @wayneporcaro @luannerimel @nickbriggsphoto @raykleinlein_paintings #RobertAttanasio @sarah_hobbs @sarahmckenzieart #saulleiterfoundation @williamwegman
@lehmancuny @cuny @nyscouncilonthearts @nyculture | |
| ...8AMm6tSRphVNcTd449eNvfVYAnHQ&oe=689B71C6 | Thank you to the @riverdalepress and @et_rodriguez for this wonderful piece! Clink in link above for full article.
Surprises Unknown: The Art of the Wrapping
Works by 35 artists, classic and contemporary.
On view - February 8- May 3, 2025
Works by 35 artists, classic and contemporary, present the art of the wrapping in tempting variety ─humorous, luscious, or doleful─the box crushed, its ribbon shredded. Surprises Unknown: The Art of the Wrapping is a survey of contemporary art that takes as its leaping point the groundbreaking work of Christo and Claudio Bravo and their myriad wrapped projects to look at the thrill of the surprise-to-come that a package brings.
Artists in the exhibition:
Humaira Abid, Robert Attanasio, Claudio Bravo, Nick Briggs, Avital Burg, Christo,
E.V. Day, Claudia DeMonte, Paul Fenniak, Janet Fish, Douglas Goldberg, Sarah Hobbs, Leeah Joo, Ray Kleinlein, Lara Alcantara Lansberg, Saul Leiter, Jane Lund, Jon MacGregor, Jen Mazza, Caroline McCarthy, Sarah McKenzie, Margaret Morrison, Kseniya Oudenot, Frank Paulin, Luanne Rimel, James Rosenquist, Antonio Santin, Barbara Ségal, Jeanne Silverthorne, Diane Smook, Luis Stephenberg, Andy Warhol, William Wegman, and Brenda Zlamany
@margaretwmorrison #andywarhol @antoniosantin_ @avitalburg @barbarasegal @brenda_zlamany @carolinemccarthystudio @christojeanneclaude @claudiademonte @claudiobravo1 @dianesmookphotography @douglas_goldberg @evdayartist #paulfenniak #JaneLund #frankpaulin @humaira_atelierh @jbfish52 @jeanne_silverthorne @jen_mazza @kseniyaoudenot @laraalcantara @leeahjoo @wayneporcaro @luannerimel @nickbriggsphoto @raykleinlein_paintings #RobertAttanasio @sarah_hobbs @sarahmckenzieart #saulleiterfoundation @williamwegman
@bart_on_art
@lehmancuny @cuny @nyscouncilonthearts @nyculture | |
| ...8AMm6tSRphVNcTd449eNvfVYAnHQ&oe=689B71C6 | Thank you to the @riverdalepress and @et_rodriguez for this wonderful piece! Clink in link above for full article.
Surprises Unknown: The Art of the Wrapping
Works by 35 artists, classic and contemporary.
On view - February 8- May 3, 2025
Works by 35 artists, classic and contemporary, present the art of the wrapping in tempting variety ─humorous, luscious, or doleful─the box crushed, its ribbon shredded. Surprises Unknown: The Art of the Wrapping is a survey of contemporary art that takes as its leaping point the groundbreaking work of Christo and Claudio Bravo and their myriad wrapped projects to look at the thrill of the surprise-to-come that a package brings.
Artists in the exhibition:
Humaira Abid, Robert Attanasio, Claudio Bravo, Nick Briggs, Avital Burg, Christo,
E.V. Day, Claudia DeMonte, Paul Fenniak, Janet Fish, Douglas Goldberg, Sarah Hobbs, Leeah Joo, Ray Kleinlein, Lara Alcantara Lansberg, Saul Leiter, Jane Lund, Jon MacGregor, Jen Mazza, Caroline McCarthy, Sarah McKenzie, Margaret Morrison, Kseniya Oudenot, Frank Paulin, Luanne Rimel, James Rosenquist, Antonio Santin, Barbara Ségal, Jeanne Silverthorne, Diane Smook, Luis Stephenberg, Andy Warhol, William Wegman, and Brenda Zlamany
@margaretwmorrison #andywarhol @antoniosantin_ @avitalburg @barbarasegal @brenda_zlamany @carolinemccarthystudio @christojeanneclaude @claudiademonte @claudiobravo1 @dianesmookphotography @douglas_goldberg @evdayartist #paulfenniak #JaneLund #frankpaulin @humaira_atelierh @jbfish52 @jeanne_silverthorne @jen_mazza @kseniyaoudenot @laraalcantara @leeahjoo @wayneporcaro @luannerimel @nickbriggsphoto @raykleinlein_paintings #RobertAttanasio @sarah_hobbs @sarahmckenzieart #saulleiterfoundation @williamwegman
@bart_on_art
@lehmancuny @cuny @nyscouncilonthearts @nyculture | |
| ...3l1eV6qUx74y6hDCOMUPWtUpAdIA&oe=689B512F | Sketching in the Galleries
Tuesday, March 11
11:00 am
Join us for a meditative experience of deep observation and sketching in our exhibition, Surprises Unknown: The Art of the Wrapping.
No prior drawing experience is required—sketching materials will be provided.
@nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery #artgallery #sketching #drawing | |
| ...3l1eV6qUx74y6hDCOMUPWtUpAdIA&oe=689B512F | Sketching in the Galleries
Tuesday, March 11
11:00 am
Join us for a meditative experience of deep observation and sketching in our exhibition, Surprises Unknown: The Art of the Wrapping.
No prior drawing experience is required—sketching materials will be provided.
@nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery #artgallery #sketching #drawing | |
| ...J-tIfqcSu7IP2P4NRepp9dsGFK8A&oe=689B4754 | Educator Open House - Surprises Unknown: The Art of the Wrapping
Thursday, March 4th, 4 pm - 6pm
Join us! An evening with fellow educators tour our exhibition and learn more about our school offerings.
Click the link above to register for your Free ticket!
@nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery #artgallery #educators #bronxteachers | |
| ...J-tIfqcSu7IP2P4NRepp9dsGFK8A&oe=689B4754 | Educator Open House - Surprises Unknown: The Art of the Wrapping
Thursday, March 4th, 4 pm - 6pm
Join us! An evening with fellow educators tour our exhibition and learn more about our school offerings.
Click the link above to register for your Free ticket!
@nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery #artgallery #educators #bronxteachers | |
| ...nptKXGSawe99FVeY818ie3xPc-vQ&oe=689B545C | Meditation in the Galleries
Wednesday, March 5, 11:00 am
Join us for a peaceful meditation in our exhibition, surrounded by art and the serene architecture of Marcel Breuer’s design.
Click the link above to register for a Free ticket through Eventbrite
@nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery #artgallery #meditation #wellness #marcelbreuer #nycgallery | |
| ...nptKXGSawe99FVeY818ie3xPc-vQ&oe=689B545C | Meditation in the Galleries
Wednesday, March 5, 11:00 am
Join us for a peaceful meditation in our exhibition, surrounded by art and the serene architecture of Marcel Breuer’s design.
Click the link above to register for a Free ticket through Eventbrite
@nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery #artgallery #meditation #wellness #marcelbreuer #nycgallery | |
| ...advvFmQ6MUyueuNaFO4aEsXxkI6A&oe=689B5DF1 | Join us for a Curator's Tour of our current exhibition, Surprises Unknown: The Art of the Wrapping with Bartholomew Bland.
Tuesday, March 4, 11:00am
Click link above to register for your Free ticket!
@nyscouncilonthearts @nyculture @lehmancuny @cuny
#bronxgallery #artgallery | |
| ...advvFmQ6MUyueuNaFO4aEsXxkI6A&oe=689B5DF1 | Join us for a Curator's Tour of our current exhibition, Surprises Unknown: The Art of the Wrapping with Bartholomew Bland.
Tuesday, March 4, 11:00am
Click link above to register for your Free ticket!
@nyscouncilonthearts @nyculture @lehmancuny @cuny
#bronxgallery #artgallery | |
| ...8dqWJaP4cNtIv0Afqg8VVbY7ny9g&oe=689B6DC8 | Janet Fish
Plantains in a Box, 1969
Oil on canvas
Courtesy of the artist and DC Moore Gallery, New York
In Plantains in a Box Janet Fish demonstrates her celebrated ability to capture the complex interplay of light, transparency, and organic form. The large-scale square canvas presents a deceptively simple subject—plantains contained within tightly stretched plastic wrap—yet Fish transforms this everyday still life into a study of visual perception and painterly virtuosity. Her characteristic attention to the behavior of light as it passes through, reflects, and interacts with different surfaces is on full display. The transparent covering creates multiple layers of visual complexity as we see both through and around it, while the plantains themselves cast subtle shadows and reflections. The artist's precise observation of these optical effects results in a painting that is both hyper-realistic and abstractly composed. Fish created this painting early in her career during a period when still life painting was often dismissed as conventional but her contemporary approach asserts the genre's continuing relevance. By choosing modern materials like plastic alongside traditional still life subjects like fruit she updates the centuries-old tradition of the still life, while maintaining its focus on close observation and lighting effects. The large scale of Plantains elevates ordinary objects to monumental status, demanding we pay attention to the extraordinary visual qualities of everyday things.
@janetfishfoundation @dcmooregallery
@nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery #artgallery | |
| ...8dqWJaP4cNtIv0Afqg8VVbY7ny9g&oe=689B6DC8 | Janet Fish
Plantains in a Box, 1969
Oil on canvas
Courtesy of the artist and DC Moore Gallery, New York
In Plantains in a Box Janet Fish demonstrates her celebrated ability to capture the complex interplay of light, transparency, and organic form. The large-scale square canvas presents a deceptively simple subject—plantains contained within tightly stretched plastic wrap—yet Fish transforms this everyday still life into a study of visual perception and painterly virtuosity. Her characteristic attention to the behavior of light as it passes through, reflects, and interacts with different surfaces is on full display. The transparent covering creates multiple layers of visual complexity as we see both through and around it, while the plantains themselves cast subtle shadows and reflections. The artist's precise observation of these optical effects results in a painting that is both hyper-realistic and abstractly composed. Fish created this painting early in her career during a period when still life painting was often dismissed as conventional but her contemporary approach asserts the genre's continuing relevance. By choosing modern materials like plastic alongside traditional still life subjects like fruit she updates the centuries-old tradition of the still life, while maintaining its focus on close observation and lighting effects. The large scale of Plantains elevates ordinary objects to monumental status, demanding we pay attention to the extraordinary visual qualities of everyday things.
@janetfishfoundation @dcmooregallery
@nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery #artgallery | |
| ...KSEMOQyPXkOPKBSoPWm7_gKkMYFg&oe=689B617D | Join us this Sunday for our
Free Inclusive Family Program
Sunday, March 2, 10:30 -12:30
Create a 3-D work of art!
Experience an inquiry-based inclusive family tour of our exhibition, Wrapped Packages: Surprises Unknown. Create a 3-D sculpture!
Click link above to register for your free ticket through Eventbrite
@lehmancuny @cuny @nyscouncilonthearts @nyculture #inclusiveprogramming #familyprogram #bronxkids | |
| ...KSEMOQyPXkOPKBSoPWm7_gKkMYFg&oe=689B617D | Join us this Sunday for our
Free Inclusive Family Program
Sunday, March 2, 10:30 -12:30
Create a 3-D work of art!
Experience an inquiry-based inclusive family tour of our exhibition, Wrapped Packages: Surprises Unknown. Create a 3-D sculpture!
Click link above to register for your free ticket through Eventbrite
@lehmancuny @cuny @nyscouncilonthearts @nyculture #inclusiveprogramming #familyprogram #bronxkids | |
| ...ibA-bnJHvACHjaFx_Ct46okKlbtw&oe=689B7434 | Andy Warhol
Gift Wrap (Red Apple), 1959
Unique watercolor & lithograph on paper
Authenticated
Courtesy of Woodward Gallery
Looking at Gift Wrap (Red Apple), we witness a fascinating moment in Warhol's artistic journey between commercial illustration and fine art. In this unique piece, Warhol demonstrates his masterful understanding of both design and visual psychology inherent in gift-giving. He creates a pattern for Gift Wrap, a pattern that is a dance of visual elements, drawing attention and deflecting it. This artist celebrates the anticipation of a gift and the mystery of gift-giving through a delightful array of stamped motifs ─ stars that cascade in size, swooping birds, flitting butterflies, and various organic elements─all rendered in black ink, except for the single, striking red apple. The strategic use of a solitary red apple reflects a fundamental principle of interior design that Warhol would have known well from his commercial work─the power of a single red object to command attention in an otherwise monochromatic space. Like the wrapped gift itself, the red apple becomes a focal point of desire and curiosity and its origins speak to Warhol's early work where he created illustrations for elite clients, including Tiffany & Co., the iconic jewelry store, and Vogue magazine. This artist combines lithography with watercolor to transform what could have been a mass-produced wrapping paper design into a unique artwork that celebrates the joy of gifting and the artful act of concealment.
#andywarhol
@woodward_gallery
@nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery #artgallery | |
| ...ibA-bnJHvACHjaFx_Ct46okKlbtw&oe=689B7434 | Andy Warhol
Gift Wrap (Red Apple), 1959
Unique watercolor & lithograph on paper
Authenticated
Courtesy of Woodward Gallery
Looking at Gift Wrap (Red Apple), we witness a fascinating moment in Warhol's artistic journey between commercial illustration and fine art. In this unique piece, Warhol demonstrates his masterful understanding of both design and visual psychology inherent in gift-giving. He creates a pattern for Gift Wrap, a pattern that is a dance of visual elements, drawing attention and deflecting it. This artist celebrates the anticipation of a gift and the mystery of gift-giving through a delightful array of stamped motifs ─ stars that cascade in size, swooping birds, flitting butterflies, and various organic elements─all rendered in black ink, except for the single, striking red apple. The strategic use of a solitary red apple reflects a fundamental principle of interior design that Warhol would have known well from his commercial work─the power of a single red object to command attention in an otherwise monochromatic space. Like the wrapped gift itself, the red apple becomes a focal point of desire and curiosity and its origins speak to Warhol's early work where he created illustrations for elite clients, including Tiffany & Co., the iconic jewelry store, and Vogue magazine. This artist combines lithography with watercolor to transform what could have been a mass-produced wrapping paper design into a unique artwork that celebrates the joy of gifting and the artful act of concealment.
#andywarhol
@woodward_gallery
@nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery #artgallery | |
| ...HaA04WE3dkzKTCBWpe27-Vm3JnYw&oe=689B769D | Join us!
Concerts in the Heights
Thursday, February 27, 2025 at 1pm
The French Connection
Pianist Reiko Uchida joins us in a program of music by Copland, Francaix, Lennox Berkeley, and Lili Boulanger – all disciples of the towering French composition teacher Nadia Boulanger.
Click the link above to register for free tickets!
@concerts_in_the_heights @nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery #artgallery | |
| ...HaA04WE3dkzKTCBWpe27-Vm3JnYw&oe=689B769D | Join us!
Concerts in the Heights
Thursday, February 27, 2025 at 1pm
The French Connection
Pianist Reiko Uchida joins us in a program of music by Copland, Francaix, Lennox Berkeley, and Lili Boulanger – all disciples of the towering French composition teacher Nadia Boulanger.
Click the link above to register for free tickets!
@concerts_in_the_heights @nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery #artgallery | |
| ...PC6iiejVZ3BHYPXs59w5P8f_KXhg&oe=689B596E | Christo
Wrapped Monument to Vittorio Emanuele
(Project for Piazza Duomo, Milan)
1970‐74
Graphite, charcoal, wax crayon, and brown paper on cardboard
Signed and dated upper right
Courtesy of the Christo and Jeanne-Claude Foundation
Wrapped Monument to Vittorio Emanuele showcases Christo's revolutionary approach to transforming public monuments through the act of wrapping. A preparatory drawing, it demonstrates the artist's meticulous planning process for a proposed, but unrealized, monumental intervention in Milan's historic Piazza Duomo, obscuring one of Italy's most prominent patriotic symbols. The monument in question honors Vittorio Emanuele II, the first king of a unified Italy, who ruled from 1861 to 1878. Created by sculptor Ercole Rosa and inaugurated in 1896, the bronze equestrian statue depicts the monarch astride his horse, representing the power and authority of the newly formed Italian state. Christo depicts this symbol of state power enveloped in his signature industrial fabric. Christo's technique of enveloping monuments transforms familiar public sculptures into mysterious presences─the recognizable form of horse and rider becomes an abstract series of peaks and valleys created by the fabric's folds. Here, we see how wrapping simultaneously reveals and conceals. While the basic silhouette of the equestrian monument remains discernible, the details of Vittorio Emanuele II's features, regalia, and the horse's musculature are obscured. The wrapping creates new formal relationships─sharp angles and deep crevices where the fabric gathers, smooth planes where it pulls taut. These textile geometries draw attention to aspects of the monument's form that might otherwise go unnoticed.
@christojeanneclaude
@nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery #artgallery | |
| ...PC6iiejVZ3BHYPXs59w5P8f_KXhg&oe=689B596E | Christo
Wrapped Monument to Vittorio Emanuele
(Project for Piazza Duomo, Milan)
1970‐74
Graphite, charcoal, wax crayon, and brown paper on cardboard
Signed and dated upper right
Courtesy of the Christo and Jeanne-Claude Foundation
Wrapped Monument to Vittorio Emanuele showcases Christo's revolutionary approach to transforming public monuments through the act of wrapping. A preparatory drawing, it demonstrates the artist's meticulous planning process for a proposed, but unrealized, monumental intervention in Milan's historic Piazza Duomo, obscuring one of Italy's most prominent patriotic symbols. The monument in question honors Vittorio Emanuele II, the first king of a unified Italy, who ruled from 1861 to 1878. Created by sculptor Ercole Rosa and inaugurated in 1896, the bronze equestrian statue depicts the monarch astride his horse, representing the power and authority of the newly formed Italian state. Christo depicts this symbol of state power enveloped in his signature industrial fabric. Christo's technique of enveloping monuments transforms familiar public sculptures into mysterious presences─the recognizable form of horse and rider becomes an abstract series of peaks and valleys created by the fabric's folds. Here, we see how wrapping simultaneously reveals and conceals. While the basic silhouette of the equestrian monument remains discernible, the details of Vittorio Emanuele II's features, regalia, and the horse's musculature are obscured. The wrapping creates new formal relationships─sharp angles and deep crevices where the fabric gathers, smooth planes where it pulls taut. These textile geometries draw attention to aspects of the monument's form that might otherwise go unnoticed.
@christojeanneclaude
@nyscouncilonthearts @nyculture @lehmancuny @cunyedu
#bronxgallery #artgallery | |
| ...hJtUzQq3-wbxTu6QyjlQ7u6PIIiw&oe=689B72AE | Great Opening tonight!
Surprises Unknown: The Art of the Wrapping
Works by 35 artists, classic and contemporary.
Reception: Wednesday, February 19, 2025, 5-8 pm, FREE
On view - February 8- May 3, 2025
Works by 35 artists, classic and contemporary, present the art of the wrapping in tempting variety ─humorous, luscious, or doleful─the box crushed, its ribbon shredded. Surprises Unknown: The Art of the Wrapping is a survey of contemporary art that takes as its leaping point the groundbreaking work of Christo and Claudio Bravo and their myriad wrapped projects to look at the thrill of the surprise-to-come that a package brings.
Artists in the exhibition:
Humaira Abid, Robert Attanasio, Claudio Bravo, Nick Briggs, Avital Burg, Christo,
E.V. Day, Claudia DeMonte, Paul Fenniak, Janet Fish, Douglas Goldberg, Sarah Hobbs, Leeah Joo, Ray Kleinlein, Lara Alcantara Lansberg, Saul Leiter, Jane Lund, Jon MacGregor, Jen Mazza, Caroline McCarthy, Sarah McKenzie, Margaret Morrison, Kseniya Oudenot, Frank Paulin, Luanne Rimel, James Rosenquist, Antonio Santin, Barbara Ségal, Jeanne Silverthorne, Diane Smook, Luis Stephenberg, Andy Warhol, William Wegman, and Brenda Zlamany
@margaretwmorrison #andywarhol @antoniosantin_ @avitalburg @barbarasegal @brenda_zlamany @carolinemccarthystudio @christojeanneclaude @claudiademonte @claudiobravo1 @dianesmookphotography @douglas_goldberg @evdayartist #paulfenniak #JaneLund #frankpaulin @humaira_atelierh @jbfish52 @jeanne_silverthorne @jen_mazza @kseniyaoudenot @laraalcantara @leeahjoo @wayneporcaro @luannerimel @nickbriggsphoto @raykleinlein_paintings #RobertAttanasio @sarah_hobbs @sarahmckenzieart #saulleiterfoundation @williamwegman
@lehmancuny @cuny @nyscouncilonthearts @nyculture | |
| ...hJtUzQq3-wbxTu6QyjlQ7u6PIIiw&oe=689B72AE | Great Opening tonight!
Surprises Unknown: The Art of the Wrapping
Works by 35 artists, classic and contemporary.
Reception: Wednesday, February 19, 2025, 5-8 pm, FREE
On view - February 8- May 3, 2025
Works by 35 artists, classic and contemporary, present the art of the wrapping in tempting variety ─humorous, luscious, or doleful─the box crushed, its ribbon shredded. Surprises Unknown: The Art of the Wrapping is a survey of contemporary art that takes as its leaping point the groundbreaking work of Christo and Claudio Bravo and their myriad wrapped projects to look at the thrill of the surprise-to-come that a package brings.
Artists in the exhibition:
Humaira Abid, Robert Attanasio, Claudio Bravo, Nick Briggs, Avital Burg, Christo,
E.V. Day, Claudia DeMonte, Paul Fenniak, Janet Fish, Douglas Goldberg, Sarah Hobbs, Leeah Joo, Ray Kleinlein, Lara Alcantara Lansberg, Saul Leiter, Jane Lund, Jon MacGregor, Jen Mazza, Caroline McCarthy, Sarah McKenzie, Margaret Morrison, Kseniya Oudenot, Frank Paulin, Luanne Rimel, James Rosenquist, Antonio Santin, Barbara Ségal, Jeanne Silverthorne, Diane Smook, Luis Stephenberg, Andy Warhol, William Wegman, and Brenda Zlamany
@margaretwmorrison #andywarhol @antoniosantin_ @avitalburg @barbarasegal @brenda_zlamany @carolinemccarthystudio @christojeanneclaude @claudiademonte @claudiobravo1 @dianesmookphotography @douglas_goldberg @evdayartist #paulfenniak #JaneLund #frankpaulin @humaira_atelierh @jbfish52 @jeanne_silverthorne @jen_mazza @kseniyaoudenot @laraalcantara @leeahjoo @wayneporcaro @luannerimel @nickbriggsphoto @raykleinlein_paintings #RobertAttanasio @sarah_hobbs @sarahmckenzieart #saulleiterfoundation @williamwegman
@lehmancuny @cuny @nyscouncilonthearts @nyculture | |
| ...Jvl00n8ml08cK7mqqm5PfPveMurw&oe=689B674C | Surprises Unknown: The Art of the Wrapping
Works by 35 artists, classic and contemporary.
Reception: Wednesday, February 19, 2025, 5-8 pm, FREE
On view - February 8- May 3, 2025
Works by 35 artists, classic and contemporary, present the art of the wrapping in tempting variety ─humorous, luscious, or doleful─the box crushed, its ribbon shredded. Surprises Unknown: The Art of the Wrapping is a survey of contemporary art that takes as its leaping point the groundbreaking work of Christo and Claudio Bravo and their myriad wrapped projects to look at the thrill of the surprise-to-come that a package brings.
Artists in the exhibition:
Humaira Abid, Robert Attanasio, Claudio Bravo, Nick Briggs, Avital Burg, Christo,
E.V. Day, Claudia DeMonte, Paul Fenniak, Janet Fish, Douglas Goldberg, Sarah Hobbs, Leeah Joo, Ray Kleinlein, Lara Alcantara Lansberg, Saul Leiter, Jane Lund, Jon MacGregor, Jen Mazza, Caroline McCarthy, Sarah McKenzie, Margaret Morrison, Kseniya Oudenot, Frank Paulin, Luanne Rimel, James Rosenquist, Antonio Santin, Barbara Ségal, Jeanne Silverthorne, Diane Smook, Luis Stephenberg, Andy Warhol, William Wegman, and Brenda Zlamany
@margaretwmorrison #andywarhol @antoniosantin_ @avitalburg @barbarasegal @brenda_zlamany @carolinemccarthystudio @christojeanneclaude @claudiademonte @claudiobravo1 @dianesmookphotography @douglas_goldberg @evdayartist #paulfenniak #JaneLund #frankpaulin @humaira_atelierh @jbfish52 @jeanne_silverthorne @jen_mazza @kseniyaoudenot @laraalcantara @leeahjoo @wayneporcaro @luannerimel @nickbriggsphoto @raykleinlein_paintings #RobertAttanasio @sarah_hobbs @sarahmckenzieart #saulleiterfoundation @williamwegman
@lehmancuny @cuny @nyscouncilonthearts @nyculture | |
| ...Jvl00n8ml08cK7mqqm5PfPveMurw&oe=689B674C | Surprises Unknown: The Art of the Wrapping
Works by 35 artists, classic and contemporary.
Reception: Wednesday, February 19, 2025, 5-8 pm, FREE
On view - February 8- May 3, 2025
Works by 35 artists, classic and contemporary, present the art of the wrapping in tempting variety ─humorous, luscious, or doleful─the box crushed, its ribbon shredded. Surprises Unknown: The Art of the Wrapping is a survey of contemporary art that takes as its leaping point the groundbreaking work of Christo and Claudio Bravo and their myriad wrapped projects to look at the thrill of the surprise-to-come that a package brings.
Artists in the exhibition:
Humaira Abid, Robert Attanasio, Claudio Bravo, Nick Briggs, Avital Burg, Christo,
E.V. Day, Claudia DeMonte, Paul Fenniak, Janet Fish, Douglas Goldberg, Sarah Hobbs, Leeah Joo, Ray Kleinlein, Lara Alcantara Lansberg, Saul Leiter, Jane Lund, Jon MacGregor, Jen Mazza, Caroline McCarthy, Sarah McKenzie, Margaret Morrison, Kseniya Oudenot, Frank Paulin, Luanne Rimel, James Rosenquist, Antonio Santin, Barbara Ségal, Jeanne Silverthorne, Diane Smook, Luis Stephenberg, Andy Warhol, William Wegman, and Brenda Zlamany
@margaretwmorrison #andywarhol @antoniosantin_ @avitalburg @barbarasegal @brenda_zlamany @carolinemccarthystudio @christojeanneclaude @claudiademonte @claudiobravo1 @dianesmookphotography @douglas_goldberg @evdayartist #paulfenniak #JaneLund #frankpaulin @humaira_atelierh @jbfish52 @jeanne_silverthorne @jen_mazza @kseniyaoudenot @laraalcantara @leeahjoo @wayneporcaro @luannerimel @nickbriggsphoto @raykleinlein_paintings #RobertAttanasio @sarah_hobbs @sarahmckenzieart #saulleiterfoundation @williamwegman
@lehmancuny @cuny @nyscouncilonthearts @nyculture | |
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