SALON DE FLEURUS
January 31–March 4, 2018
“At the end of the day the importance of copying is that it compels us to question the importance of authenticity” - Clancy Martin on Salon de Fleurus, Brooklyn Rail, 2014
Salon de Fleurus is an artwork, a contemporary reconstruction of Gertrude Stein & Alice B. Toklas’ Parisian salon that existed at 27 Rue de Fleurus from 1904-34. It is a work that displays and references a story of modern art’s beginnings through one of the first gathering places for burgeoning young artists such as Henri Matisse, Pablo Picasso, and Stein herself. It was in Stein’s salon that paintings by Cézanne, Matisse, and Picasso were seen exhibited together for the first time both by her peers and transatlantic art experts who spread the word back home, eventually creating the American narrative of European modern art familiar today.
Through painted reproductions exhibited within a constructed interior, the Salon de Fleurus questions where, why, and how certain narratives of modern art originated through the salon structure that first canonized them. These copies are perhaps more significant and tell us more about history than the original artworks themselves by weaving fiction into history and leaving space to contemplate and reconsider the past. When one looks at Picasso here, they are viewing Picasso through the lens of Stein.
From 1992 to 2014 Salon de Fleurus existed as a semi-private salon in lower Manhattan. Since then, it has appeared in fragments in Beirut, Paris and Los Angeles and now continues to tour as a complete project organized by Independent Curators International (ICI), New York. This exhibition and tour are made possible by The Fine Art Dealers Association (FADA), and with the generous support from ICI’s International Forum and the ICI Board of Trustees.
more information: http://curatorsintl.org/exhibitions/salon-de-fleurus
COLLECTIVE WEAVE: Andrea Geyer
January 31–March 4, 2018
‘What do you imagine when hearing the word Modernism?’ is a question Andrea Geyer likes to ask. What formed that imagination? How do artists and artworks enter the canon of institutionalized histories? How do their ideas, their knowledge, their relations become recognizable to a student, a researcher, a scholar or a museum visitor?
The works in Andrea Geyer’s exhibition Collective Weave offer an entry into American Modernism through the women who drove and enabled it by creating institutions such as the Museum of Modern Art, the Whitney Museum of American Art, the San Francisco Museum of Modern Art, the Société Anonyme. These women also maintained Modernism’s creative vibrancy by contributing and editing magazines, organizing salons, and offering financial support when needed. They connected through their work communities that thrived in their diversity, generating conversations and projects addressing the cultural, social and political concerns of their time.
Works include Revolt, They Said, a drawing delineating a network of 900 women without whom the American cultural landscape would not be as we know it today; Constellations, collages that honor women like Jessie Redmon Fauset, a graduate of Cornell University who went on to be the editor of “The Crisis,” holding “literary soirées with much poetry … but little to drink, according to her contemporary Langston Hughes and Time Fold, photographs of Gertrude Vanderbilt Whitney’s notebooks. All the works in the exhibition share a commitment not only to the pasts they draw from, but to the potentials and imagination the silence they refer to can spark.
The diagram of Revolt, They Said, becomes a blue print for social change, the backdrop curtains for a scene, the torn-out pages from a script that was taken home, and a coat which redresses the institutional gallery walls into a home. Geyer’s relationships with objects and space phenomenologically map themselves against one another, denying adhesion to the social understanding of their objectness, calling attention to themselves while being self-critical of their own omissions. Of a shawl, Stein penned in her book Tender Buttons, “A shawl is a hat and hurt and a red balloon and an under coat and a sizer… A shawl is a wedding, a piece of wax a little build. A shawl.” Geyer’s objects, too, each come with their own self-declarations and autonomy—curtains, a ladder, newspapers, a coat. Geyer’s research and creative practice ruminate on this model, breaking down hierarchies into their smallest denominators—not lingering on just the biographies of people, but exalting the relationships between them; not rendering bodies and objects, but building sculptures which question the difference; not illustrating authorship or idea, but scrutinizing the way the words fit together on a page.
MOTHA presents THE VEIL VERONICA
work by Craig Calderwood, Nicki Green, & Jordan Reznick
March 21-April 20, 2018
Opening Reception: Thursday, March 22, 5-7 pm
Artist Panel: Friday, March 23, 4 pm
The most prized article of an archive is the “truth image,” a document created by means of physical contact with a transcendent body. The fleshy imprint confirms the existence of a being whose reality may be doubted. For the dubious transgender subject the truth image is further complicated by the fact that the trans body is an object of fascination, scrutiny and fetishization. The trans body exceeds and spoils the tidy organization of archival categories. Meanwhile, the twists of trans biographies defy the narratives of archival chronologies. And centuries of repressions and concealments have rendered most trans histories irreparably lost. These issues make the transgender archive a complexly impossible idea. Craig Calderwood, Nicki Green, and Jordan Reznick take this inviability as an impetus to create an original repository that transcends the prosaic and deficient mainstream archive. Their work follows the mission of MOTHA (Museum of Trans Hirstory and Art) to conceptualize the trans archive as a sacred site to quench the thirst of trans souls, cure the archive of its trans blindness, and resurrect hushed trancestors from the dirty basements that civilization tried to seal shut. Green defies normative generational progression with infectious mushrooms that illustrate new understandings of time, growth, reproduction, and inheritance. Calderwood endlessly revisits her own biography, saturating and surfacing her work with an echoing iconography of characters, color, and pattern. Reznick celebrates the contemporary queer refusal to assimilate with tender portraits. Working in ceramics, low-craft, and photography, their archival objects do not simply narrate histories. Instead they impart the presence of trans people through surfaces directly imprinted with trans bodies, lives, and legends.
BEFOREHEREAFTER: 2018 Senior Student Show
Curated by Anna Faxon ‘18
Featuring senior projects by Marilyn Markech ‘18, Kathia Regalado Nuñez ’18, & Sallie Sims ‘18
April 26–May 20, 2018
BEFOREHEREAFTER is an exhibition of artwork, photography, and experimental media from senior students graduating in May or December of 2018. All eligible students are encouraged to apply! Submissions of work will be selected for the exhibition by faculty juries from each artistic discipline the week following Spring Break. Students selected for the show will work with gallery staff to prepare and install their work in the weeks prior to the exhibition opening. All submissions must be made to faculty juries in the Department of Art or the Cinema &Photography Program by Monday, March 19, 2018 at noon. Submission forms may be picked up from the front desk of the Handwerker Gallery, the Park School photography classroom, or the administrative office of the Department of Art.
Note: The gallery will have amended hours of operation between May 7–Sunday, May 20 for Finals Week and Senior Week.