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THE EXHIBITION PROGRAM – overview | how it works | exhibitions

Vick Quezada, Maize Crossing, 2017

Que desagradable!
March 3-31, 2017
Opening Reception, Friday March 3, 6-8p
download press release (english)
download press release (espanol)

Jacin Giordano
Christopher Janke
Nathanael Kooperkamp
Vick Quezada

Curated by Sarah Fritchey

Que desagradable! explores wrong-doingness as an impolite meeting point between the four artists in this exhibition. Taking direction from Theodor W. Adorno's Minima Moralia (1944), the show asks the viewer to recognize everyday beauty as a lie. In the context of the horror of our socio-political moment, where the world is​ unraveling from its constitutional seems, the only ​​beauty ​that we might catch is the admittance of that which is frighteningly not beautiful at all. The show derives its title from this idea, (Que desagradable! is Spanish for How unlovely!), but challenges even Adorno’s role in coining this phrase. The Spanish title refusing to quote Adorno in his original Italian, or English, the art world’s lingua franca. The works in the show spill into and out of the gallery space, questioning the colonizing structures that perpetuate the myth of Western dominance that extends to the art world's by way of its knowledge centers, economy and protected histories.

CURATOR PROFILE - Sarah Fritchey
Sarah Fritchey is a curator and writer based in New Haven, CT. She is the Curator at Artspace New Haven and a contributor to ArtForum.com, Art New England Magazine, Big Red & Shiny, Artscope Magazine and The Hartford Advocate. Her recent projects take an interdisciplinary approach to exploring bodies as potential sites of violence (Arresting Patterns, 2015-16), protest (Vertical Reach, 2015), meeting (Vagaries of the Commons, 2014) and labor (Showing the Work, 2013); and seek to expand the concept of the individual self to include a more porous and mutable combination of bodies, objects, and ideas. From 2009-11, she was the Director at Kehler Liddell Gallery in New Haven, and from 2005-11 she worked in contemporary galleries in New York City that represented emerging and mid-career artists. Her most recent exhibition, Arresting Patterns: Race and the Criminal Justice System, curated with assistance from Titus Kaphar and Researcher-in-Residence, Leland J. Moore, traveled to The African American Museum in Philadelphia this Spring. She has contributed as a research and project assistant to numerous exhibitions, including the 2013 Venice Biennial, the 50th Anniversary exhibition at the ICA Philadelphia, Liam Gillick:199A-199B at The Hessel Museum of Art, and Dangerous Beauty at The Chelsea Museum of Art. Fritchey holds a Master’s degree in Curatorial Studies from the Center for Curatorial Studies at Bard and a Bachelor of the Arts in Comparative Literature with a minor in Studio Practice from Hamilton College. 


Clement Valla, The Universal Texture, 2012

Nature Loves Courage
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Jeff Barnett-Winsby
Holden Brown
Lisa Fairstein
Jeila Gueramian
Jeff Kurosaki + Tara Pelletier

Guillaume Legare
Michelle Leftheris
Dana Levy
Clement Valla
Francesco Vizzini

Curated by Bowie Zunino, Eve Biddle and Jeff Barnett-Winsby, Co-Directors of the Wassaic Project

Nature Loves Courage brings together ten emerging New York City artists who step boldly into the outside.  The work interprets nature through the lens of the City and deals with the untamed natural world, constructed landscapes, and human interventions.  Taking psychedelics proselytizer Terence McKenna’s famous adage as its title, the exhibition features artists who investigate the processes through which nature is manipulated and mediated -- living in it, changing it, improving it, and fighting it. Through photography, sound, projection, painting, installations, and video, these ten artists highlight the ambiguity, and incredible beauty that arises when civilization imposes on nature -- and when nature pushes back.

CURATOR PROFILE - The Wassaic Project
The Wassaic Project, a 501c3 non-profit organization, exists to provide a genuine and intimate context for art making and strengthening local community by increasing social and cultural capital through inspiration, promotion and creation of contemporary visual and performing art.

The Wassaic Project is an incubator for emerging artists located in the historic hamlet of Wassaic, NY. The Wassaic Project is comprised of five programs: Exhibitions, Residency, Summer Festival, Education, and Community Engagement. Our Annual Exhibition, installed in a seven story grain elevator, showcases exceptional emerging artists. The Wassaic Artist Residency Program brings 10 emerging artists to Wassaic every month to live, work, and engage in a dynamic and cooperative critique environment. Our Summer Festival is free to attend and features emerging talents in music, film, dance, visual, and performing art.  Our Education Program encourages and facilitates creative problem solving by bringing professional artists to lead workshops in our local public school, and by offering youth programs in our exhibition space to explore, discuss and create contemporary art.  Our Community Engagement Program consists of year-round community events and the restoration and stewardship of historic buildings in Wassaic, NY. 

Installation view of "Make/Do" at the Richmond Center for Visual Arts at Western Michigan University in 2014

MAKE/DO: Contemporary Artists Perform Craft
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view installation shots from the Richmond Center for Visual Arts at Western Michigan University

Lauren Rosati was selected to curate the first NYPOP travelling exhibition, which opened in January 2014 at the Richmond Center for Visual Arts at Western Michigan University. There is still space available in the travel schedule. Contact us to learn more about how to participate in our inaugural traveling exhibition.

Erin Dunn
Rosemarie Fiore
Alejandro Guzman
Emily Noelle Lambert
Saya Woolfalk

Curated by Lauren Rosati

Creation is performance.
Mikel Dufrenne 1

In 1953, Harold Rosenberg dubbed the work of Jackson Pollock “action painting,” underscoring the notion of the artwork as the result of a creative act. Since then, the concept of performativity has been critical to understanding the production of contemporary art as a process or event and the object of contemporary art as animated by and contingent on the “act” of its creation and reception.

Distinct from performance art—which is predicated on the intervention of the artist's own body or the body of another performer—performative objects are static. Yet they reference both the active “manipulation of space” and “the [active] body,” which are “central to the visual impact of the work.”2 This performative turn in contemporary art refers not only to the artwork itself, however, but also to a peculiar kind of engagement between the artist and viewer; if the artist is an active agent in the construction of his or her work, then the viewer (whether a curator or spectator) is, in turn, an active participant in the construction of the work's meaning.

MAKE/DO includes the work of five contemporary artists based in New York City who engage with the notion of performativity through the realm of craft. Whether creating mobile habitats constructed from discarded materials (Guzman), or paintings and totems crafted from layers of pigment, wood and paper (Lambert), the artists in this exhibition knit, assemble, scatter, paint, edit, transform and mold materials into objects that retain traces of their creation.3

This exhibition incorporates an expanded conception of craft outside traditional mediums to include painting, video, and performance. The works included in MAKE/DO are notable for their materials (shoddy and select) and quality of production (scrupulous and slapdash), which collapse the distinction between fine art and craft, and encourage us, as viewers, to participate in their re-production and reception, to their “making” and “doing.”

1 Mikel Dufrenne, The Phenomenology of Aesthetic Experience (1953), trans. Edward S. Casey et al. (Evanston, IL: Northwestern University Press, 1973), 30.

Born and raised in Rhode Island, Lauren Rosati is a Brooklyn-based curator and art historian who works with composers, curators, artists, and writers on international projects. She currently is Curatorial Assistant in Modern and Contemporary Art at the National Academy Museum in New York; a PhD student in Art History at the Graduate Center, CUNY; and Director/Co-Curator, with Alexis Bhagat, of ((audience)), a New York-based non-profit that provides wide distribution and new contexts for works by emerging and established sound artists and composers. She is also a member of the Advisory Committee for Art21's "New York Close-Up" and was an Assistant Curator at Exit Art from 2007 to 2012. She is co-editor, with Mary Anne Staniszewski, of the book Alternative Histories: New York Art Spaces, 1960 to 2010 (MIT Press, 2012).


I’m Over Here Now
January 12 – February 17, 2012
Richmond Center for Visual Arts, Western Michigan University

Curator: Eric Gleason
Artists: Daniel Arsham, Joe Diebes, Vlatka Horvat, Lovett /Codagnone, Rashaad Newsome, Amanda Tiller, Jill Magid

This exhibition focuses on six New York City-based artists and one collaborative team in varying stages of their careers whose ideas dictate their media.  Historically, painters painted, sculptors sculpted and photographers photographed, while constantly pushing the technical boundaries of their medium.  While there were of course prodigious anomalies, especially during the Italian Renaissance, this notion of “painters” and “sculptors” has evolved surprisingly little in the past 700 years.

However today, in the age of the Internet when images and information are rapidly and constantly distributed, digested and redistributed, contemporary artists are likely to see 10, 50 or 100 works for every one they see in person.  The artificiality of this visual experience allows only the works subject matter to be understood, rather than its physical or technical elements.  For this reason, there is a new generation artists who approach each work conceptually, and whose aspirations do not lie in advancing the medium in which they happen to be working during any given series.

The title of this exhibition, I’m Over Here Now, is one of many iconic comedic phrases of Andrew Dice Clay, whose crass yet visionary brand of humor had a profound influence on his art form for two decades.  The phrase was often employed by Dice Clay when abruptly changing subjects, which occurred with the same relative frequency as the artists in this exhibition change media.  More over, to the traditional artistic guard who struggle laboriously to advance their medium of choice, this new generation of artists who claim no allegiance to a particular media represent an inane evolution of art making, just as Dice Clay’s comedy was constantly assailed for its crudeness.

Eric Gleason was born in West Springfield, MA in 1982.  While studying Political Science and Art History at Syracuse University, he worked at the Everson Museum in Syracuse, NY and completed his thesis on Christo and Jeanne-Claude's The Gates, 1979-2005 in Central Park after working as a monitor on the installation.  He was employed by Marlborough Gallery from 2005 to 2012 and became a Sales Director at Marlborough Chelsea in 2007.  While at Marlborough he worked extensively with artists Michael Anderson, Chakaia Booker, Steven Charles, Rashaad Newsome, Will Ryman, and Stephen Talasnik, coordinating exhibitions, establishing a critical mass and placing work in public and private collections around the world. 

As a curator, Eric has organized solo exhibitions by Seung Jung (2009) and Sora Sim (2010) for The Brain Factory in Seoul, South Korea, as well as numerous thematic exhibitions including natural renditions (co-curated with Diana Campbell), Marlborough Chelsea, June - July 2010; Run and Tell That! New Work from New York, The SUArt Galleries at Syracuse University, November 2010 - January 2011; Powders, a Phial and a Paper Book (co-curated with Max Levai and Anastasia Rogers), Marlborough Chelsea, March - April 2011; and The Finishers (co-curated with Ethan Greenbaum), The Wassaic Project, Wassaic, NY, July - September 2011.