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Exhibitions & Events:

Confluence/Influence Banner

NYDCA Credit

The Lagacy of Mingei in Contemporary Abstraction Panel Banner The Enduring Appeal of Making Banner Design, Rhythm & Geometry in Abstraction Banner

NYSCA & NY Dept of Cultural Affairs Credits

Impermanent Landscape Banner

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September 18 – December 11, 2016
Confluence/Influence: Mingei in Contemporary Abstraction
Featuring the work of Regina Bogat, Martha Clippinger, John Crawford, Kathy Erteman, Christopher French, Sheila Hicks, Richard Kalina, Ruth Laskey, Douglas Melini, Melissa Meyer, Alyssa Pheobus Mumtaz, Odili Donald Odita, Don Porcaro, & Altoon Sultan

Curated by Bridget Donlon
Opening Reception: Sunday, September 18, 2016, 2-5 pm

Click on image to view Brochure PDF

Confluence/Influence Brochure Cover

Click to view Press Release

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October 23, 2016, 3:00-4:30pm
The Legacy of Mingei in Contemporary Abstraction
A Panel Discussion moderated by Brdiget Donlon with presentations by Heather Darcy Bhandari, Richard Kalina, Marshall Price and Leslie Wayne

Seating will be limited
RSVP 718-937-6317 or rsvp@dorsky.org

Leslie Wayne Image Richard Kalina Image
Leslie Wayne, Paint Rag 65, 2015; Richard Kalina, Resting State (Yellow), 2016

The panel will focus on the influence of Mingei, a Japanese folk art movement started in the 1920’s, on the formation of American abstraction and how that influence relates to contemporary artistic practice. The artistic lineage from Mingei to Modernism will be discussed and how contemporary artists negotiate this legacy in their own work.

Bridget Donlon is a Brooklyn-based, London-educated contemporary art professional with a decade of experience in curating and arts administration. She got her start at the Tang Museum, artist-run spaces in Williamsburg, and as an intern for the Guerrilla Girls. She has worked for Galerie Lelong, Tate Modern, the Fabric Workshop and Museum, and Dieu Donné. Bridget is the curator of Pure Pulp: Contemporary Artists Working in Paper, a 15 year retrospective of works from Dieu Donné’s residency programs. After travelling, the exhibition will end at the Dedalus Foundation at Industry City, Sunset Park, Brooklyn coincident with the present exhibition, Confluence/Influence. The catalog for Pure Pulp features contributions by Richard Tuttle and Rachel Wolff and is distributed by DelMonico/Prestel.

Heather Darcy Bhandari is a curator and art advisor based in New York CIty. She was the founder of gallery and project space Mixed Greens. She has a BA in Visual Arts and Cultural Anthropology from Brown College and MFA in Fine Arts (Painting) from Pennsylvania State University. In 2009 Bhandari co-authored the book ART/WORK, published by Simon and Schuster.

Richard Kalina is a painter and art critic. He has exhibited nationally and internationally since 1969. His most recent solo exhibition, Panamax, was held at Lennon, Weinberg, Inc. in New York earlier this year. Richard Kalina has written about art for thirty years, and has been a longtime Contributing Editor at Art in America. He has written about a wide range of modern and contemporary topics, but has focused his attention on issues of abstraction. He is the author of Imagining the Present: Context, Content, and the Role of the Critic, published by Routledge Press. Richard Kalina teaches studio art and art history at Fordham University. He served as Chair of the Department of Theatre and Visual Arts for ten years, and has also taught at Bennington College and Yale University. He is a member of the National Academy and sits on the Academy’s Board of Governors.

Marshall N. Price is the Nancy Hanks Curator of Modern and Contemporary Art at the Nasher Museum of Art at Duke University. He received a Ph.D. in Art History from the Graduate Center, City University of New York. Between 1998 and 2002 Dr. Price was Curatorial Assistant at the Santa Barbara Museum of Art. He held the position of Curator of Modern and Contemporary Art at the National Academy Museum, New York from 2003 until 2014. He has organized dozens of exhibitions including most recently A Material Legacy: The Nancy A. Nasher and David J. Haemisegger Collection of Contemporary Art, Jeffrey Gibson: Said the Pigeon to the Squirrel, Pat Steir: Blue River, John Cage: The Sight of Silence, and George Tooker: A Retrospective.

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November 6, 2016, 3:00-4:30pm
The Enduring Appeal of Making
A Panel Discussion moderated by Thomas Miccelli with presentations by Regina Bogat, Kathy Erteman, Odili Donald Odita and Don Pocaro

Seating will be limited
RSVP 718-937-6317 or rsvp@dorsky.org

Erteman Image Bogat Image
Kathy Erteman, Black/White Bucket Vessel, 2012; Regina Bogat, Exilon, 2014

Many of the works in Confluence/Influence are dedicated to hand-crafted processes. This panel will discuss some of the generally held assumptions about classifications that both distinguish between and prioritize the value and utility of crafts and fine arts. The artists participating on the panel will discuss their own work in the show, what making work by hand means to them and how that relates to the concepts behind Mingei, a Japanese folk art movement started in the 1920’s.

Thomas Micchelli is an artist, writer, and co-editor of the online critical review Hyperallergic Weekend. His artwork has been exhibited at John Davis Gallery in Hudson, New York; Life on Mars, Outlet, Norte Maar, Centotto, Studio 10, and Schema Projects, all in Bushwick, Brooklyn; and Leslie Heller Workspace in Manhattan. In addition to Hyperallergic Weekend, his essays, interviews and reviews have appeared in the Brooklyn Rail, Art 21, bookforum.com, ART HAPS and NY Arts. He is also the co-editor of the books On Curating: Interviews with Ten International Curators (DAP, 2009) and On Curating 2: Paradigm Shifts (DAP, 2016).

Regina Bogat, a product of the Art Students League, was influenced early on by the theory of “Aesthetic Realism” and worked as an abstract impressionist. By 1960, she had developed her own unique style of abstraction. Bogat took an active part in New York’s art scene, frequenting 10th Street openings and the famous Cedar Bar. She developed close friendships with many art world luminaries who influenced her life and work, including Eva Hesse, Elaine de Kooning, Donald Judd, Sam Francis, Ad Reinhardt, Mark Rothko and Alfred Jensen, whom she married in 1963. She has shown in solo exhibits at Art101 (Brooklyn, NY), Ferrell Galleries (El Paso, TX), the New Jersey State Museum (Trenton, NJ), Galerie Zürcher (Paris, France), and Zürcher Gallery (New York, NY). Her work has been included in group exhibits at Trestle Gallery (Brooklyn, NY), Terrain Gallery (New York, NY), Women’s Interart Center (New York, NY), Summit Art Center (Summit, NJ), and the Tang Museum (Saratoga Springs, NY). She currently lives and works in Glen Ridge, NJ.

Kathy Erteman was born and raised in Southern California. She began making ceramics at 16 in a Los Angeles studio. She received her BFA from California State University Long Beach, and interned with Judy Chicago on the Dinner Party after graduation. In 1994 Erteman moved to New York City and now divides her time between upstate NY and New York City. Erteman’s work has been exhibited internationally and is included in private and public collections including Renwick Gallery/Smithsonian Institute, Los Angeles County Museum of Art, Taipei Museum of Fine Arts and SC Johnson Collection. A full time studio artist she also designs for companies such as Tiffany, Crate and Barrel, and Dansk. Kathy has taught at Parsons School of Design and been a guest lecturer at The Brooklyn Museum, Bezalel Academy of Art, Jerusalem and currently teaches at Greenwich House Pottery in New York City. She travels to Yunnan China periodically to work with Tibetan Potters as a Design Consultant and Cultural Preservation Advocate.

Odili Donald Odita is an abstract painter whose work explores color both in the figurative art historical context and in the sociopolitical sense. Odita has said, “Color in itself has the possibility of mirroring the complexity of the world as much as it has the potential for being distinct. The organization and patterning in the paintings are of my own design. I continue to explore in the paintings a metaphoric ability to address the human condition through pattern, structure and design, as well as for its possibility to trigger memory. The colors I use are personal: they reflect the collection of visions from my travels locally and globally. This is also one of the hardest aspects of my work as I try to derive the colors intuitively, hand-mixing and coordinating them along the way. In my process, I cannot make a color twice—it can only appear to be the same. This aspect is important to me as it highlights the specificity of differences that exist in the world of people and things.”

Don Porcaro is a New York based sculptor whose work explores the nature of human interaction with the physical world through architecture and man-made objects like tools and toys. His work has been exhibited nationally and internationally, and has been reviewed in The New York Times, Sculpture Magazine, Art in America, Artnews, BOMB and Newsday, among others, including a featured profile in Sculpture Magazine in 2007. His work was the subject of a ten-year travelling survey in 2004, and in 2011 Porcaro was the U.S. representative at the Forma Viva Sculpture Symposium in Portoroz, Slovenia. He was a finalist for the International Sculpture Center’s prestigious Educator of the Year Award in 2013, and is the recipient of a 1991 Teaching Excellent Award from Parsons School of Design. Porcaro received his MFA in Sculpture from Columbia University.

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November 13, 2016, 3:00-4:30pm
Design, Rhythm & Geometry in Abstraction
A Panel Discussion moderated by Matthew Deleget with presentations by John Crawford, Christopher French, Douglas Melini and Melissa Meyer

Seating will be limited
RSVP 718-937-6317 or rsvp@dorsky.org

Melini Image French Image
Douglas Melini, Returning to the Sky, 2016; Christopher French, Complicated Shadows Study #4, 2015

Among the foundational principles of Mingei, a Japanese folk art movement started in the 1920’s, is the adherence to simple, straightforward design concepts. The artists on this panel all employ specific design structures in their work that vary from geometric to rhythmically lyrical. The panelists will discuss their own works in the show with regards to design and how the concepts behind Mingei play a role in their thinking.

Matthew Deleget is an artist, curator, and arts worker. Matthew has exhibited his work nationally and internationally, including solo and group exhibitions in the US, Europe, Australia, and New Zealand. His work was included in the 2014 Whitney Biennial. Additional museum exhibitions include MoMA/P.S.1 (Long Island City, NY); Bronx Museum of the Arts (Bronx, NY); Herbert F. Johnson Museum (Ithaca, NY); Bass Museum of Art (Miami, FL); and Indianapolis Museum of Contemporary Art (Indianapolis, IN). In 2003, Matthew co-founded MINUS SPACE (www.minusspace.com), a gallery based in Brooklyn, NY, specializing in contemporary reductive abstract art, and represents pioneering emerging and established artists and estates from the United States, Europe, South America, and Australasia. He holds an MFA in Painting and an MS in Theory, Criticism and History of Art, Design and Architecture from Pratt Institute, Brooklyn, NY. He holds a BA in Art and German from Wabash College, Crawfordsville, IN. He is a member of American Abstract Artists, the Marie Walsh Sharpe Art Foundation’s Artist Advisory Committee, and the board of The Elizabeth Foundation for the Arts. Matthew lives with his wife, artist Rossana Martinez and son Mateo in Brooklyn, NY.

John Crawford (b. 1953, New York) received his BFA from RISD in 1975. He moved to Tuscany, Italy in 1976, where he apprenticed at a 17th century blacksmith shop until 1986, exchanging labor for use of the forge to make sculpture, and for training to make traditional farm tools. The unpretentious beauty of the shovels, hoes, and axes he learned to make became one of the most important underpinnings for his work from that time to the present. Crawford returned to NYC in 1986 and built a studio where he continues to work with metal using forging and machining processes. Exhibitions include solo shows at the Queens College Art Center, NY and the Sculpture Center, NY. Crawford has also been commissioned to create public works for Amherst College, MA and Queens College, NY. Honors include a Louis Comfort Tiffany Foundation Grant (1977). The artist lives and works in Brooklyn, NY and is represented by Lori Bookstein Fine Art, New York.

Christopher French (b. 1957, St. Louis) grew up in Sacramento, receiving his BA from the University of California, Davis. After graduation he focused on performance, joining the Royal Lichtenstein ¼
Ring Circus for a yearlong tour. Resettling in Oakland, he returned to painting, working in a representational style. French’s approach to painting changed when, after moving to New York, he found a book of Braille paper on the street. “At first only the vigorous textures of the paper caught my eye, but I quickly became fascinated with the textual as well as the textural potential of my materials.” For more than a decade he used Braille paper to create abstractions that simultaneously connote harmony and contradiction by balancing the immediacy of sight with the tactility of touch. More recently, his paintings construct intricate compositions based on the diverse beauty of natural patterns and systems. French’s work has been widely exhibited nationally and abroad. Museum collections include the Museum of Fine Arts, Houston, Hirshhorn Museum of Art, National Museum of American Art, and Weatherspoon Museum. French has received fellowships from the National Endowment for the Arts, Joan Mitchell Foundation, and Cultural Arts Council of Houston and Harris County. In 1996 he spent 6 months working in Paris on a Cité Internationale des Arts Residency. French is also an art critic, curator, and teacher. His criticism and social commentary has appeared in The Brooklyn Rail, ARTnews, Flash Art, Art Papers, The Journal of Art, and other publications. He has authored or contributed essays to numerous monographs and exhibition catalogues, and is a past president of the United States chapter of the International Association of Art Critics (AICA). He currently lives and works in Long Island, New York.

Douglas Melini (b. 1972) was educated at CalArts (MFA), Santa Clarita, CA and University of Maryland, College Park, MD; he currently lives and works in both Brooklyn and New Jersey. Melini’s previous solo exhibitions include 11R Gallery, NY, Feature Inc., NY; The Suburban, Oak Park, IL; Minus Space, Brooklyn, NY; Richard Heller Gallery, Santa Monica, CA; and a White Room at White Columns, NY. Douglas Melini is represented by 11R gallery in NYC.

Melissa Meyer’s development has been surveyed in two traveling exhibitions—one originated at the New York Studio School and the second at Swarthmore College in Pennsylvania. Her works have been included recently in group exhibitions at The Jewish Museum, New York; Texas Gallery, Houston; Montclair Art Museum, New Jersey; The Hyde Collection, Glens Falls, New York; the Fiterman Art Center at the Borough of Manhattan Community College, and the National Academy of Design in New York, an organization of which she is a member. She has completed public commissions in New York, Tokyo, Shanghai and Bishkek, Kyrgyzstan. Her work is included in the collections of the Metropolitan Museum of Art, the Museum of Modern Art, the Brooklyn Museum, the Solomon R. Guggenheim Museum, The Jewish Museum, the McNay Art Museum and many other public and private collections across the United States. Meyer was awarded a Rome Prize from the American Academy in Rome and has received grants from the National Endowment for the Arts and the Pollock Krasner Foundation. She is a frequent artist in residence at Yaddo in Saratoga Springs, New York, and worked at the MacDowell Colony for the first time in 2012. A dialogue between Meyer and art historian Stephanie Buhmann is included in a new book of interviews with contemporary women artists, New York Studio Conversations, published by The Greenbox. August 2016 she was in residence at the Bau Institute of Camargo, France. She is represented in New York by the Lennon Weinberg gallery.

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December 11, 2016, 3:00pm
Impermanent Landscape
A Dance Performance by Valerie Green/Dance Entropy with music by Martyn Axe

RSVP 718-937-6317 or rsvp@dorsky.org

Dance Entropy Image 1 Dance Entropy Image 2
Dance Entropy photo credit: Stephan De Las Heras

Impermanent Landscape is a dance performance in the round inspired by the ideas of cubism,
perspective, perception, and impermanence. Breaking the 4th wall and moving choreography outside of the traditional stage and audience formats, Impermanent Landscape features the geometry and architecture of overlapping bodies, creating it’s own personal landscape surrounded by the visual art represented in the show Confluence/Influence. Music by Martyn Axe creates a sonic landscape created by sound sensors triggered by a live video feed.

The work, Impermanent Landscape is part of a series centered on the concept of changing the
external visual art environment to shift the perception and context of how one views the work. Each performance of Impermanent Landscape is unique to the individual venue; the full work premiered at Green Space in March of 2016, and was recently performed at Queens Museum, and The Flux Factory.

Unexpectedly, architectural…the work’s three-dimensionality, in the way it relates equally to each surface of empty space as it does the floor, in how the shapes and movements cycle through emotions slowly and with the subtlety that makes any wonderful piece of architecture.
– Courtney Escoyne, Stewardship Report

About Dance Entropy
Dance Entropy is a professional not-for-profit modern dance company founded in 1998. The company performs in NYC, tours and teaches both domestically and abroad, while featuring a multi-ethnic cast of 7 talented dancers. Dance Entropy supports the vision of Artistic Director Valerie Green, who creates stage and site-specific work. A significant part of the company’s mission is to use creation, performance, and education in locations and communities where the content of the work will have the greatest impact. The company created their home studio, Green Space in LIC, Queens in 2005. Green Space serves the dance community by providing an affordable and welcoming environment for rehearsals, classes, and performances. Please visit www.DanceEntropy.org.

Valerie Green, Artistic Director, has been an active dancer, choreographer and teacher in the New York City dance community since 1995. Her choreography has been seen throughout NYC and the US. Internationally she has taught and performed in Azerbaijan, Armenia, Georgia, Austria, France, Italy, Greece, Russia, India, Serbia, Bosnia, Croatia, Albania, Guatemala, Slovenia and Canada. Valerie spent formative years working with the Erick Hawkins Dance Company, is certified in Body/Mind Fitness and graduated from University of Wisconsin-Madison.

Martyn Axe has been a Composer and Music Director for over 25 years. Born in Leicester, England, he moved to London to study Composition, Piano and French Horn at the Royal Academy Of Music. After working around London as a Music Theater Director and composer, he moved to Europe for 10 years performing and writing new Musicals and concerts. He briefly moved back to England to Music Direct on the West End before moving to New York to work on Broadway where he still is. Martyn has always felt an affinity with modern dance, studying many of the great American composers. He has composed music for contemporary dance companies in the UK, and is very excited to be working with Dance Entropy on their latest piece Impermanent Landscape. Past credits include Sweeney Todd, Cats, Evita, and Mamma Mia. He is currently performing a new Dance Musical called Trip Of Love at Stage 42 in New York.

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