+ Printmaking: Regular & Irregular, Woodcuts 1987-2016, Works by Ursula Schneider
On View in the Industrial Arts Brewing Company Tasting Room: July 13 - September 7, 2017
+ A Dark Rock Surged Upon, Curated by Faheem Haider
A Dark Rock Surged Upon, as spectacle, and as an exhibition of works of art installed, projected, and performed throughout GARNER Art Center’s remarkable decommissioned factory spaces, offers no answers; they are responses to contexts that feel jarringly new, cleaved by difference and dissembling. Instead, the works manifest the duty to pose questions about the current moment pressed upon many by racialized and gendered discrimination, our environmental challenges, urban decay and rural devastation, the wholesale assault on political credence, weaponization of worship, and the colonization of speech and mind. A Dark Rock Surged Upon is composed of sculptural, performance, video, photographic, and installation works by Thomas Albrecht, Michael Asbill, Sadee Brathwaite, Stephen Derrickson, Francois Deschamps, Laura Kaufman, Noah Fischer, Matthew Friday, Matt Frieburghaus, Peter Iannarelli, Tlisza Jaurique, Todd Martin, Linda Montano, Emily Puthoff, Rena Leinberger, Ryan Roa, Steve Rossi, Heather Renee Russ, Sigrid Sarda, Zachary Skinner, Tiffany Smith, Molly Stinchfield, Derek Stroup, Anthony Tino, Chris Victor, and Marcus Zilliox.
+ Looking to the Self, Looking into Others, an Intersectional Conversation, Margaret Coleman & Angela Mosley - Co-Curators
Exhibiting the work of nine interdisciplinary artists. Each artist focuses their work on a different topic relating both on a personal level and a community level, in a discussion around contemporary issues that seek to break through the boundaries that oppress. Featuring work by; Aubrey Roemer, Novel scholars, Cori Champagne, Joan Harmon, Jeca Rodriguez-Colan, Angela Mosley, Stella Marrs, Margaret Coleman, Kyanna Brindle, Melissa Cain.
+ Everybody Cryin' Justice, James Tyler - Curator
"I can't believe the things that I'm seeing - I wonder 'bout some things that I've heard - Everybody's Cryin' Mercy - when they don't know the meaning of the word. - Mose Allison. Featuring work by; Ruth Geneslaw, Steph Gorin, Ed Kirkland, Thea Lanzisero, Katherine Matheson, Cassie Strasser
+ Art is Freedom, Jonathan Shorr - Curator
May 20th, 2017 - June 15th, 2017
A group exhibition of selected social justice artwork, images, quotes, posters, photos, tear sheets etc. and visitors can add drawings or statements on paper to the show. Colored paper, colored pens, pencils, markers, and tape will be available for visitors on tables in the center of the room. Universally, art connects and delights. This is a nonpartisan social justice interactive exhibition like others developed by artists throughout history. Visitors are given the materials to place their social justice art and statements on the wall of the exhibition to inspire deeper social justice engagement and discussion.
+ Todd Monaghan Solo Exhibition: Stark Expressionism in the 24 Hour News Cycle, Jonathan Shorr - Curator
On view in Building 5 Studio C May 20th, 2017 - June 15th, 2017
+ OTHER PLACES, Viking Etiquet, Tim Feresten, Gillian Ha, Brian Leo, Amy Morse, Z. Zarenger
February 16 - April 12, 2017
On view in the Industrial Arts Brewing Company Tasting Room
Curated by Jonathan Shorr
This exhibition displayed the work of established artists who are attempting to explore, in narrative and technique, forms that are unprotected by rules and history. Language has its own special nature, its own conventions and communal ideas. But if language doesn’t change, if it seeks refuge in those conventions and if the communal ideas reflect only the past, language dies. The artists here, in their struggles against ingrained habits and familiar assumptions, are taking us to different places, to fictitious situations that stir the imagination.
+FIRST ANNUAL ARTIST MEMBER SHOW
March 11 - April 24, 2017
Featuring Work By 93 members of the GARNER Arts Center community. This is the first Artist Member Show in GARNER Arts Center's history, and we could not be more proud of the involvement and support of our community.
+ TRANSPOSING PERCEPTION, Daniel Liss, Andrea Stanislov, & Michael Zansky Exhibition
September 24 – December 10, 2016
Featuring Work By: Daniel Liss, Andrea Stanislav, Michael Zansky
Transposing Perception, explored the concept of “changing the relative place or normal order of things” transitive verb trans·pose \tran(t)s-ˈpōz
1: to change in form or nature : transform
2: to render into another language, style, or manner of expression : translate
3: to transfer from one place or period to another : shift
4: to change the relative place or normal order of : alter the sequence
*Daniel Liss is a Creative Director, filmmaker and technologist from New York City. Before founding S+7, Daniel was Creative Director at New York based media design firm, Local Projects, where he served as lead creative on engagements for BMW Guggenheim Lab, Jacob Burns Film Center, New York Botanical Garden, Stone Barns Center for Food and Agriculture, Panasonic, Sugar Hill Children’s Museum, the Nature Conservancy, and Google Creative Lab. Daniel has spent several years exploring possibilities for story-telling inherent within new media frameworks and holds a B.A. in Cinema Studies from SUNY Binghamton and an M.P.S from NYU’s Interactive Telecommunications Program, where he returned to teach after graduation.
*Andrea Stanislav is consumed by ideas of contemporary power, the embodiment of the manifest destiny of global capital. Oftentimes darkly humorous, her work is ultimately a critique of the ancient symbols, the origin myths of civilization. The pastimes and playthings of power. In a hybrid practice of sculpture, installation, video, and public art, Stanislav explores the architecture of empire. Her work questions the systems built on human capital, their hegemonic structure. Strongly influenced by the rise and fall of bygone kingdoms, she is equally consumed by ideas of contemporary power—from American exceptionalism to the city of Dubai, the embodiment of the manifest destiny of global capital.
*Michael Zansky – “Zansky sees the uncertainty of it all as an element of humor, like a dog chasing its tail. In a sense, it is like the experience of Renaissance perspective when it was new, and the human came up against the cognitive uncertainty of experiencing space in a new way.” -Thomas McEvilley
This exhibition is sponsored, in part, by Century 21 Full Service Realty.
GARNER's 2016-2017 Season of Programming is sponsored, in part by Orange & Rockland Utilities.
+ RECYCLING TIME, Nelson Diaz
“Science, math, religion and history are basically stories we tell ourselves about our experience in life and the phenomenon we call energy.”
+ *WITNESS: THE FACES OF HAVERSTRAW, Ken Karlewicz
When Documentary Photographer Ken Karlewicz decided to “take some photographs of Haverstraw” back in 1999, he never realized he would spend almost 10 years creating “a portrait of a neighborhood and its people.”
+ *HAVERSTRAW PAINTINGS, Bill Hochhausen
A series of paintings by local painter Bill Hochausen.
+ *PUSHING THE OPTICAL ENVELOPE, M. Henry Jones Survey Exhibition
October 10-April 17, 2016
Curated by Jonathan Shorr
Survey Exhibition of stroboscopic and three dimensional work by artist, inventor and scientist M. Henry Jones entitled Pushing the Optical Envelope.
The exhibition included his earliest forays into toy-making and sculpture, his teenage animated film work, the legendary photo animation music films, experimental animation projects, the cult TV commercials, animating stroboscopic zoetropes, stereoscopic pinhole and zone plate photography, lenticular explorations, and his collaboratively developed Fly’s Eye Three Dimensional Photographs that can be viewed with the naked eye. Jones joined the staff of Artpark at 16, was awarded two Palms as an Eagle Scout, received the Kodak Teenage Movie Award and a full tuition scholarship to the School of Visual Arts.
M. Henry says of his process that he is more interested in giving static objects movement than in storytelling. The Wall Street Journal states that Jones’ “motives were more perceptual than promotional,” and he attempts to “overload viewers” and “induce retinal after-images”.(4)This Exhibition was made possible with the generous support of Ken Larson.