Hunter College Art Galleries to Host BETWEEN IMAGE AND SOUND Symposium, 10/18
In conjunction with William Anastasi: Sound Work, 1963-2013 the Hunter College Art Galleries will present an evening devoted to sound-based art. The evening's program will feature a panel discussion dedicated to an engagement with the broad theories and practice of sound based art. The panelists include curator and critic Robert Storr, Barbara London, former Associate Curator in the Department of Media and Performance Art at The Museum of Modern Art, artist Robert Barry, and artist Stephen Vitiello and will be moderated by Max Weintraub, exhibition curator and Assistant Visiting Professor at Hunter College. The evening will close with a conversation between William Anastasi and art historian Charles Stuckey.
Robert Storr is the Dean of the Yale University School of Art. He was curator in the Department of Painting and Sculpture at the Museum of Modern Art, New York, from 1990 to 2002, where he organized exhibitions on Elizabeth Murray, Gerhard Richter, Max Beckmann, Tony Smith, and Robert Ryman. In 2002 he was named the first Rosalie Solow Professor of Modern Art at the Institute of Fine Arts, New York University. Storr has also taught at the CUNY graduate center and the Bard Center for Curatorial Studies as well as the Rhode Island School of Design, Tyler School of Art, New York Studio School, and Harvard University. He has been a contributing editor at Art in America since 1981 and writes frequently for Artforum, Parkett, Art Press (Paris), and Frieze (London).
Barbara London recently stepped down as Associate Curator in the Department of Media and Performance Art at The Museum of Modern Art. She joined the museum in the early 1970s and founded the video exhibition and collection programs. London curated Soundings: A Contemporary Score, an exhibition currently on view at MoMA that explores recent trends in sound art.
Robert Barry is a Hunter College alumnus and former faculty member. Considered one of the founders of conceptual art, Barry's first solo exhibition was in 1964 at the Westerly Gallery in New York. That same year Barry was included in Eight Young Artists at the Hudson River Museum and in 1966, in the Systemic Painting exhibition at the Guggenheim Museum. Barry was included-along with Douglas Huebler, Joseph Kosuth, and Lawrence Weiner-in both the 1969 January show organized by Seth Siegelaub and Information at the Museum of Modern Art, New York, in 1970, which marked the first museum exhibition of this work.
Stephen Vitiello is Associate Professor of Kinetic Imaging at Virginia Commonwealth University. Recent solo exhibitions include Museum 52, London; The Project, NY; andSmallest of Wings at the Broadgate Arena, London. Group exhibitions include the Contemporary Art Museum, Houston, TX; the 2006 Bienale of Sydney; and the 2002 Whitney Biennial. In addition to multiple solo musical releases, he has composed music for numerous film scores and dance productions. Over the last 20 years he has collaborated with such visual artists as Nam June Paik, Tony Oursler, Julie Mehretu and Eder Santos. His work is included in Soundings: A Contemporary Score at MoMA.
Max Weintraub is an Assistant Visiting Professor at Hunter College. He received his PhD from Bryn Mawr College and has worked in curatorial and educational departments at the Denver Art Museum, the Philadelphia Museum of Art, the Whitney Museum of American Art, and The Museum of Modern Art in New York. From 2006-2008 he was Curator of The Reis Collection of Modern & Contemporary Art in New York City. His essays on Bruce Nauman, Robert Capa, Francis Frith, Michael Zansky, Maxwell Snow and others have appeared in academic journals, scholarly volumes, and exhibition catalogs. Since 2010 Max has written a monthly column for Art:21 on current trends in contemporary art, and has contributed to a number of other publications, including ARTnews, Saatchi Online, The Mantle, and the Routledge Press Encyclopedia of Photography.
William Anastasi is considered one of the founders of both conceptual and minimal art, having created relevant works before the respective movements were named. He had four important early exhibitions at Dwan Gallery between 1966 and 1970. His works are held in collections that include The Metropolitan Museum of Art, New York, The Museum of Modern Art, New York, the Solomon R. Guggenheim Museum, New York, the Whitney Museum of American Art, New York, the Walker Art Center,Minneapolis, the National Gallery of Art, Washington, D.C., and the Art Institute of Chicago. In 2010 he was recipient of the John Cage Award, an unrestricted biennial grant from the Foundation for Contemporary Arts, New York. In 2011 his book The Cage Dialogues: A Memoir was published by the Slought Foundation, Philadelphia, and in 2009 an important monograph of his work was published by Galleria d'arte Emilio Mazzoli, Modena, with text by Richard Milazzo.
Charles Stuckey is a wide-ranging independent scholar, currently in charge of research for a revised catalogue raisonné of Yves Tanguy. He met Bill Anastasi and Dove Bradshaw in 1987 at the Philadelphia Museum of Art's Duchamp symposium and immediately began an ongoing exchange on topics of mutual interest, including Alfred Jarry, James Joyce, and Johann Sebastian Bach. After teaching art history at Johns Hopkins, Stuckey became a museum curator, working on major exhibitions at The Metropolitan Museum of Art, the National Gallery of Art, the Art Institute of Chicago, the Minneapolis Institute of Art and the Kimball Museum of Art. Stuckey recently publishedPollock, One: Number 31, 1950 for the Museum of Modern Art.