Xanadu: Land of Enchantment

President’s Gallery

On view from March 20 through June 02, 2017

This show explores the world of imagination residing in the playfulness of imagery as it pertains to dreams. Legends, myths, and children’s fantasies as seen in Elysiac imagery rendered with seeming innocence while simultaneously containing biting commentaries.

Politicizing Space

On view from February 2, 2017 – March 31, 2017

The architecture and art of the urban space can be used to control the lives of its inhabitants; they can restrain their movements and install hierarchies beneficial to those in power. The eleven artists in Politicizing Space critique and subvert these purportedly aesthetic and artistic gestures by reinterpreting the symbolic mechanisms of control.  Also under consideration is the age-old question of the balance of power between the art object and the viewer and the inherent competition for the domination of the given locale.

Panel Discussion :Why Do Artists and Critics Turn to Crime?

December 7, 2016, 5:30-7:30

Dr. Thalia Vrachopoulos

Jonathan Santlofer, artist, novelist, Director of the Center for Fiction’s Crime Fiction Academy.

Carter Ratcliff, art historian and critic, author of the crime-saturated novel Tequila Mockingbird.

Richard Vine, managing editor of Art in America magazine and author of SoHo Sins, a murder mystery set in the New York art world of the 1990s.

David Rodgers, performance artist, leader and chief actor of the International Center of Photography’s tour of Weegee murder sites.

“Murder, She Said”

On view November 15th, 2016-January 13th, 2017

This exhibition will explore why murder is so often a source of fascination—frequently inflected by irony and wry humor—in the visual arts today. Why are we fascinated with murder? Our bookstores, TV screens, movie houses, live theaters, and digital entertainment services all attest abundantly every day to a ubiquitous, unflagging interest in stories of violent death and its detection. Visual art, as the works assembled in “Murder, She Said” suggest, is also rife with both explicit depictions and oblique evocations of human slaughter. Moreover, the obsession prevails at every level of culture, from Dostoyevsky’s Crime and Punishment (a masterful first-person tale of an axe murder) to Jim Thompson’s starkly titled The Killer Inside Me, from Jacques-Louis David’s elegant Death of Marat to Adam’s lurid crime-scene photographs.