#everson museum of art

[allthedesiredusernamesaretaken]

... spiral ...

This self-supporting spiral staircase made of concrete is a focal point at the Everson Museum of Art in Syracuse, New York. Chinese-American architect I.M. Pei designed the Modernist structure in the late 1960s and the building is described as a work of art in itself. (Photo: Pei, Cobb Freed, circa 1969)

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[dromik]

Everson Art Museum.

[ceofjohnlennon]

NEW close-up of John Lennon at Yoko Ono's art exhibition, This Is Not Here, in Everson Museum at Syracuse University, October, 1971.

[recherchestetique]

This self-supporting spiral staircase made of concrete is a focal point at the Everson Museum of Art in Syracuse, New York. Chinese-American architect I.M. Pei designed the Modernist structure in the late 1960s and the building is described as a work of art in itself. (Photo: Pei, Cobb Freed, circa 1969)

[formlab]

Everson Museum of Art by I.M. Pei

[theboxblonde]

Mr. I.M. Pei’s

EVERSON MUSEUM of ART

Syracuse, NY

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The Everson Museum of Art has the distinction of being the first museum commission for world renowned architect I.M. Pei.

[worldsandemanations]

the Everson Museum of Art in Syracuse NY

[roseartart]

Bradley Walker Tomlin, Tension by Moonlight, 1948 Oil on canvas, 32 x 44 in. Collection: Everson Museum of Art, Syracuse, NY

"During most of his career, Tomlin painted lyrical Cubist still lifes while teaching at Sarah Lawrence and assorted boys’ schools. In the mid-1940s, he was influenced by the Abstract Expressionist painter Adolph Gottlieb. Experimenting with the semiautomatic methods used by Gottlieb and many Abstract Expressionists, he created graceful works, such as Tension by Moonlight (1948), that reflect his interest in Japanese calligraphy. He soon regarded such aesthetic freedom with suspicion, however, and began to paint more premeditated pieces, such as Number 9: In Praise of Gertrude Stein (1950), in which calligraphic and typographic shapes form a floating, but controlled, network over the entire surface of the canvas. During the remaining years of his life, he produced many paintings in subtle variations of this style, imbuing all his works with a distinctive melancholy." (via)

[gregdotorg]

Y'all people are chopping up rare copies of Sturtevant's 1973 Everson Museum exhibition catalogue—which was designed to look like it a sheaf of Xeroxed pages—and forging the artist's signature on them, and selling them as individual prints.

Don't do this to books, and don't be suckered by auction houses that have somehow managed to corner the market on "signed" "original" "offset prints" for dozens of unrelated artists.

images, top: the cover of Sturtevant's 1973 catalogue for her show at the Everson Museum in Syracuse, concept by the artist, design and production by Judson Rosebush. 104 pages, offset printed on one side, 8.5 x 11 in. paper. image via Tim Byers Art Books. bottom: two pages from Sturtevant's catalogue, one of her and Rauschenberg posing as Adam and Eve, and the other of a quartet of four of her Warhol Marilyn paintings, cut out and fake-signed, and put up for sale as authentic prints.

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[kolajmag]

COLLAGE ON VIEW

No Roses in December

David Edward Johnson at the Everson Museum of Art in Syracuse, New York, USA through 31 March 2024. “No Roses in December” features a series of works in which David Edward Johnson explores his father’s diagnosis of and descent into dementia. Johnson pairs his own photographs of bleak West Texas vistas and abandoned adobe dwellings with abstract mixed media painting, vintage papers, found objects, and other ephemera as a way to evoke fragmented shards of memory that mimic his father’s state of mind. The series title references a poem by Geoffrey Anketell Studdert-Kennedy that was popularized in a speech about courage by Peter Pan author JM Barrie: “God gave us memory so that we might have roses in December.” Without memories, we have no blooms in the chill of the December of life. Read More

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Kolaj Magazine, a full color, print magazine, exists to show how the world of collage is rich, layered, and thick with complexity. By remixing history and culture, collage artists forge new thinking. To understand collage is to reshape one's thinking of art history and redefine the canon of visual culture that informs the present.

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[misspaoline]

Yoko Ono and John Lennon in Syracuse for Yoko's "This is not here" exhibition at the Everson Museum of Art in 1971

[tigerstrikesasteroidnetwork]

NY / Ryan Patrick Krueger: Documents from the Closet

Courtesy of the Artist and Rivalry Projects, Buffalo, NY

Ryan Patrick Krueger: Documents from the Closet August 5 - September 10, 2023 Opening reception: August 5, 2023, 5-8pm

Tiger Strikes Asteroid New York is pleased to present Documents from the Closet, a solo installation of work by Ryan Patrick Krueger, curated by Samantha Box. This exhibition marks Krueger’s New York City debut, and is accompanied by a curatorial text written by Mary Lee Hodgens, artist and former Assistant Director of Light Work, Syracuse.

Documents from the Closet

Mary Lee Hodgens For their ongoing project, Documents from the Closet, artist Ryan Patrick Krueger works with a personal collection of LGBTQ+ archives, vernacular photographs, and ephemera to tell a story about grief, loss, and courage. The artist weaves together two narratives, an unflinching effort to understand personal losses and identity through an exploration that begins in the historical oppression of gay men.

In the gallery, Krueger props seven-foot-tall pine boxes precariously against the walls, balanced atop piles of dirt or sand. In size and shape, the boxes feel reminiscent of monuments, gravestones, or coffins. Each box contains a history lesson: formally elegant collages of monochromatic black-and-white shapes that Krueger punctuates with flourishes of pink, red, and the bright yellow of shipping envelopes. Collage is about finding new meaning in the juxtaposition of disparate elements. For Krueger, this process of isolating, truncating, or layering visual information allows for dialogue with the past while telling their own newer story.  

In 2011, Krueger began an eBay search using phrases such as “gay interest” and “vintage gay photograph” to hunt down photographs depicting what they describe as “tenderness, friendship, intimacy, and true love.” These photographs, including tintypes and photo booth portraits, show us men—now long gone—embracing or sometimes just mugging for the camera. Played out decades ago, these fleeting moments of connection and intimacy now feel furtive. Krueger allows us to see their process by including eBay receipts and the handwritten envelopes in which a network of other collectors of “gay interest” move and share these documents. We grieve these lives with the artist, who asks us to consider both the complexities of living a double life in pre-Stonewall America and our own human need for connection and community.

Krueger references many iconic gay artists, activists, and organizations here, including Act Up, David Deitcher, Essex Hemphill, Hal Fischer, Jonathan Ned Katz, Marlon Riggs, the Mattachine Society, and David Wojnarowicz. The artists also layers many symbols of the struggle over the documents, including a red tie, pink triangles, a locket containing the ashes of a childhood best friend, red boxing gloves, and clippings of classified ads from the pages of a defunct 1990’s LGBTQ+ newspaper.

What emerges is that Krueger’s embrace of LGBTQ+ American history allows them to stand on a timeline that faces forward. Although each box feels final and heavy with grief, there is also a sense of triumph. In acknowledging those who’ve gone before, Krueger transforms the boxes into protest banners. Furtiveness falls away, and in its place comes acceptance and yes, pride. As artist and AIDs activist David Wojnarowicz said, “To make the private into something public is an action that has terrific ramifications.”

Ryan Patrick Krueger holds a BFA in Photography from Pacific Northwest College of Art in Portland, Oregon, and was formerly Digital Services Coordinator for Light Work, a non-profit artist-run photography organization at Syracuse University. Krueger has curated exhibitions and held shows nationally including Documents from the Closet at the Everson Museum of Art (Syracuse, NY), On Longing at MONACO (St. Louis, MO), Response Response (with Linda Kliewer in Portland, OR), and Queer Moments: Selections from the Light Work Collection (Syracuse, NY). Most recently, Krueger exhibited work in the 2022 FotoFest Biennial, If I Had A Hammer, (Houston, TX), and appeared in Aperture, Art in America, and Sixty Inches From Center.  

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(*)From January 18 through 23, 1972, cellist Charlotte Moorman and artist Nam June Paik performed Concerto for TV Cello and Videotape and TV Bed at the Everson Museum of Art. For Concerto, Moorman played the video cello, an instrument designed by Paik and constructed out of television monitors, and for TV Bed she played a traditional cello while lying atop an installation of monitors resembling a bed. Paik was on hand to explain his Paik-Abe Video Synthesizer, the first machine designed to purposefully distort video feeds across multiple television screens. On performing with Paik and the risks involved in doing so, Moorman told the Syracuse New Times, “All of Paik’s pieces are dangerous. Performing the video cello at the Everson, you’d wonder why I don’t get electrocuted with all those thousands of wires.” Charlotte Moorman grew up in Little Rock, Arkansas, where she began taking cello lessons at the age of ten. Moorman studied music at the Juilliard School in New York, during which time she met prominent musicians and artists, including Yoko Ono, with whom she later collaborated on a performance called Cut Piece. Ono inspired Moorman to experiment with her music and performance, and Moorman ultimately founded the Annual Avant Garde Festival of New York, a festival wholly dedicated to the avant-garde in New York, featuring hundreds of artists from around the world. Today she is remembered as a groundbreaking and accomplished musician and performance artist. Nam June Paik was born in Seoul, South Korea and studied at the University of Tokyo before receiving a degree in musicology at the University of Munich. Paik is widely considered to be a founder of video art and was an early leading figure in the medium. He showed work in exhibitions across Europe and Asia before travelling to the United States in the early 1960s, when he began working with video.

Moorman and Paik collaborated frequently throughout the 1960s and 1970s. Though often controversial, and sometimes criticized for vulgarity, their collaborations attracted a global audience. Several of their performances made headlines, most notably Opera Sextronique, in which Moorman played the cello while topless. The performance inadvertently violated an indecent exposure law, and sparked a legal case in New York regarding censorship in art [1]. Other collaborations included Sonata No. 1 For Adults Only, in which Moorman played cello while stripping down to a bikini, and a performance on The Tonight Show with Johnny Carson, where Moorman played one of Paik’s compositions and half-way through, jumped into a tank of water, finishing the piece soaking wet. Paik hoped their collaborations proved that sexuality not only belonged in fine art, film, and television, but also in music, saying “Music history needs its D.H. Lawrence, its Sigmund Freud.”

-Paige Nelligan, Curatorial Intern

[1] Alexxa Gotthardt, “Charlotte Moorman Is Finally Remembered as More Than ‘The Topless Cellist,’” Artsy.net, September 4, 2016.

(*) via : From the archives: Charlotte Moorman and Nam June Paik , Everson Museum of Art

Charlotte+Moorman+and+Nam+June+Paik+moorman+paik