Distribution Partners – serie

Presents sculpture, painting, drawings, prints, and photographs from throughout the artist's illustrious career.This catalogue from the exhibition Mary Frank: The Observing Heart provides an overview of the American artist Mary Frank's illustrious career, from the early 1950s until the present. It contains examples of her wide-ranging work in a variety of media, including clay, wood, and bronze sculpture; photography; painting; drawing; and monoprinting. It includes a foreword by Anna Conlan and an introductory essay by the curator David Hornung.Part of the Samuel Dorsky Museum of Art's Hudson Valley Masters series, the exhibition presents Frank's powerful artwork from over six decades, which has always centered on the twin themes of social justice and the preservation of the natural world. An acclaimed artist and activist, Frank has been making art in her Manhattan and Hudson Valley studios for over sixty years. She is an independent spirit who emerged during the years of rising feminism in the early 1970s and has always followed a personal vision distinct from prevailing art-world fashion. Mary Frank: The Observing Heart is a gathering of the artist's sculpture, painting, drawings, prints, and photographs-a career overview of a brave artist who has never compromised her beliefs about art or life.

Redefines McEntee's place in the history of nineteenth-century American landscape painting.Jervis McEntee presents new scholarship and color reproductions that redefine McEntee's place in the history of nineteenth-century American landscape painting. The lead essay by exhibition curator Lee A. Vedder makes the case that McEntee was far more than a painter of somber late fall landscapes. He set his own course, absorbing influences of his fellow Hudson River school painters including Frederic Church, Sanford Gifford, and Asher B. Durand, while also responding to the atmospheric painting of J. M. W. Turner, the trauma of the Civil War, and the shifts in American tastes to French Barbizon painting and Impressionism. Additional essays expand the scope of McEntee scholarship. Kerry Dean Carso presents the influence of the landscape and industrial development of Rondout (later Kingston), New York, McEntee's native city. David Schuyler reappraises the art and career of this fascinating artist, who played such a pivotal role in the art and culture of his day. The catalogue also includes reprints of key texts from the rare memorial publication Jervis McEntee: American Landscape Painter (1892).

Geographical perspectives on the changing patterns of race and ethnicity in the United States.In an approach that differs from other publications on U.S. multiculturalism, Multicultural Geographies examines the changing patterns of race and ethnicity in the United States from geographical perspectives. It reflects the significant contributions made by geographers in recent years to our understanding of the day-to-day experiences of American minorities and the historical and current processes that account for living spaces, persistent patterns of segregation and group inequalities, and the complex geographies that continue to evolve at local and regional levels across the country. One of the book's underlying themes is the dynamic and complex nature of U.S. multiculturalism and the academic difficulty in evaluating it from a single viewpoint or theoretical stance. As such, Multicultural Geographies is derived from the joint efforts of selected scholars to bring together diverse perspectives and approaches in documenting the experiences of American minorities and the issues that affect them.

Explores a fourteenth-century debate over man's knowledge of God.In the fourteenth century a controversy arose in the Eastern empire between the Eastern Orthodox Theologian Gregory Palamas and a philosopher and monk from Calabria in southern Italy by the name of Barlaam. Barlaam was working on the problem of union between the Roman and Byzantine churches in the 1330s and actually acted as the representative of the Orthodox church. In his discussions, in which he repudiated the use of filioque (the addition to the Creed of the Holy Spirit proceeding from the Father and the Son), he argued for the unknowable and unapproachable nature of God. Gregory did not take kindly to what he perceived to be agnostic tendencies in Barlaam's thought, and he wrote a treatise about the procession of the Holy Spirit. However, it was particularly Barlaam's later attack on the hesychasts, a certain group of Orthodox monks, that led to a bitter debate between Gregory and Barlaam. Several basic issues were involved, centering on man's knowledge of God. The ideas that were defined in the debate by Palamas became crucial for the future of Eastern Orthodox thought.

A collection of essays on the nature of love in religious tradition and theory, inspired by Raimundo Panikkar's ecumenical embrace of Christianity, Hinduism, and Buddhism.

Shows how Sawka's experience as a political refugee, and his working method, which emphasized imagery drawn from memory, resulted in powerful works that speak of and to the universal human condition.This exhibition catalog provides insights, background, and additional content to enrich the understanding of Jan Sawka: The Place of Memory (The Memory of Place), an exhibition of works by the internationally known artist. The book begins with an essay by co-curator Frank Boyer that relates the exhibition concept to the cultural traditions and the political context within which Jan Sawka lived and worked, and discusses the nature and effects of his technical innovations as they appear in the selected works. Co-curator Hanna Maria Sawka's essay provides biographical background and detailed information about Jan Sawka's printing techniques as an introduction to an illustrated manuscript by the late artist. Never before published, the poetic commentary by Jan Sawka describes the memories he associated with each of the 36 drypoint "Post-Card" prints in the exhibition. These range from early memories to those of places along the path of his exile. An essay by the Dorsky Museum's Founding Director Neil Trager reveals Jan Sawka's ties to the founding of the Dorsky. The late curator of works on paper at the Library of Congress, Elena Millie, reflects on Jan Sawka's practice, from the viewpoint of an early champion of his work. The book amplifies the exhibition's themes of memory and place, showing how Sawka's experience as a political refugee, and his working method, which emphasized imagery drawn from memory, resulted in powerful works which speak of and to the universal human condition.

Shares the unique story of a Christmas tree farm in Poughkeepsie, New York, where, for over four decades, women artists boldly built a space where they could create community and art together.In 1970, with the advance from her book Sexual Politics, writer and visual artist Kate Millett (1934–2017) bought a run-down farmhouse on the outskirts of Poughkeepsie, New York. Originally intended as a private retreat, by 1978, in collaboration with her partner Sophie Keir, plans for a women's art colony were underway. Friends, artists, and volunteers from the Women's Movement journeyed to the Farm to renovate the barns and create living quarters as well as art studio spaces. Tomake the colony self-sustainable, Millettpurchased seventy-three acres of neighboring land; the rather unlikely crop they chose togrowwas Christmas trees.By the mid-1980s, summer residencies began, with artists working on the Farm for five-hours a day and spending the remaining time on their art practice. Millett described the art colony as "life after the revolution," a place where women could experience freedoms that the Women's and LGBTQ civil rights movements were fighting for, but that were not yet available in mainstream society. For over four decades Millett Farm was a dynamic haven where artists facing pervasive sexism and homophobia boldly built a space where they could create community and art together. This exhibition catalog tells the story of this inspiring venture in contemporary art and queer feminist activism with archival photographs, an essay by a former colonist Anne B. Keating, and a group conversation between founders of Millett Farm.

An overview of an innovative and influential arts organization of the 1970s and early 1980s.In 1969, photographer Maggie Sherwood-whose circle included notables such as W. Eugene Smith, Lisette Model, Arthur Tress, Lilo Raymond, and David Vestal-bought and renovated a houseboat where she staged photography shows that received significant critical attention. Painted purple and moored at the 79th Street Boat Basin, the Floating Foundation of Photography, as it came to be known, was not only a unique space for artists to meet and discuss their work, but also became a mobile exhibit space as it chugged (or was towed) to just about any community with a functional dock along the Hudson River. Taken together, the Foundation's collection documents the historical, political, and aesthetic contexts of the turbulent 1970s and early 80s, and this exhibition catalog includes more than 50 photographs as well as essays by well-known photography critic A. D. Coleman and exhibition curator Beth E. Wilson, a writer and lecturer in New Paltz's Art History department.

A stunning selection of paintings by Thomas Cole, Asher B. Durand, John W. Casilear, George Inness, and others, depicting landscapes, historic sites, natural wonders, and waterways of New York State.This catalog features forty-five paintings from the permanent collection of the New-York Historical Society, newly restored and available here together for the first time. From the mouth of the Hudson River, north to the Adirondacks, and west to Niagara Falls, these paintings by Thomas Cole, Asher B. Durand, John W. Casilear, Jasper Cropsey, Albert Bierstadt, and George Inness, and others depict the landscapes, historic sites, natural wonders, and waterways of New York State. The catalog also includes important essays by guest curator Dr. Linda S. Ferber, the Museum Director of the New-York Historical Society and one of the country's preeminent scholars and authorities on the art of this period, and art and architectural historian Dr. Kerry Carso, Associate Professor of Art History at SUNY New Paltz.This catalog is the third in a triology of publications and exhibitions produced at the Samuel Dorsky Museum of Art celebrating the Hudson River School of painting. The exhibition and catalog are part of Art and The River, a series of exhibitions, publications and events that celebrate the Hudson-Fulton-Champlain Quadricentennial, which commemorates the 400th anniversary of Henry Hudson's voyage of discovery of the Hudson River.

Over forty works spanning the career of pioneering painter, filmmaker, writer, and performance/installation artist Carolee Schneemann.Over forty works spanning the career of pioneering painter, filmmaker, writer, and performance/installation artist Carolee Schneemann are featured in this edition of the Dorsky Museum's Hudson Valley Masters exhibition series. Schneemann's multidisciplinary, deeply personal investigations explore the incomprehensibly complex dynamics between mind and body. As Brian Wallace states in his introduction, "What distinguishes Schneemann's investigations-and what characterizes the varied and interconnected works that constitute them-is their insistent challenge to powerful cultural mechanisms that perpetuate (and rely upon) this mind-body split. These mechanisms include epistemological positions that value thought over the senses... [and] also involve related positions-in ethics and aesthetics-that favor the visual and the abstract over the physical and personal and involve the gender-b(i)ased notions of psychology, behavior, and history that waves of feminisms have sought to describe and challenge."

Offers an ironic, upstate New York take on the Olympics, performance, and the risks and rewards of the creative life.This exhibition catalog documents the series of video and installation works by Tim Davis entitled The Upstate New York Olympics. Combining the artist's ongoing interests in performance, photography, sculpture, and poetry, and by turns uncanny, bold, ridiculous, illegal, and downright dangerous, Davis's "events" (including "Flag Pole Grapple," "Lawn Jockey Leapfrog," and "Stream Luge") both document and at the same time powerfully comment on the artist's concerns with the fundamentals of performance art, personal expression, regionalism, and the risks and rewards of the creative life.

Explores the work and philosophy of renowned industrial designer Russel Wright, whose former home in the Hudson Valley—Manitoga—is now a national historic landmark.Winner of the 2014 Award for Excellence presented by the Greater Hudson Heritage Network This catalogue was published by the Samuel Dorsky Museum of Art at SUNY New Paltz in conjunction with the exhibition Russel Wright: The Nature of Design, curated by Donald Albrecht and Dianne Pierce, on display at the Dorsky from August 29, 2012 through March 10, 2013. The exhibition and catalogue explore the work and philosophy of renowned industrial designer Russel Wright, focusing on one of Wright's most pervasive preoccupations, which also has much relevance today: the relationship of humankind with the natural world. While examining Wright's entire career from the 1920s through the 1970s, the catalogue focuses on his work between 1945 and 1968, when Wright increasingly designed in experimental and innovative ways. A special component of the exhibition-Man and Nature in the Hudson Valley, organized by Kerry Dean Carso-provides a historical context for Russel Wright's designs and his interest in natural forms.The fully illustrated catalogue features essays by co-curators Donald Albrecht and Dianne Pierce and by Kerry Dean Carso. The catalogue also includes images and text from a slide talk developed in the 1960s by Russel Wright to promote his philosophy of modern living and the importance of maintaining a close relationship to nature.

This catalogue introduces readers to Malian photographers Malick Sidibé and Seydou Keïta and others whose images visualize an influential form of post-colonial African identity.The influence of Malian photographers Malick Sidibé and Seydou Keïta has been widespread since their emergence on the international scene in the 1990s. Their intimate black and white photos integrate pattern, decoration, portraiture, and iconography in entirely new ways, bespeaking a new post-colonial African identity. This catalogue features an essay and artist biographies that survey the major practitioners and innovators in Mali. Designed by artist François Deschamps, the book accompanies an exhibition of vintage and recent prints by Keïta and Sidibé, as well as Hamidou Maïga, Abdourahmane Sakaly, and Tijani dìgún Sitou, curated by Daniel Leers at the Samuel Dorsky Museum of Art.

The first scholarly exhibition catalogue of the work of Eugene Speicher (1883-1962), one of the foremost American realists of his generation, who was closely associated with George Bellows, Robert Henri, Leon Kroll, and Rockwell Kent.Called "America's greatest living painter" by Esquire magazine in 1936, Speicher (1883–1962) was one of the foremost realists of his generation, closely associated with George Bellows, Robert Henri, and Leon Kroll. The exhibition catalogue examines Speicher's oeuvre, including his artistic development, subject matter, choice of models, influences, and the critical reception of his work. The catalogue contains three essays. The primary essay by curator Valerie Ann Leeds consists of a general assessment and critical review of Speicher's career and his place in the art world of his day. Another essay authored by Tom Wolf explores Speicher and his relationship to Woodstock. A third essay, by Daniel Belasco, surveys Speicher's drawings. The catalogue is the first to present a significant body of Speicher's work in color.

How a collective of artists, storytellers, and activists exploited the new technology of portable video for creative and political purposes.Videofreex surveys the history and mythology of the Videofreex, a collective of artists, storytellers, and activists who produced and disseminated alternative media across New York and other US communities during the 1970s. The Videofreex exploited the new technology of portable video as an emerging medium for creative expression and as a democratic tool for disseminating independent points of view in a pre-digital age. By establishing the first pirate television station in the United States, the Videofreex created a base for media education and training as well as a media art center hosting local and international visitors. Many of the core members of the Videofreex are active today as artists and media makers.Videofreex includes essays examining the historical and cultural scope and legacy of the Videofreex; essays surveying selected art installations by the Videofreex; notes on the videotape preservation of the Videofreex Archive; reflections on one of the author's work with Wave Farm, a contemporary Catskills-based media arts organization with a parallel history to the Videofreex; and essays by Videofreex founding members, reflecting on their collective contributions to art, technology, and community engagement.

Redefines McEntee's place in the history of nineteenth-century American landscape painting.Jervis McEntee presents new scholarship and color reproductions that redefine McEntee's place in the history of nineteenth-century American landscape painting. The lead essay by exhibition curator Lee A. Vedder makes the case that McEntee was far more than a painter of somber late fall landscapes. He set his own course, absorbing influences of his fellow Hudson River school painters including Frederic Church, Sanford Gifford, and Asher B. Durand, while also responding to the atmospheric painting of J. M. W. Turner, the trauma of the Civil War, and the shifts in American tastes to French Barbizon painting and Impressionism. Additional essays expand the scope of McEntee scholarship. Kerry Dean Carso presents the influence of the landscape and industrial development of Rondout (later Kingston), New York, McEntee's native city. David Schuyler reappraises the art and career of this fascinating artist, who played such a pivotal role in the art and culture of his day. The catalogue also includes reprints of key texts from the rare memorial publication Jervis McEntee: American Landscape Painter (1892).

The catalogue for a two-part exhibition that presents more than sixty compelling photographs—including prints by Eugène Atget and Berenice Abbott—exploring major themes in modern photography, donated by leading photography specialist and dealer Howard Greenberg.The history of photography concerns its materiality as much as its imagery. The Samuel Dorsky Museum of Art at the State University of New York at New Paltz is firmly engaged with this history of reinvention. Nearly half of the collection came to the museum from a single source: photography specialist and dealer Howard Greenberg. On the Street and in the Studio documents the enormous contribution made by Greenberg in building a collection of nineteenth- and twentieth-century photography at the Dorsky Museum. The catalogue includes an essay by curator Daniel Belasco that surveys the strengths and characteristics of the collection. An interview with Howard Greenberg sheds light on how he collects photographs and chooses to present them to institutions. The portfolio section features images of both the photographic images and reverse sides of nineteen prints in the collection by Eugène Atget, Berenice Abbott, James Van Der Zee, Margaret Bourke-White, and others, revealing how there is as much relevant information on the back as on the picture itself, an insight made available for students and the general public.

Documents the groundbreaking art of nationally renowned metalsmith Myra Mimlitsch-Gray.In/Animate surveys the past decade of work by Myra Mimlitsch-Gray, internationally renowned metalsmith and head of the Metal Program at SUNY New Paltz. Curated by author Akiko Busch, the exhibition explores a variety of artistic processes using iron, copper, brass, silver, and enameled steel. Mimlitsch-Gray's domestic artifacts suggest a coalescence of body and thing, conveying the mutability of the animate and inanimate and reflecting the intimacy between people and the objects they use. A spoon could be a lip, or a dangling twist of fabric, a vein. Over forty meticulously crafted works contribute to the contemporary conversation about how household objects express ideas about presentation, utility, and class.

Scholars and practitioners explore American government performance management offering diverse views.This volume is a rich compendium of experience and diverse views about systems for introducing greater rationality in American governmental systems. With contributions from skeptics as well as proponents, it adds to the debate over the utility of performance management in American government. Focusing on the Government Performance and Results Act of 1993 (GPRA), the authors also analyze performance budgeting and management in states and local governments.Exploring the performance management movement, the book sets out the point and counterpoint between critics and supporters and provides a common vocabulary for discussion. Steps to improve performance measures are outlined, as well as a discussion of states' progress in managing for results. New survey data reporting on states' performance budgeting is also included.The book reports on GPRA implementation at the Social Security Administration, advocates linking evaluation research with performance management systems, and discusses the limitations of performance incentives in the 1982 federal job training law.Practitioners address the New York City Police Department's innovative "COMPSTAT" system for performance management, and review the recent history of performance budgeting in Florida. Also included are case studies from research scholars on benchmarking for Empowerment Zones, performance funding for higher education in the states, performance management in the Temporary Assistance for Needy Families (TANF) program under the 1996 national welfare reform act, and performance issues in Medicaid, food stamps, and children's health insurance.

Examines Steven Holl's intricate and distinctive process of making architecture through approximately one hundred models, related sketches and other studies created for nine recent projects.This publication, and the exhibition at the Samuel Dorsky Museum of Art that it accompanies, investigates the architect Steven Holl's unique process of making architecture, the foundation of which is drawing, almost always by hand. The publication includes an extensive critical essay about Steven Holl and his process by exhibition curator Nina Stritzler-Levine, and additional essays by Kerry Dean Carso and Peter Olshavsky. The projects section that follows these chapters includes descriptions of the eleven projects that are the focus of the exhibition; the exhibition checklist, which corresponds with the organization of the installation; and photographs of the installation.