Teaching Gallery
 
 
 
 
 
 
Celebrating Ten Years - The Teaching Gallery
Artist Resumes and Statements

JAMES CULLINANE
Brooklyn, NY

Education
BFA The Cooper Union School for the Advancement of Art and Science, 1979
Ford Travel Scholarship, Spain, 1978

Recent Exhibitions
July 2002 AIM 22, The Bronx Museum, New York City
September 2001 Brooklyn!, Palm Beach Institute of Contemporary Art, Palm Beach, FL
September 2001 Material World, Susquehanna Art Museum, Harrisburg , PA
May 2001 Pastor & Collux, One Person Show, Rice University Art Gallery, Houston, TX
January 2001 Work, (installation) University Art Museum, SUNY, Albany

Statement
“Jumpswitchfrieze”

  1. The Grid and What’s on it: There are 1,260 three by five and one half inch white metal cards installed on a cement wall that form the support. These monads form a portable, interchangeable field that is approximately four by fifty feet. Each card hangs by a #4 black pan head screw. Draw across this field-grid support in black paint are appropriated images of boys playing a game of belly-flop leap frog. This image of stout little brown shirts comes from a Falangista “Physical Fitness” primer circa 9145 used for indoctrination in Franco controlled Spain. They are drawn in a beautiful illustrative style that is simple lucid and didactic. These drawings were diagrams for the exercise of control through controlled exercise. Having said that, the work is not some post facto comment on fascism. Most viewers will have no idea of the source material’s origins. This frieze of boys clambering above the beige neutrality of the computer work stations disconcerts for other reasons. These reasons may have as much to do with the viewers sense of the work involved in constructing the piece as the scale and content of the drawn images.

  2. The Generation of the Image Virus: The source image of three boys at play is projected onto the support from dead center. It is traced in black onto the white support. The image forms where the light of the projector isn’t. Black paint as a trace of darkness from history’s dustbin-labyrinth. The projector is then pivoted thirty degrees off the central axis and drawn again. This projection pivot is then repeated a third time from the center of the field outward. Traced three times in each direction from center, eighteen figures are generated forming a kind of Rorshach composition that lays out the psychological leakage at the source of these diagrams. What do you see in the inkblot?

  3. What the Cleaning Woman saw and said: As I work on the scaffold in the library on “Jumpswitchfrieze” close to midnight one evening, I hear someone behind me say “What’s that about… aggression?” From the overlook opposite and above the piece stands the cleaning woman, hands on hips with furrowed brow, looking hard and square at the piece before her.

  4. What the Title Says: The title of the piece is formed by a kind of compound verb. “Jump”-The action of the figures within the composition. “Switch” as in a circuit or synapse. And “Frieze” as both a sculptural relief within an architectural setting, and the verb “freeze” as in frozen action, movement arrested, or a cop command. A compound verb title because verbs are process embodied in language. “Jumpswitchfrieze” as a kind of frieze enacted in letters.


CHRISTA DONNER
Cleveland, OH

Education
1995-1998 Cleveland Institute of Art, Cleveland, OH
Five-year Bachelor of Fine Arts Degree, Drawing
1997 New York Studio Program, New York, NY
Five-month residency program through CIA
1993-94 Memphis College of Art, Memphis, TN
Full-time student, transferred credit to CIA

Selected Exhibitions
2002-2003 Comic Release: Negotiating Identity for a New Generation, Carnegie Mellon University, Pittsburgh, PA traveling to The New Orleans Contemporary Arts Center, New Orleans, LA; University of North Texas, Denton, TX; Polk Museum of Art, Lakeland, FL.
2002 Christa Donner: Backroom, Post Gallery, Los Angeles, CA
  Body Prolitic, Delaware Center for the Contemporary Arts, Wilmington, DE
  Flat File Show, POST Gallery, Los Angeles, CA
  Bitch School: Artists Explore Our Attitudes Toward Strong Women, the Longwood Arts Project, Bronx, NY (wall drawing)

Statement
Pass It On

Most of my artwork deals with issues of womens’ health, body image and identity. In my project for Hudson Valley Community College, I decided to create a site-specific work dealing with the history of women students studying science, nursing, dentistry and medicine at the school: individuals whose identities are directly linked to health and the body, among other things. To make the work site-specific in its content as well as its location, I researched the college’s history online, and spent time in the library sifting through old yearbooks and images from the college’s archives to find source material. It was exciting to find images of Claudell Dwyer, the first woman to graduate from Hudson Valley Community College, sitting among her male peers in 1957, just as it was to see yearbook photos of male students beginning to appear in the female-dominated departments of nursing and dental hygiene a few decades later. The resulting wall drawing is an exploration of the interconnectedness between students in these fields over the course of fifty years. ”Pass It On” is ultimately about the legacy of information linking one generation to the next.


CHRIS DUNCAN
Canajoharie, New York

Education
1978 Certificate, New York Studio School of Painting and Sculpture, New York City
1975 Skowhegan School of Painting and Sculpture, Skowhegan, ME
1975 B.A. English cum laude Colby College, Waterville, ME

Solo Exhibition
2003 Mandeville Gallery Nott Memorial Union College, Schenectady, NY
  RICO Gallery Brooklyn, NY
1998 Mandeville Gallery Nott Memorial Union College, Schenectady, NY
1997 University Gallery Nanjing Normal University Nanjing, PR China
  The Vertical Gallery Rensselaer, Polytechnic Institute,Troy, NY

Statement
The Rooster
Eastern Shore

In my work of the past 10 or so years I’ve been exploring how a sculpture or drawing comes to a stopping point, a place in the making where a balance is struck between the process and its product. The work is non-representational, but I want it to be able to refer to things in the world, to recall physical, emotional and visual experiences. In the sculpture I look for the kind of presence that is associated with formal ideas about what sculpture is – the overall form, the way it articulates space and responds to gravity, the interaction of materials. I begin by working up an underlying structure of steel that lets me generate forms quickly and improvisationally. I add concrete over the steel to develop form, volume and surface while keeping the original drawn steel line. Later I go back and remove material to uncover parts of the original structure. The evidence of this making process reveals the thinking process. I look for the form or way of ordering that will animate the piece, but I’m also interested in finding a boundary where this order verges on coming apart. In each piece I combine a fascination with the power of sculpture as object and a concern for the making process as a means of discovery.

I like siting the work outdoors because in a sense the sculptures reflect natural forces in the way they emerge, recombine, and dissipate. Siting these two pieces together creates an opportunity for the similar but independent works to talk to one another and to the natural and built environment around them. The site at Hudson Valley Community College is perfect, a space that’s at once open and intimate, with a mixture of landscape and architecture that speaks to both the gestural and the structural aspects of the sculpture. It creates a new situation, making the work more about context and less about internal relationships.

My materials – steel, wood, plasters and cement, found objects, wax modeled for bronze casting - - allow an immediacy in the working process that is important to me. The sculptures are abstract, and though I often associate particular pieces with a certain set of emotions or memories, they are not tied to a specific meaning. The pleasure or the impact is intended to be visual. The materials and process set certain limits; but within these limits, when I’m making a sculpture, I don’t have a fixed idea about how it should turn out. I respond mainly to the way it looks, the way it feels. The pieces themselves are the notes to, and results of, that process of looking and responding.


ANNA DYSON
Averill Park, NY

Architectural Practice
2000 - Present MATERIALAB
Co-founder of research entity for interdisciplinary research in architecture
-MoMA /PS1 Young Architects Series 2001 Finalist
1998 - Present Design Research Collaboration with the Departments of Material Science
and Mechanical Engineering, Rensselaer Polytechnic Institute
1997 - 1998 Byrns, Kendall & Schieferdecker – BKS/K, New York, NY
Project Designer: New York Hall of Science, Chemistry Laboratories,
Brooklyn Heights Synagogue, Duane Park Lofts
1996 - 1997 Oggi Architectural Products, New York, NY
Collaboration with manufacturers on the design, development and representation of experimental products and materials researching ecologically innovative methods (Manufacturers: Glass Tech – crushed glass-concrete’: Bosley Inc – Spray Metal; Feragallo Group – Lenticular surfacing)
1996 Project Designer: Public Works Water Treatment Facility, Joinville-le-Pont.
Publications: Techniques et Architecture, Le Moniteur, Architecture
d’Aujord’hui

Project Designer: College de Thoissey, South-western France
Publications: Le Moniteur, Architecture d’Aujourd’hui
1994 - 1995 Francois Gruson, Architecte, Paris, France
1993 Yale Building Project, Habitat for Humanity, New Haven, CT
Design/Build – Single family house, Publications: Progressive Architecture, Design Build

Statement
Materialab – Project Statement.

“Amphibia” is an ongoing research into the relationship between human movement and flexible space. Using emerging digitized manufacturing techniques, folding surfaces are created with the intent to allow for a fluid and dynamic spatial condition, one that can effortlessly move and adapt itself to changing spatial requirements. The work is part of a series of experimental investigations into notions of a flexible sustainability that is responsive to the increasingly nomadic and fleeting aspects of contemporary life.


JEANNE FLANAGAN
Delmar, NY

Outdoor Sculpture
2001 “Contemporary Sculpture at Chesterwood,” Chesterwood Museum, Stockbridge, MA Catalogue, photo. Curated by Linda Shearer, Joe Thompson, Rebecca Reynolds, Janis Keane Dorgan.
1999 “The Amoureuse View of Venus,” a site specific installation in two parts, private collection, Salt Lake City, Utah.
1998 “Contemporary Sculpture at Chesterwood,” Chesterwood Museum, Stockbridge, MA Curated by Rebecca Bernstein, Catalogue, photo.
1998 “Sculpture in the Park,” Berkshire Botannical Garden, Stockbridge, MA; sponsored by the Renaissance Guild. Curated by Ann Jon. Brochure.
1997 “Re-Vision: Artworks with History,” Rensselaer County Historical Society, Troy, NY. Curated by Sharon Bates. Brochure, photo.

Statement
Oozula, 2003

Oozula is a hybrid. The sculpture partly evolves from rushing water, cascading hair, draped garments and shifting views between foreground and background. It alludes to natural forms in situ yet disparate references reinforce the ambiguity.

I tend to reflect on my work long after it is completed, as a means to explore the form within the form, turning inside out. Drawing is an important part of my process. I think of the slate sculptures as drawings or, in three dimensions, as ground reliefs or outcroppings. Each piece of slate represents a mark. The entire form is built up from broken lines that are constructed together to create a topographical image that is shaded or modeled by light and shadow, and changing weather conditions. So the sculpture itself becomes a mark on the landscape, one that is both delicate and subtle in appearance.

My process is laborious and repetitive. I start out with tons of slate of varying sizes. I have a drawing that delineates the contours and perimeters of the sculpture, and that is scaled on a grid to the exact dimensions so that I can place it in the same way in the ground. Then I lay out the major axis lines of the piece. This is done with the slate. Each piece is hammered upright into the ground about three inches deep with overlapping edges to form a continuous line. The surface edges are ground and smoothed with power tools to complete the sculpture.

Although I rely a lot on drawing to work through my ideas for sculpture, I have more recently begun to use the computer. I scan and manipulate details of images of my sculpture in Photoshop. In this way, the computer simply becomes another tool or medium for me to exploit and it allows me to work with the exact representation of the sculpture. But I always return to the drawing process to resolve the final form.


THOMAS LAIL
Kinderhook, New York

Education
1991 Master of Fine Arts, University at Albany, State University of New York
1989 Bachelor of Science, The College of Saint Rose, Albany, New York

Selected Exhibitions and Installations
2003 Sculpture: A Matter of Soft and Hard, curated by Anne Ellegood and Rachel Gugelberger,
The Artists Alliance, New York, NY.
  Thomas Lail: Cut Drawings, organized by Anna Dyson, Green Gallery, Rensselaer, Troy, NY
2002 Site/Non-site: Thomas Lail and Karen Mirza, Goliath Visual Space, Brooklyn, NY
  The Brewster Project, curated by Sara Reisman, Brewster, NY
  Night of 1000 Drawings 2002, Artists Space, New York, NY

Statement
Pane Reflect for Silent Fringes

Notes for Pane Reflect:

1. Site as residuum- unattended remainder of space- Smithson’s entropic (silent) fringes
2. Architecture as found material- existing marker- of site

boundaryareasofnothingresiduumemptiededgeslimitlinesspacesinbetweenperipheryresidue

The built = tracings of reformulated geographies. Markers that insert or sign other geographies in site/ residuum (political, economic, social)/ dialectical exam

Markers reflected fragments of trajectories:
through space,
time
economies
information

Unhinged bracket of space, diagrams of twisted systems
Lines of mobility and access, in-between commute + infolink

Blindspots (mirrored) articulated through generative interferences

Countersite: “The so-called void of contemporary urban space is already full- charged with economic, political and cultural meaning” Albert Pope


PAUL MAUREN
Delmar, NY

Education
1975 Master of Fine Arts, Sculpture
Eastern Michigan University, Ypsilanti, Michigan
1973 Bachelor of Fine Arts
Eastern Michigan University, Ypsilanti, Michigan

Selected Exhibitions
2002 “40 Artists 40 Miles” The Arts Center of the Capital Region, Troy, NY
Curator, Gina Occhiogrosso
2002 “Haven” an exhibition documenting artist residency programs in the northeast, The Arts Center of the Capital Region, Troy, NY. Curator, Gina Occhiogrosso
2001 Sculpture Space, NYC Art Auction, Elizabeth Foundation, New York, NY
1993 - 2001
1988, 1986, 1983, 1981
Faculty Exhibitions, The College of Saint Rose, Albany, NY
2000 “Formations” Albany International Airport, Group Sculpture Exhibition, Albany, NY

Statement
'22Links"

The maiden voyage of the Queen Mary from Southampton to New York occurred on May 27, 1936. By the time of her last great cruise in October of 1967, she completed 1001 crossings of the Atlantic. The Cunard Line employed countless images and statistics to reinforce the fact that their ship was the fastest and largest vessel ever built. At 1018 feet in length it surpassed the height of the Eiffel Tower by 34’. Its 1 1/4 " thick hull plates were fastened with over 10,000,000 rivets. Placed in a heap they would make a pyramid totaling 25,000 cubic feet.

Keyed to a lower bass "A", the sirens of the Queen Mary could be heard at a distance of at least 10 miles. The reverberations keep on going and could be detected from 50 to 100 miles away. At a cruising speed of 28.5 knots the 81,237-ton ship with 3131 passengers and crew consumed one gallon of fuel for every 13 feet of travel.

"22 Links" is the second of two sculptures originating from my interest in a photograph of the forecastle deck of "Queen Mary" taken by Stewart Bale in the late 1930’s. The photograph includes a view of the exposed anchor chains which rise out of the hull and rest on two parallel rails for a distance of 22 links per rail before descending back into the ship and eventually connecting to the two 16 ton anchors. Each link in the chain is 24 1/2 inches long, by 14 3/4 inches wide and made from steel 4 1/8 inches thick. Individual links weigh approximately 225 pounds that form a 150-ton chain. The original steel chain was capable of withstanding a strain of nearly 700 tons." 22 Links", is an accurately scaled reconfiguration of one section of anchor chain. Cast in a material of minor tensile strength, the elevated cement chain lies inert, a "fossilized" image with no discernible beginning or end. In this context, the iconographic and structural vulnerabilities are emphasized.


EDWARD MAYER
Delmar, New York

Born 1942 in Union, New Jersey
Professor of Art, University at Albany, State University of New York

Education
1966 MFA University of Wisconsin; Madison, Wisconsin
1964 BA Brown University; Providence, Rhode Island

Individual Exhibitions/Installations
2000 “Twin Peeks,” commissioned for Albany International Airport, Albany, NY
1999 Rhode Island College, Providence, RI
1998 Weston Art Gallery, Aronoff Center, Cincinnati, OH
1997 University at Albany Museum, Albany, NY
  Chidlaw Gallery, Art Academy of Cincinnati
1996 Binghamton University Art Museum, SUNY, Binghamton, NY
  Foreman Gallery, Hartwick College, Oneonta, NY
  Exquisite Corpse, Burlington, VT

Statement
Line (ed)

Steel wire lines welded into grids, formed into planes, curved into cylinders, stacked to make towers, grouped into fours, clustered and held in by chrome circles. Three groups of four circles contain the transparent cylindrical columns held together with zip ties, sited in front of the window wall that reach toward the ceiling, and which reference the rhythms, surfaces and modules of the space they inhabit and modify.

The formality of the arrangement is intentional and purposely straightforward. Line (ed) uses found and assembled units in multiple quantities, which repeat and build on each other to form large-scale structures that blur the lines between architecture, design and sculpture. The repetition of module reveals the familiar and the obvious and points out a cool sameness in our environments and activities that is both reassuring and unnerving.

All arrangements are provisional.


KAREN MIRZA
London, England

Education
1995-97 MA – Royal College of Art
1992-95 BA Honours 2:1 – Visual Arts – Camberwell College of Arts
1990-91 Foundation Course – Open College of the Arts

Exhibitions
“ Non Places” – Solo show. Marble Arch subway intersection London. 11th November 1999. Presented as part of Architecture Week, sponsored by the Arts Council of England. Site specific film and sound installation. Other outputs – single screen artwork distributed by the Lux.

“Whitechapel Open” – Arbutus Street Studio, April 1998. Title of exhibit “Virtual Space” 16mm black & white film installation. Silent.

“Actual Space” – group show Lower Gullbenkian Gallery, RCA 18th – 30th June 1997. Site specific film loop and sound installation. 16mm black & white print and 4 separate continuous audio tracks.

“It is better to live in a state of impermanence than one of finality” – Solo show. The Blue Room. The Royal College of Art 17th – 24th February 1997.

Work in Progress – “What I am most afraid of is ordinary everyday existence” group show, Gullbenkian Gallery, RCA 10th 19th January 1997. Video installation – 2 monitors, 2 film loops and 4 separate continuous audio tracks.

“Site/Non site” – Goliath Visual Space, New York. Site specific film and photography installation. May 2002.

Statement
Angles of Incidence

This new piece of work, commissioned by Hudson Valley Community College, questions the function of this non gallery, gallery space sited within the entrance to the photography area.

This work is a site specific photographic installation about the "process of Seeing." It explores the projected image in a three dimensional space in a direct relation to the way that the image is constructed. Every day for a month a new image will be projected onto the surface of the space. Each image will challenge the viewer to ask the following questions: what am I looking at? How do I see it? Is it fixed? What effects the way I see it? What are the variables?