Yigal Ozeri, Israeli, born 1958. Untitled; Olya, 2015. Oil on canvas, 54 × 80 in. Collection of Louis K. and Susan P. Meisel

​Brush with Reality: Yigal Ozeri

September 25, 2021 - January 2, 2022

Henry Gallery Hodge Gallery

This exhibition features 48 paintings that highlight the last 14 years of artist Yigal Ozeri’s career. Divided into two sections, the first includes Ozeri’s more well-known subject matter—women in lush landscapes­—while the second includes selections from his New York Story series.

In 1991, Ozeri moved from Israel to New York City and by the early 2000s he began painting in the Photorealist style. Eventually, he focused solely on painting solitary females in nature. When asked what led him to this subject, Ozeri stated, “My work has always been influenced by women, as I’ve said many times in the past, women are the most painted subject in art history and to me, by far the most intriguing. Now more than ever, I feel it’s important to show the strength and diversity of women and celebrate their energy.” In the late 2010s, Ozeri’s artwork went through a “second birth” and his muse became the gritty streets of Manhattan. Though he never completely abandoned his format of a female model in an outdoor setting, he expanded his subject to include street photography. This exhibition also includes a current work in progress by Ozeri, allowing visitors an inside look into his artistic process.

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Peter Fischli & David Weiss, Swiss, b. 1952 and 1946–2012. The Way Things Go, 1987. Video. Image courtesy of the Artists.

The Way Things Go

December 1, 2021 - December 31, 2021

Media Arts Gallery

In a warehouse, artists Peter Fischli and David Weiss build a structure made from common household items. The film enlists an assortment of objects, including tires and chairs, as components in a domino-like chain reaction. Then, using fire, water, gravity, and chemistry, they create a self-destructing performance of precisely crafted chaos. 

The film’s humor lies in the deliberate misuse of these objects, as they are co-opted into performing roles outside their normal function, reminiscent of silent films. In the film, the actors are steaming kettles mounted on roller skates, rickety stepladders, buckets, bottles, and planks.

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Craig Hinshaw, American, born 1950. Untitled (Rat with Cookie), 1977. Stained and lustered stoneware, 83/4 × 53/4 × 33/4 inches. Museum purchase, 1977.9

Steeped in Tradition

October 23, 2021 - March 20, 2022

Harris - Burger Gallery

For thousands of years, tea has inspired countless functional and non-functional artworks. This exhibition explores the complexity of teaware and the components needed to brew and consume the popular drink. Teapots, cups, sugar, and creamer containers are seemingly simple objects of domesticity but can hold clues to history, cultural and societal practices, identity, and self-expression. 

In contemporary teaware, some artists draw inspiration from the vast history of both fine decorative arts and mass-produced consumer objects. Their artwork is firmly anchored to the styles, techniques, forms, and concepts of the past. Simultaneously, other contemporary artists move beyond functionality and subvert traditional forms as a means of self-expression. They elongate spouts and handles, puncture surfaces, and experiment with figuration. Whether they are intended to be fully functional, ornamental, or somewhere in between, the artworks in this exhibition showcase the endless possibilities for creativity in teaware.

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Neha Vedpathak, Indian, born 1982. Loop 2, 2021. Plucked Japanese handmade paper, acrylic paint, thread, acrylic polymer. 36 1/2 x 29 1/2 in. Courtesy of the artist

Time (Constant, Suspended, Collapsed): Neha Vedpathak

October 9, 2021 - January 9, 2022

Graphics Gallery

After working as a painter, Neha Vedpathak wanted to reinvent her studio practice—looking to depart from the tradition of two-dimensional painting. Following months of experimentation, Vedpathak invented her signature “plucking” technique. Using a push-pin, she meticulously separates the fibers of hand-made Japanese paper. The result is a lace-like fabric which she then uses and manipulates by painting, sewing, and collaging to form three-dimensional sculptures. The process is slow and repetitive, which the artist likens to something between meditation and obsession. The energy she puts forth can be seen in the nuances of color, texture, and form in her artworks.

This exhibition explores the concept of time and the significance of her slow, labor-intensive processes in the age of mass media and digital technology. The artworks challenge perceptions of time and space in relation to the events of 2020, where the past, present, and future seemed to collapse onto one another.

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