Filtering by: Exhibition

Oct
14
6:30 PM18:30

Infinity

Infinity

Skowhegan Alliance Video Screening

It was under the English trees that I meditated on that lost labyrinth… I imagined a labyrinth of labyrinths, a maze of mazes, a twisting, turning, ever-widening labyrinth that contained both the past and future and somehow implied the stars… The vague, living countryside, the moon, the remains of the day did their work in me; so did the gently downward road, which forestalled all possibility of weariness. The evening was near, yet infinite.
— Jorge Luis Borges (1)
Infinity-Video-Screening.png

Thinking about infinity, the Argentinian writer Jorge Luis Borges came to mind Known for his short stories depicting labyrinth-like worlds within worlds defying time and place, characters plagued with impossible absolute memories, and strangely terrifying endlessly paged books and roomed libraries, his writings exemplify a cosmic ambition to describe the destabilizing vastness and boundlessness of infinity and time itself. 

Borges’ “The Garden of Forking Paths” (1941) starts out like a traditional spy story in the form of a statement written by a Dr. Yu Tsun, a Chinese English teacher and spy for the German Empire living in the United Kingdom during World War I. British Captain Richard Marden is hunting for Tsun and Tsun knows he will be arrested soon. He needs to convey the location of a secret British artillery park to the German Empire before he is captured. He avoids Marden by running to the house of Dr. Stephen Albert, a well-known Sinologist. Dr. Albert is excited to learn that Tsun is the descendent of Ts’ui Pen, a man he has been studying for a long time. Ts’ui was known for writing an intricate unbound manuscript, which no one could make sense of, and for making a labyrinth, which was never found.  However, Dr. Albert has arrived at a solution to this puzzle and has realized the labyrinth and the manuscript are one in the same and that the manuscript is the labyrinth. Albert shows how Ts’ui’s manuscript “The Garden of Forking Paths” describes a world in which all possible outcomes of an event occur simultaneously with each diverging (and sometimes converging) into an infinite set of possibilities. 

Daedalus’ creation, the labyrinth of Crete, is of course the most famous example of such an infinite maze, and one that was no doubt dear to Borges. Ovid suggested that Daedalus was so cunning in his design, not even he could not find his way out. A creator lost infinitely in his creation. Medieval Christianity, with its passion for allegory, imagined the labyrinth as a miniature Kingdom in which time and space—for instance, the stations of the cross—could be allegorized by the travel of souls back to their source. Their conception of a labyrinth of unicursal turns limited one’s movement, making the drive to complete the labyrinth more desirable. Differing from a maze, the labyrinth has no dead ends, only circuitous turns where the entrance is simultaneously also an exit.

As artists we are always engaged in our own private labyrinths, where exits are entrances implying an infinite striving to make the next piece better than the last, to surpass ourselves in the success of exhibitions, reviews, or recognition. Like Tsun, our labyrinths contain “both the past and the future… the living countryside, the moon, the remains of the day….” The material for our work is always “near, yet infinite” (Borges, 1998).

As Skowhegan Alliance curators, our work recalls another famous example of the infinite: Zeno’s paradox of Achilles and the tortoise. In this parable, Achilles is in a footrace with the tortoise but can never overtake the slower tortoise because once he reaches the point where the tortoise has started, the tortoise has already advanced ahead of him. Like Achilles, each year the Alliance programs work from our alumni, yet, every year, new residents attend, new alumni join our ranks, new or unseen works are submitted, and the infinite cycle continues. 

From this well of talent, constantly in advance and ahead of us, we are pleased to present this retrospective, spanning some of our favorite video works from each of the last seven years of curated screenings. We do not, however, see this retrospective as an arrestment of infinity; rather, as a reminder that repetition, also, is a form of infinity, and the viewing of the work of art in a new context speaks to works’ infinite resources of meaning. In this sense, they resemble Heraclitus’ famous statement on the infinite: you cannot step into the same stream twice. 

A final note: The Borges’ story, “The Garden of Forking Paths,” was perhaps also evocative for us for more personal reasons. 

The central sentence of the story is delivered to Tsun by Dr. Albert while explaining the meaning of Ts’ui Pen’s labyrinthine work. It reads: “I leave to several futures (not to all) my garden of forking paths.” (2) Albert clarifies that, although all previous interpreters had imagined the labyrinth only in terms of a physical space, the work of art that composed Ts’ui Pen’s labyrinth was not physical, at all, but rather realized through a play of time and its variations, the outcomes, as composed in the book, gave the appearance of chaos. It was, as Albert notes, “a growing, dizzying web of divergent, convergent, and parallel times.” (3)

Our friend and co-curator of the past seven years of Skowhegan Alliance video screenings, Noah Klersfeld, passed away one year ago, and we believe he would have enjoyed Ts’ui Pen’s insight. In particular, Noah’s series, Above Ground Work and Below Ground Work, resonates. 

In Above Ground Work, Noah wrote, “Anonymous activity is tethered to the surface of the video plane, confined by the patterned structures of the built environment.” (4) Seen through the static spaces of a chain link fence, an infinite progression of people, cars, and their movements converge in finite space to transcend it. The anonymous comings and goings filmed over multiple periods in time blend into a rhythm of activity where localization of the physical gives way to an infinite number of happenings: like the city itself, irreducible to any singular instance. In Below Ground Work, a similar approach is taken: the tiling of subway stations frames countless comings and goings of subway cars and people, the pulsations and rumblings of the city, endless boardings, unboardings, on-time arrivals, and missed trains. In these works, Noah’s “anonymous activity” is like Ts’ui Pen’s “dizzying web of divergent, convergent, and parallel times—and perhaps suggestive, also, “of forking paths,” and “several futures (but not all).” (5)

In Borges’ story, the artist, Ts’ui Pen, believed that time contained infinite realities with infinite outcomes. We don’t know whether this is true, but we do know that, in this one, Noah will be deeply missed.   

We dedicate this screening to the memory of Noah Klersfeld. 


1.) Borges, J. L (1941), “The Garden of Forking Paths”, in Collected Fictions, (trans. by Andrew Hurley, New York, Viking, 1998), 122

2.) Borges, 125

3.) Borges, 127

4.) Klersfeld, N., Retrieved from: https://www.noahklersfeld.com/series-4-page

5.) Borges, 125

Featuring Works By:

Amanda Alfieri (A ’08)

Nobutaka Aozaki (A ’15)

Rebecca Baldwin (A ’04)

Monica Cook (A ’12)

Andrew Ellis Johnson & Susanne Slavick (A ’99)

Hope Ginsburg (A ’97)

Autumn Knight & Chelsea Knight (A ’08 / ’16)

Sioban Landry (A ’11)

Jennifer Levonian (A ’07)

Lilly Mcelroy (A ’06)

Mores Mcwreath (A ’13)

Shala Miller (A ’17)

Ivan Monforte (A ’04)

Hertog Nadler (A ’12)

John Peña (A ’09)

Finn Schult (A ’17)

Pallavi Sen (A ’17)

Pascual Sisto (A ’13)

Rodrigo Valenzuela (A ’13)

Bryan Zanisnik (A ’08)

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Personals
May
4
to Jun 15

Personals

A show of small objects on a large table. 

Featuring the work of:

Alejandro Acierto (A '14)
Matt Ager (A '11)
Rick Albee (A '02)
Ramón Alcoléa (A '84)
Betsy Alwin (A '01)
Trevor Amery (A '13)
JD Beltran (A '98)
Doug Bosch (A '91)
Matt Brett (A '14)
Sara Bright (A '10)
Teresa Booth Brown (A '88)
Mike Calway-Fagen (A '11)
Carlos Castro (A '10)
Lili Chin (A '10)
Eun Woo Cho (A '08)
Peter Dudek (A '78)
Chris Duncan (A '75, '78)
Jonathan Ehrenberg (A '11)
Catherine Fairbanks (A '11)
Gordon Fearey (A '73)
Robert Flynt (A '74, '76)
Judy Fox (A '76)
Winslow Funaki (A '16)
Mary Louise Geering (A '92)
Cadence Giersbach (A '95)
Alex Goss (A '14)
Sophie Grant (A '15)
Mark Haddon (A '91)
Julia Haft-Candell (A '16)
Bang Geul Han (A '07)
Dave Hardy (A '04)
Jane Fox Hipple (A '09)
Audrey Hope (A '14)
Sarah Hotchkiss (A '10)
Joanne Howard (A '84)
Jeremiah Hulsebos-Spofford (A '11)
Ginny Huo (A '15)
Christina Hutchings (A '77)
Kristian Blomstroem Johansson (A '13)
Lois Johnson (A '96)
Andrew Ellis Johnson (A '99)
Matt Kennedy (A '10)
Baseera Khan (A '14)
Marcia Kure (A '12)
Gary LaPointe (A '13)
Tim Lewis (A '98)
Peter Lipsitt (A '61)
Laura Lobdell (A '99)
Gregg Louis (A '09)
Jennifer Macdonald (A '05)
MaryKate Maher (A '08)
Jason Manley (A '04)
Christopher Manzione (A '12)
Sarah Mattes (A '15)
James Maurelle (A '15)
Colin McMullan d/b/a Emcee C.M., Master of None (A '07)
Nancy Modlin Katz (A '78)
Bridget Mullen (A '16)
Julie Nagle (A '10)
Monika Napier (A '93)
Jann Nunn (A '91)
Erik Patton (A '15)
Jonathan Peck (A '10)
Benjamin Pederson (A '13)
Anna Queen (A '15)
Birgit Rathsmann (A '04)
Macon Reed (A '16)
Matt Rich (A '10)
Kari Kaplan Rives (A '82)
Andrew Ross (A '11)
Naomi Safran-Hon (A '12)
Gabriela Salazar (A '11)
Annesofie Sandal (A '15)
Vabianna Santos (A '13)
Cathy Sarkowsky (A '93)
Renata Manasse Schwebel (A '51)
Matt Shalzi (A '16)
Zoe Sheehan Saldana (A '00)
Kate Shepherd (A '90)
Rudy Shepherd (A '00)
Gina Siepel (A '08)
Barb Smith (A '12)
Jessica Snow (A '92)
Edra Soto (A '00)
James Southard (A '12)
Susanna Starr (A '85)
Draga Susanj (A '02)
Millette Tapiador (A '98)
Steed Taylor (A '97)
Elizabeth Tubergen & Erica Wessmann (A '15)
Robert Wechsler (A '06)
Steven Weiss (A '76)
Erica Wessmann (A '15)
Andrew Wilhelm (A '98)
Lynne Yamamoto (A '96)
John Zappas (A '12)
Monika Zarzeczna (A '06)

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SVA X Skowhegan
Dec
8
to Feb 4

SVA X Skowhegan

 Fred Wilson, Marvin Touré

Fred Wilson, Marvin Touré

November 28, 2016–February 4, 2017
Reception: Thursday, December 8, 6–8pm

SVA Chelsea Gallery
601 West 26th Street, 15th floor, NY


Featuring Negar Ahkami (A '04), Sharona Eliassaf (A '11), Alejandro Guzman (A '12), Ulrike Heydenreich (A '01), Saskia Jordá (A '05), Thomas Lanigan-Schmidt (F '91, '92, '97, '13), Gregg Louis (A '09), Dave McKenzie (A '00, F '11), Miryana Todorova (A '12), Marvin Touré (A '16) and Fred Wilson (F '95, '02)

Curated by Lauren Haynes, curator, contemporary art at Crystal Bridges Museum of American Art

 Gregg Louis

Gregg Louis


The School of Visual Arts presents SVA x Skowhegan, an interdisciplinary exhibition that explores the effects an increasingly global society has on contemporary artistic practice. The show, curated by Lauren Haynes, curator, contemporary art at Crystal Bridges Museum of American Art, brings together Negar AhkamiSharona EliassafAlejandro GuzmanUlrike HeydenreichSaskia JordáThomas Lanigan-SchmidtGregg LouisDave McKenzieMiryana TodorovaMarvin Touré and Fred Wilson, 11 artists who have never been shown together and whose work touches on identity and the mapping of various geographies and landscapes, both real and imagined. 

On view at SVA Chelsea Gallery from November 28, 2016, through February 4, 2017, the exhibition's title reflects the dual relationship the featured artists have with each institution. All are either SVA MFA Fine Arts alumni or faculty who have equally benefitted from the prestigious summer residency program at the Skowhegan School of Painting & Sculpture in Madison, Maine.

The artists in SVA x Skowhegan work in a wide variety of media—including video, painting, drawing, performance and multimedia installation—to present different perspectives on the relationship between place, experience and artistic process. Saskia Jordá uses craft materials to weave symbolic paths between constructed borders, while Negar Ahkami and Ulrike Heydenreich create real and fictional landscapes via painting and drawing. In his site-specific installation, bruh where ya mind at (2016), Marvin Touré maps the psychological effects of the American condition on the minds of young black men, while Thomas Lanigan-Schmidt employs aluminum, garland and glitter to illustrate how a blended neighborhood and traditional Catholic church affected the movements of an adolescent gay kid in 1950's New Jersey. Waving visitors into the gallery are four works from Fred Wilson's series of painted flags from African diasporan nations that, stripped of all color, celebrate and ponder their symbolism and glory. Along with Sharona Eliassaf, Alejandro Guzman, Gregg Louis, Dave McKenzie and Miryana Todorova, these artists create works that evidence their past, present, future, actual, devised and fabricated migratory movements, offering up poignant representations of global citizenship.  

SVA x Skowhegan will also include a fully illustrated publication, with entries on each artist and an essay by the curator, to be released on January 17, 2017. Visit sva.edu/sva-x-skowhegan for more information.  

The SVA Chelsea Gallery, located at 601 West 26th Street between 11th and 12th Avenues, is open Monday through Saturday10am to 6pm. Admission is free. The gallery is accessible by wheelchair. 


About SVA's MFA Fine Arts
SVA's MFA Fine Arts program reflects the diversity of New York's many art worlds. Together, the faculty and students form a community of established and emerging artists from many backgrounds who work across disciplines and modes of practice. The program's main goals are to provide a stimulating and supportive environment in which students can thrive and develop as artists, to foster rigorous critical engagement with contemporary art and other cultural forms, and to produce an ongoing conversation, through work as much as through words, about what we make, how we make it and why.

SVA's MFA Fine Arts program attracts ambitious emerging artists from many countries and backgrounds. In their commitment to art, and to one another, they provide a foundation for artistic growth that extends beyond graduation and forms an ongoing platform of professional support. 

Prospective applicants are encouraged to visit the MFA Fine Arts website at mfafinearts.sva.edu and to call or visit the department prior to applying. To arrange a visit, please email mfafinearts@sva.edu or call T +1 212 592 2501.

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For Sale By Owner
Jul
16
to Aug 1

For Sale By Owner

For Sale By Owner

An exhibition and installation of works from the Skowhegan School of Painting & Sculpture

July 16–August 1, 2016
Open Monday–Saturday, 9-5:00PM
Opening Reception: July 16, 4–6:00PM

Hilltop Antiques
48 Water Street, #3 Skowhegan, Maine
207.474.0055

With contributions from artists at the Skowhegan School of Painting and Sculpture, New York-based artist Baris Gokturk (A '16) has curated an exhibition and installation of over thirty works within the existing displays of Skowhegan’s Hilltop Antiques. In operation since 1968, Hilltop Antiques houses over 30 rooms of antiques and specialty items including posters, furniture, glassware, paintings and oddities, like a 1950s X-ray machine and a submarine periscope.

Mixed in with these items are small works of painting, sculpture, video, and ceramic by the participants, faculty and staff of the 2016 class of Skowhegan. The installation encompasses a wide array of practices and concerns related to each artist’s own body of work, their time at Skowhegan and, in certain instances, the antique store itself: an unconventional exhibition space from a parallel universe.

Initially motivated by the “FOR RENT” sign at Hilltop, Gokturk began to see connections and disconnections between the manufactured objects within the store and objects produced by artists that also become subject to commerce. The store’s proprietor, Greg Salisbury, was open to interspersing items already for sale at his shop with work made at the art school, merging the parallel universes of exhibition and commercial space.

Skowhegan is an intensive nine-week summer residency program for emerging visual artists established in 1946, which seeks each year to bring together a diverse group of individuals with a demonstrated commitment to artmaking and inquiry for a concentrated period of artistic creation, interaction and growth. Located on a historic 350-acre farm in Madison, Maine, the campus serves as a critical component of the program and serves as a backdrop for the most stimulating and rigorous environment possible. 2016 marks the school’s 70th Anniversary.

For more information, please contact Sarah Workneh, 207.474.9345

Participating Artists
Eddie Aparicio A '16
Svetlana Bailey A '16
Daniel Bozhkov A '90, F '11
Linsdey Burke A '16
Chris Carroll A '08
Marcos Castro A '16
Aschley Cone A '16
Mel Cook A '16
Oscar Cornejo A '14
Craig Drennen A '06
Corey Escoto A '16
Winslow Funaki A '16
Ian Gerson A '16
Sean Glover A '03
Baris Gokturk A '16
Josh Graupera A '16
Julia Haft-Candell A '16
John Harlow  
Amanda Horowitz A '16
Hong Seon Jang A '16
Jonah King A '16
Diego Lama A '16
Bryan Martello A '16
Lilly McElroy A '06
Melanie McLain A '16
Orr Menirom A '16
Omar Mismar A '16
Paribartana Mohanty A '16
Bridget Mullen A '16
Yue Nakayama A '16
Carl Ostendarp F '16
Christina Quarles A '16
Macon Reed A '16
Matthew Shalzi A '16
Omid Shekari A '16
James Scheuren A '16
Marvin Toure A '16
Elizabeth Tubergen A '15
Yoav Weinfeld A '16

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Inside/Outside: Works from the Skowhegan Archives
Jul
29
to Sep 19

Inside/Outside: Works from the Skowhegan Archives

Curated by Michelle Grabner
Opening Reception July 30, 7-9PM

More information here.


“Since its founding, the Skowhegan School of Painting and Sculpture has nurtured an expansive vision of art, maintaining a commitment to wide-ranging, often contradictory, artistic views” notes Sharon Corwin, the Carolyn Muzzy Director and Chief Curator at Colby College Museum of Art. Yet fundamental themes have been ongoing throughout the history of the School, reflecting the interests and concerns of the artworld and our culture at large. One such theme is painting’s continuous affinity toward representing the changing nature of appearances. “Inside/Outside: Work from the Skowhegan Archives” brings together a collection of work that examines the alluring flux of observation and the mutability of vision as depicted in traditional genre.

Landscape and the translation of the natural environment into a spirited visual language are evident in the work of Sylvia Snowden, Wade Frame, and Bruce M. Gagnier. Painters Kristina Branch, Gail Campbell, Janet Fish, and Charles Lassiter, turned their focus to the interior world where the architecture of the School’s studio became the subject of pictorial inspiration. Barry Shils large canvas explores the School’s social structure in the routine of group portraiture while Thomas Monahan’s large canvas scrutinizes concepts of representation through symbolic representations, shallow space and a co-mingling of graphic and painterly qualities. Dating from 1951-1979, each of these paintings foreground the humility of deep contemplation.  

Juxtaposed with these paintings is a selective group of works culled from the School’s 2015 participants who share with their historical counterparts a similar concern for the vibrant nature of representation and interpretation. Manifestly evident in these works is an extreme mobility of attention and subject, set into motion with the aid of a vast range of painterly syntax. What unifies the contemporary offerings with the historic contributions is painting’s persistent dance with consciousness and language, its investment in phenomena and formal logic alike. “To be conscious of the tree is to be conscious of the tree itself, and not the idea of the tree: to speak about the tree is not just to utter a word but to speak about the thing.”[1] Paintings are a transparent cage. “Everything is outside, yet it is impossible to get out.”[2] This is the paradoxical nature of painting, an imprisonment and an elsewhere, a thing and an idea, a relentless field of the awareness.

In 1937 Mainer Marsden Hartley copied three lines from T.S. Eliot’s poem “Ash Wednesday” on the back of his canvas titled “In the Moraine, Dogtown Common, Cape Ann.”  

Teach us to care and not to care
Teach us to sit still
Even among the rocks 

Hartley struggled with being both an intellectual painter and an intuitive painter. “To care and not to care” is a very contemporary sentiment. Caring too much about the language of painting means risking the freedom to stray. “Not to care” risks impassivity and detachment. I included artists who each in their own way have the desire to sit still-- who know when to stretch and to taunt, to respect and yield to the authority of the painting.  

Scott Anderson, Thomas Dahlberg and Sophie Grant’s works aggregate the histories, spaces, and genres of twentieth century painting with an intellectual command and a broad-based visual vocabulary that reliably conjures both representation and abstraction. Co-mingling photographic imagery with deft brushwork, Jordan Seaberry seeks to develop a sobering new realism by directly embracing the content of violence and race. Alex Jackson and Alexandria Smith employ the figure as iconic and indeterminate deeply psychological and two-dimensional.  

Maia Cruz Palileo and Pallavi Singh develop absorbing idiosyncratic cultural stories, Cruz Palileo by way of vivid and loose translations of familial photographs and Singh through the use of the continuous narrative format and a graphic approach to storytelling. Similar to E. Barry Shils, Sam Jorgensen, a member of the School’s 2015 staff, furthers the genre of portraiture by recording the individuals who comprise the social landscape of the school.

Employing a trompe-l'oeil tradition Emmanuel Sevilla critically calls into question the value of the hand-made copy and the evaluative role of the simulacra within contemporary culture. Sarah Mikenis, Cal Siegel, Nick Fagan and Neil Carroll complicate painting’s material signifiers with materiality. While Siegel and Mikenis protract painting’s planar authority into shrewd and often humorous objects, Carroll integrates the visceral qualities of found material with painting’s spatial lexicon. In their work the painting’s thingness challenges traditional value designations such as craft, form invention and beauty. Memory and observation is comingled in Jane Westrick’s brisk and effortless compositions while Frank J. Stockton and Jamie Williams cultivate fantasy with the fluidity of line. Finally, with impressive scale, Linnea Rygaard mediates painting’s spatial conceits with architecture’s authoritative perspectives.

Each of these artists embrace new-found affinities, freedoms, and influences that support the new economy of painting, distinctly contoured from the art-historical matrix governing the work from the School’s archive. “In this new economy of surplus historical references, the makers take what they wish to make their point or their painting without guilt, and equally important, without an agenda based on a received meaning of style.”[3] Yet I would argue that the breath of references and material exploration evident in the contemporary work included in this exhibition embraces a knowing time-based relationship to history and tradition, not least, a deep humility for contemplation and for the virtues of close looking.  

I would like to thank Kika Nigals, Program manager of Common Street Arts and Sarah Workneh, Co-Director of Skowhegan School of Painting and Sculpture for originating the concept of an exhibition culled from the School’s archives. Also, thank you to Nate Young and Michael Perreault for assisting me in the installation of the exhibition. And naturally, much gratitude to the generosity of all the 2015 participants who lent work from their studios for this project. 

Michelle Grabner


[1] Philosopher Francis Wolff’s writing is regularly cited by Alain Badiou and Quentin Meillassoux. The quote I use here is applied by Millassoux in After Finitude as an illustration of the concept of “correlation.” Francis Wolff, Dire le Monde (Paris: PUF, 1997), p. 11.

[2] Ibid.

[3] Laura Hoptman, The Forever Now: Contemporary Painting in an Atemporal World, (New York: Museum of Modern Art, 2015), p. 15. 

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Silhouettes
May
18
to Jun 16

Silhouettes

An exhibition of works by alumni of the Skowhegan School of Painting & Sculpture

Featuring works by Becca Albee, Lucas Blalock, Daniel Bozhkov, Carter, Steffani Jemison, Em Rooney, Lauren Silva, Matt Taber and Carmen Winant.

Comprised of painting, sculpture, and photography, the exhibition brings together informal portraits which appear alternately precise and incomplete. Silhouettes is curated by Christopher Aque and Anissa Mack. 

 

For four weeks an empty storefront in Windsor Terrace became a temporary gallery for Silhouettes, an exhibition of work by Skowhegan alumni. Hosted by Richard Prins, Marluna Seecharen, Rick Prins and Connie Steensma, the show included works by Becca Albee ’99, Lucas Blalock ’11, Daniel Bozhkov ’90, F ’11, Carter ’94, Steffani Jemison ’08, Em Rooney ‘12, Lauren Silva ’11, Matt Taber ’12, and Carmen Winant ’10. Organized as a group of informal portraits, the works were alternately precise and incomplete, and included painting, sculpture, installation and photography. Several of the artists chose to make new work for the space, taking the project, curated by Christopher Aque ’12 and myself, as a chance to experiment. As an exhibition space, Fort Hamilton provided a platform for dialogue and exchange within the Skowhegan community, but also with the surrounding neighborhood. During the run of the exhibition, the space hosted a performance by members of the Brooklyn orchestral collective (and neighbors), The Knights, as well as a literary reading by local writers Adrienne Brock, Amanda Calderon, David McLoghlin, Richard Prins and Melissa Swantkowski.

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