A new exhibition at Syracuse University’s Sue and Leon Genet Gallery features Peter Piening’s dynamic abstract commercial work and his role as an educator. According to exhibition curator Meri A. Page, assistant professor of communications design in the College of…
Point of Contact Gallery Announces the Opening of ‘When the Wind Comes Right Behind the Rain’
Point of Contact, 350 W. Fayette St., is hosting an opening reception and artist talk for “When the Wind Comes Right Behind the Rain” on Oct. 25. The reception and talk will take place from 6 to 8 p.m. This event is free and open to the public. Cash bar and light hors d’oeuvres will be served. Free parking will be available on the night of the reception in the Syracuse University lot on the corner of West and West Fayette streets.
“When the Wind Comes Right Behind the Rain” will be on view through Dec. 6 at the Point of Contact Gallery, located on the ground floor of the Nancy Cantor Warehouse. Admission is free and open to the public Monday through Friday from noon to 5 p.m. or by appointment.
“When the Wind Comes Right Behind the Rain” is an exhibition of eight artists: Rebecca Aloisio, Patti Capaldi, Jennifer Paige Cohen, Melinda Laszcynski, Fabian Maraccio, Paul O’Keefe, Bret Shirley and Sarah Sutton. Paul Wilson, associate professor of art history at Ithaca College, ascribes the collective artwork as evidence of human influence to the Earth. This is through the form and content of painting, sculptures and prints, which are “witnesses to our own extinction.”
Aloisio is a multimedia artist whose forms assemble in an effort to make an original “thing” seem tangible and beyond abstraction. She wants to challenge her viewers to think critically and question the authenticity of images presented before them. Her work speculates on the material life of immaterial images.
Capaldi specializes in graphic design and two-dimensional design. Similar to Aloisio’s artwork, Capaldi’s work suggests what the afterlife could be, “an endless series of digital glitches and repetitions” as speculated by Wilson.
Paige Cohen’s compelling sculptures draw a relationship between the body and movement. Cohen’s sculptures suggest how objects might evolve after humans.
Laszczynski thinks of her paintings as portals, tactile spaces that shift. Her paintings often become figurative by referencing the body or reflecting the viewer into the surface.
Maraccio’s work investigates whether the traditional medium of painting can survive in the digital age.
O’Keefe’s practice spans across sculpture and installation and often explores prosaic objects laden with personal histories.
Shirley is interested in the value of objects as they lie both within and outside of the traditional and often elite environments of art markets and luxury goods. Through the creation of facsimiles of objects of value and desire, he hopes to bring in to question the functional use value of luxury goods and associated social statuses.
Sutton creates visually dense and complex, hybrid landscape paintings where she reconsiders notions of space, place, “wilderness” and the built environment. She researched the complexities that excluded from images, and she imagines in-between spaces, scalar fluidity and psychic spaces, where the private and public realm collapse.
This program is possible thanks to the support of the College of Arts and Sciences, the Office of Cultural Engagement for the Hispanic Community and the Coalition of Museum and Art Centers (CMAC) at Syracuse University.