Women's Studies 研究 Center

Kniznick画廊

Colorful screens on the Epstein building

Leeza Meksin, Big Bounce, 2014. 安装视图

The 艺术项目 at the Women's Studies 研究 Center is 首页 to the Kniznick画廊 (Est. 2001).

The Kniznick画廊 is committed to feminist exhibitions of artistic excellence that reflect the activities of the Women's Studies 研究 Center Scholars and engage communities within and beyond 最好的网上赌博. The art on display is a vehicle through which the Center seeks to promote dialogue about important issues and address the ever-changing challenges related to women and gender.

The gallery is a partner of 女权主义艺术项目 — a national initiative, housed at Rutgers University, in conjunction with A.I.R. 画廊, ArtTable创新艺人经纪公司, Sackler Center for Feminist Art–Brooklyn Museum, Maryland Institute College of Art, National Museum of Women in the 艺术, Through the Flower and Women's Caucus for Art.

A fiber work with a cream background and blue and black elements depicting disembodied feet standing on a threshold outside of a dwelling with a hatched door.

莲花Rajendran, 即将进入, 2018, 丙烯酸, 感觉, 聚酯, 丝绸, 织物缝合, 57 x 41英寸

即将举行的展览

A Trick of Light or Distance

香港香港  |  凯尔西米勒  |  Helen O'Leary  |  劳伦Pakradooni  |  莲花Rajendran
On View April 3 - July 18, 2024  |  Opening Reception: Wednesday, April 3, 5-7 pm

A Trick of Light or Distance presents five artists’ iterative processes as they negotiate materiality and place. 遍历家, 景观, 迁移, 和记忆, the artists explore the experience of locating oneself, 如果只是暂时的. 在这次展览中, 香港香港凯尔西米勒海伦·奥利里劳伦Pakradooni莲花Rajendran 采用纤维, 雕塑, 绘画, 版画, paper across site-specific and studio interventions. The artists harness, 操作, expand symbols and materials of our domestic and natural worlds to honor shifting relationships to tradition and land. 反映流动状态, 劳动, physical markers of its production, their work traces cultural, 地理, subjective notions of place.

香港的 absorbing and monumental site-specific paper 绘画s engage with themes of 景观, 迁移, 首页, 和self-location. 沉浸式规模, her works map their own making, 记录不同的, physical gestures through which Hong builds the 绘画s, storing the natural fibers and urban debris of their sites. 

凯尔西米勒的 work presents aspects of 景观 and place, largely stemming from her profound interest in and connection to the environment. She conducts site-responsive research, 收集拓片, 图纸, 还有岩石的痕迹, 海, 还有大块的冰川冰. Translating her studies into vaporous, amalgamated boulder-sized wall 图纸 executed in graphite powder, Miller confronts a 景观 in constant flux.  

海伦·奥利里 combines precision and craft with an expansive, solution-driven aesthetic. She builds fractured and luminous self-standing 绘画s with meticulous joinery and egg tempera sourced from pigments collected in Pennsylvania, 新泽西, 和Leitrim, 爱尔兰. Assembling rectilinear bits into undulating organic fields, 奥利里用木头编织," naming those of human scale “feminist armor.”

劳伦Pakradooni draws upon the natural and the human-made to reimagine, 操作, recontextualize images of plant life long employed by the decorative arts. Informed by domestic 劳动, 植物的生长周期, 还有设计的历史, Pakradooni digitally edits and disrupts her images before translating them into 雕塑s and prints. 具体和参考, 然而,超凡脱俗, the work confronts the relationship between bodies and nature. 

莲花Rajendran builds atmospheric textile tableaus and ceramic works that foreground contradictory understandings of 首页, 同学会, 和国土. Depicting shrines and monuments amidst domestic motifs, Rajendran grapples with symbols of sustenance and comfort, traditionally derived from the 劳动 of the female body. Rajendran encodes and adorns fabrics of various hierarchies with glyph-like 图纸 that honor and sustain immigrant women’s stories. 

A Trick of Light or Distance 借用了它的标题 艾米丽Pittinos” 诗, A Cloud of Drench Bearing Down.