Celebrates the first exhibition devoted to the finely crafted and researched costumes, objects, and drawings that Mary Reid Kelley creates for her visually and intellectually stimulating videos made in collaboration with Patrick Kelley. Mary Reid Kelley celebrates the first museum exhibition devoted to the finely crafted and researched costumes, objects, and drawings that Mary Reid Kelley creates for her visually and intellectually stimulating videos. An essay by curator Daniel Belasco analyzes the sources and significance of the working objects in how they promote the “unreality effect” of Mary Reid Kelley’s videos, which combine both the analog and digital and the personal and historical. A conversation between Corinna Ripps Schaming and Mary Reid Kelley and her long-time collaborator Patrick Kelley reveals insights into their working process. For the first time, the full range of the artist’s costumes, props, drawings, furniture, and accessories are photographed and presented as unique works of art.

Mary Reid Kelley: Working Objects and Videos (Samuel Dorsky Museum of Art)

Arts & Photography

Pasti, Sara J.

Belasco, Daniel

Schaming, Corinna Ripps

Riker, Janet

History & Criticism

State University of New York Press

The first scholarly exhibition catalogue of the work of Eugene Speicher (1883-1962), one of the foremost American realists of his generation, who was closely associated with George Bellows, Robert Henri, Leon Kroll, and Rockwell Kent.Called “America’s greatest living painter” by Esquire magazine in 1936, Speicher (1883–1962) was one of the foremost realists of his generation, closely associated with George Bellows, Robert Henri, and Leon Kroll. The exhibition catalogue examines Speicher’s oeuvre, including his artistic development, subject matter, choice of models, influences, and the critical reception of his work. The catalogue contains three essays. The primary essay by curator Valerie Ann Leeds consists of a general assessment and critical review of Speicher’s career and his place in the art world of his day. Another essay authored by Tom Wolf explores Speicher and his relationship to Woodstock. A third essay, by Daniel Belasco, surveys Speicher’s drawings. The catalogue is the first to present a significant body of Speicher’s work in color.

Along His Own Lines: A Retrospective of New York Realist Eugene Speicher (Samuel Dorsky Museum of Art)

Leeds, Valerie Ann

Wolf, Tom

Individual Artists

Explores the significant impact that the metallurgist Dick Polich and his foundry, Tallix, have had on contemporary art.Dick Polich tells the story of the man who founded Tallix in 1970 and revolutionized the world of American fine art foundries. As an art fabricator, Polich typically remains behind the scenes. This publication, the catalogue for the exhibition at the Samuel Dorsky Museum of Art, SUNY New Paltz, explores the history and processes of Polich and his foundries Tallix, Polich Art Works, and Polich Tallix, from the 1960s to the present. Contents include an art historical survey by Daniel Belasco, a personal account of the craft of the foundry by Dick Polich, and new statements about working with Polich by artists Rona Pondick, Joel Shapiro, Tom Otterness, Janine Antoni, Martin Puryear, and Jeff Koons. The Dorsky Museum exhibition is the first to examine Dick Polich’s influence on contemporary art.

Dick Polich: Transforming Metal into Art (Samuel Dorsky Museum of Art)

Polich, Dick

How a collective of artists, storytellers, and activists exploited the new technology of portable video for creative and political purposes.

Videofreex: The Art of Guerrilla Television (Samuel Dorsky Museum of Art)

Ross, David

Colley, Tom

Roe, Tom

Collections, Catalogs & Exhibitions

Redefines McEntee's place in the history of nineteenth-century American landscape painting.Jervis McEntee presents new scholarship and color reproductions that redefine McEntee’s place in the history of nineteenth-century American landscape painting. The lead essay by exhibition curator Lee A. Vedder makes the case that McEntee was far more than a painter of somber late fall landscapes. He set his own course, absorbing influences of his fellow Hudson River school painters including Frederic Church, Sanford Gifford, and Asher B. Durand, while also responding to the atmospheric painting of J. M. W. Turner, the trauma of the Civil War, and the shifts in American tastes to French Barbizon painting and Impressionism. Additional essays expand the scope of McEntee scholarship. Kerry Dean Carso presents the influence of the landscape and industrial development of Rondout (later Kingston), New York, McEntee’s native city. David Schuyler reappraises the art and career of this fascinating artist, who played such a pivotal role in the art and culture of his day. The catalogue also includes reprints of key texts from the rare memorial publication Jervis McEntee: American Landscape Painter (1892).

Jervis McEntee: Painter-Poet of the Hudson River School (Samuel Dorsky Museum of Art)

Carso, Kerry Dean

Vedder, Lee A.

Schuyler, David P.

Documents the Samuel Dorsky Museum of Art’s exhibition of work by Guyana-born contemporary artist Andrew Lyght and provides new scholarship contextualizing Lyght’s work within the history and culture of Guyana and modern art.

Andrew Lyght: Full Circle (Samuel Dorsky Museum of Art)

Lyght, Andrew

Fatah-Black, Karwan

Hoonhout, Bram

Karlin, Renata

Mosaka, Tumelo

Rose, Barbara

Hazlewood, Carl E.

Zenetou, Artemis

Documents the art and science of three-dimensional abstract artworks created in the 1970s and 1980s by one of the leading innovators of fine art holography.The first-ever catalogue dedicated to light artist and holographer Rudie Berkhout, The Floating World focuses on the transmission holograms Berkhout made from 1978 to 1989, a peak period of his creativity and professional recognition. In a transmission hologram, a rear-mounted light shines on a glass plate to illuminate a three-dimensional image. Curator Daniel Belasco situates Berkhout in the art and culture of his day, from the mass-produced holograms on the cover of National Geographic to the other artists working at the intersection of technology and audience participation. Holography scholar Martina Mrongovius provides a detailed account of the technology and craft in Berkhout’s working process. Additional catalogue components include reprints of two important artist statements, multiple illustrations of exhibited art works, bibliography, and detailed exhibition history. Berkhout envisioned his abstract holograms as the marriage of science, art, and philosophy.

The Floating World: Holograms by Rudie Berkhout (Samuel Dorsky Museum of Art)

Mrongovius, Martina

Berkhout, Rudie

The catalogue for a two-part exhibition that presents more than sixty compelling photographs―including prints by Eugène Atget and Berenice Abbott―exploring major themes in modern photography, donated by leading photography specialist and dealer Howard Greenberg.The history of photography concerns its materiality as much as its imagery. The Samuel Dorsky Museum of Art at the State University of New York at New Paltz is firmly engaged with this history of reinvention. Nearly half of the collection came to the museum from a single source: photography specialist and dealer Howard Greenberg. On the Street and in the Studio documents the enormous contribution made by Greenberg in building a collection of nineteenth- and twentieth-century photography at the Dorsky Museum. The catalogue includes an essay by curator Daniel Belasco that surveys the strengths and characteristics of the collection. An interview with Howard Greenberg sheds light on how he collects photographs and chooses to present them to institutions. The portfolio section features images of both the photographic images and reverse sides of nineteen prints in the collection by Eugène Atget, Berenice Abbott, James Van Der Zee, Margaret Bourke-White, and others, revealing how there is as much relevant information on the back as on the picture itself, an insight made available for students and the general public.

On the Street and in the Studio: Photographs Donated by Howard Greenberg (Samuel Dorsky Museum of Art)

Greenberg, Howard

Photography & Video

Documents the groundbreaking art of nationally renowned metalsmith Myra Mimlitsch-Gray.In/Animate surveys the past decade of work by Myra Mimlitsch-Gray, internationally renowned metalsmith and head of the Metal Program at SUNY New Paltz. Curated by author Akiko Busch, the exhibition explores a variety of artistic processes using iron, copper, brass, silver, and enameled steel. Mimlitsch-Gray’s domestic artifacts suggest a coalescence of body and thing, conveying the mutability of the animate and inanimate and reflecting the intimacy between people and the objects they use. A spoon could be a lip, or a dangling twist of fabric, a vein. Over forty meticulously crafted works contribute to the contemporary conversation about how household objects express ideas about presentation, utility, and class.

In/Animate: Recent Work by Myra Mimlitsch-Gray (Samuel Dorsky Museum of Art)

BUSCH, Akiko

Mimlitsch-Gray, Myra

Examines Steven Holl’s intricate and distinctive process of making architecture through approximately one hundred models, related sketches and other studies created for nine recent projects. This publication, and the exhibition at the Samuel Dorsky Museum of Art that it accompanies, investigates the architect Steven Holl’s unique process of making architecture, the foundation of which is drawing, almost always by hand. The publication includes an extensive critical essay about Steven Holl and his process by exhibition curator Nina Stritzler-Levine, and additional essays by Kerry Dean Carso and Peter Olshavsky. The projects section that follows these chapters includes descriptions of the eleven projects that are the focus of the exhibition; the exhibition checklist, which corresponds with the organization of the installation; and photographs of the installation.

Steven Holl: Making Architecture (Samuel Dorsky Museum of Art)

Stritzler-Levine, Nina

Holl, Steven

Olshavsky, Peter

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Books by Pasti, Sara J.