Kathy Goodell: Infra-Loop: Selections 1994-2020 explores the through-lines in the artist's work across painting, drawing, and sculpture; examining a mystic language that loops between disciplines, coasts, and generations. In addition to reproductions of Goodell's work, are essays and interviews from critics and artists that expand Goodell's work and artistic practice over the last three decades.

Kathy Goodell: Infra-Loop, Selections 1994-2020

Arts & Photography

Woolbright, Andrew

King, Elizabeth

Nadel, Dan

Individual Artists

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Poems, short stories, and other personal reactions to works in the permanent collection of the Samuel Dorsky Museum of Art at SUNY New Paltz.

Reading Objects 2008: March 28-september 28, 2008

Samuel Dorsky Museum of Art

Collections, Catalogs & Exhibitions

An overview of the career of Eva Watson-Schütze (1867–1935), one the foremost American women photographers of the early twentieth century.

Eva Watson-Schutze: Photographer

History & Criticism

An overview of an innovative and influential arts organization of the 1970s and early 1980s.

Taking a Different Tack: Maggie Sherwood and the Floating Foundation of Photography (Samuel Dorsky Museum of Art)

A stunning selection of paintings by Thomas Cole, Asher B. Durand, John W. Casilear, George Inness, and others, depicting landscapes, historic sites, natural wonders, and waterways of New York State. This catalog features forty-five paintings from the permanent collection of the New-York Historical Society, newly restored and available here together for the first time. From the mouth of the Hudson River, north to the Adirondacks, and west to Niagara Falls, these paintings by Thomas Cole, Asher B. Durand, John W. Casilear, Jasper Cropsey, Albert Bierstadt, and George Inness, and others depict the landscapes, historic sites, natural wonders, and waterways of New York State. The catalog also includes important essays by guest curator Dr. Linda S. Ferber, the Museum Director of the New-York Historical Society and one of the country’s preeminent scholars and authorities on the art of this period, and art and architectural historian Dr. Kerry Carso, Associate Professor of Art History at SUNY New Paltz. This catalog is the third in a triology of publications and exhibitions produced at the Samuel Dorsky Museum of Art celebrating the Hudson River School of painting. The exhibition and catalog are part of Art and The River, a series of exhibitions, publications and events that celebrate the Hudson-Fulton-Champlain Quadricentennial, which commemorates the 400th anniversary of Henry Hudson’s voyage of discovery of the Hudson River.

The Hudson River to Niagara Falls: Nineteenth-Century American Landscape Paintings from the New-York Historical Society (Samuel Dorsky Museum of Art)

Hoy, Anne H.

A photographic documentary of both sides of the river, from New York Harbor to Albany, updating and reprinting the classic 1910 Panorama of the Hudson. In honor of the 400th anniversary of Henry Hudson's voyage of discovery on the river that now bears his name, Panorama of the Hudson River offers a twenty-first-century updating of G. Willard Shear's long-cherished 1910 photographic survey of the river's shorelines, tracing the Half Moon's 1609 route from New York Harbor to present-day Albany. It also reprints the earlier edition, making it readily available for the first time in decades. Juxtaposing Shear’s photographs with those of renowned Hudson Valley photographer Greg Miller not only combines two extraordinary feats of photographic artistry, it also provides an important record of changes that have occurred along the river since the Hudson Tricentennial celebrations of 1909. Panorama of the Hudson River will interest anyone enchanted by the Hudson River’s beautiful and varied landscapes, and should also provide an excellent tool for those involved in continuing efforts to protect treasured by threated places along its banks. The original photographic panoramas were sold as souvenirs aboard Hudson River Day Liners, grand steamships that plied the river between 1863 and 1948. According to the text in the 1910 edition, Shear’s east- and west-bank panoramas are comprised of 800 photographs. Despite strides in technology since then, Greg Miller took considerably more shots―as many as 2,500―for this updated edition, and even with the aid of a computer he probably spent more time matching up his prints than Shear did in constructing the original panoramas. Blame for that can be laid, in part, on the plethora and size of new buildings along the shore, primarily in and around Manhattan, which play havoc with angles while shooting from the deck of a moving boat. But Shear also had the benefit of the Day Liners, which maintained a regular schedule and a more or less constant speed, while Miller was at the mercy, not to mention generosity, of boat owners who were intrigued with the project. In the end, the variety of craft on which he made the 140-mile journey―the 80-foot schooner Adirondack; Launch 5, a former New York City Police Department harbor patrol boat; and the Serenity, an electric-powered vessel―says much about the Hudson’s continued vitality. Wallace Bruce, the poet, diplomat, and Hudson Valley native who spearheaded the earlier panorama projects, wrote that “the Hudson, more than any other river, has a distinct personality―an absolute soul-quality.” Above all, Greg Miller’s panorama proves that nothing has diminished the Hudson River's power to cast a mighty spell.

Panorama of the Hudson River (Samuel Dorsky Museum of Art)

Photography & Video

Over forty works spanning the career of pioneering painter, filmmaker, writer, and performance/installation artist Carolee Schneemann. Over forty works spanning the career of pioneering painter, filmmaker, writer, and performance/installation artist Carolee Schneemann are featured in this edition of the Dorsky Museum’s Hudson Valley Masters exhibition series. Schneemann’s multidisciplinary, deeply personal investigations explore the incomprehensibly complex dynamics between mind and body. As Brian Wallace states in his introduction, “What distinguishes Schneemann’s investigations―and what characterizes the varied and interconnected works that constitute them―is their insistent challenge to powerful cultural mechanisms that perpetuate (and rely upon) this mind-body split. These mechanisms include epistemological positions that value thought over the senses ... [and] also involve related positions―in ethics and aesthetics―that favor the visual and the abstract over the physical and personal and involve the gender-b(i)ased notions of psychology, behavior, and history that waves of feminisms have sought to describe and challenge.”

Carolee Schneemann: Within and Beyond the Premises (Samuel Dorsky Museum of Art)

Schneemann, Carolee

Photographs and essays that explore the interconnections between the private and the public in the work of Andy Warhol.This exhibition catalogue explores interconnections between the private and the public in the work of Andy Warhol (1928–1987) as seen in a group of 151 Polaroid and black-and-white photographs donated to the Samuel Dorsky Museum of Art by the Andy Warhol Photographic Legacy Program, a program of the Andy Warhol Foundation for the Visual Arts. Among the wide-ranging subjects of these photographs are Warhol’s boyfriend Jon Gould; his friend and collaborator, the painter Jean-Michel Basquiat; fashion-world celebrity Diana Vreeland; the influential art critic and curator Henry Geldzahler; and (more surprisingly) landscapes in Aspen, Colorado. Essays focusing on individual photographs shed new light on these and other subjects, on the significance of photography for Warhol, and, more broadly, on the art and culture of the 1970s and 1980s.This catalogue is the fruit of an innovative collaboration between the SUNY New Paltz Art History Department and the Samuel Dorsky Museum of Art. Students at SUNY New Paltz developed the concept for the exhibition and designed and wrote essays for the catalogue as part of their participation in two related courses taught at the college in Spring 2009. The catalogue editor, Reva Wolf, a noted Warhol scholar and the author of Andy Warhol, Poetry, and Gossip in the 1960s, oversaw this pioneering project, together with Brian Wallace, curator at the Dorsky Museum.

Andy Warhol: Private and Public in 151 Photographs (Samuel Dorsky Museum of Art)

Exhibition catalog featuring the work of Milton Avery, an artist who brought the sketch, with its spontaneity, movement, and fleetingness, to the status of a finished painting. “I try to construct a picture in which shapes, spaces, colors, form a set of unique relationships, independent of any subject matter. At the same time I try to capture and translate the excitement and emotion aroused in me by the impact with the original idea.” ― Milton Avery Milton Avery and the End of Modernism looks at work by the artist who brought the sketch, with its spontaneity, movement, and fleetingness, to the status of a finished painting. The works reproduced in this exhibition catalog feature Avery’s intense saturated color fields, the simplification of form, and figures that emphasize the flatness of canvas surface. In the four chapters that open the catalog, Karl Emil Willers takes a concerted look at the contributions of Milton Avery as a significant figurative painter from the late 1920s through the early 1960s, and at the development of Avery’s signature paintings from his idiosyncratic drawing style that captures the essence of a person, place, or time. Placing Avery’s work within a long history of modernist practice that recognizes the artist’s sketch as a “final, complete and a self-sufficient work of art,” Willers argues that, within the emergence of his avant-garde style, Avery can be seen as one of the preeminent American painters of his time, exerting great influence among both his contemporaries and subsequent generations of artists. Regarding Avery’s place in American art history, Patterson Sims has written: “Early in Avery's career, when Social Realism and American Scene painting were the prevailing artistic styles, the semi-abstract tendencies in his work were viewed by many as too radical. In the 1950s, a period dominated by Abstract Expressionism, he was overlooked by critics because of his adherence to recognizable subject matter. Nevertheless, his work, with its emphasis on color, was important to many younger artists, particularly to Mark Rothko, Adolph Gottlieb, Barnett Newman, Helen Frankenthaler, and other Color Field painters.” Milton Avery and the End of Modernism opened at the Nassau County Museum of Art on January 22, 2011, and remained on view through May 8, 2011. It was organized by Director Karl Emil Willers and the Neuberger Museum of Art, Purchase College, State University of New York. It was funded, in part, by the New York State Council for the Arts, the Friends of the Neuberger Museum of Art, and the Westchester Arts Council.

Milton Avery & the End of Modernism

Willers, Karl Emil

Responses to works in the permanent collection of the Samuel Dorsky Museum of Art at SUNY New Paltz.Reading Objects 2011 is part of an ongoing, interdisciplinary series featuring works from the permanent collection of the Samuel Dorsky Museum of Art at the State University of New York at New Paltz. The artworks are accompanied by texts or other responses prepared by SUNY New Paltz faculty, staff, and students.Exhibitions such as Reading Objects 2011 are one of a number of ways that the Dorsky Museum is able to periodically display selections from its permanent collection of over five thousand objects. Like many museums, the Dorsky has many fine examples of artworks from diverse cultures and time periods that never see the light of day. It is these works―the ones that are housed in the dark recesses of museum storage―that this Reading Objects exhibition highlights.Each staff member at the museum was asked to review the collection database and choose five objects that they felt would be good candidates for the exhibition, keeping in mind the work’s potential for diverse narrative interpretations. Staff were also asked to consider works that had rarely or never before been on public display before. Thirty-seven selections were then pulled from storage for the staff to review, and this provided lively and spirited discussions as each staff member defended his or her selections. In the end, twenty-seven works made the final cut.

Reading Objects 2011: The Samuel Dorsky Museum of Art Ro.11

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