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Milton J. Weill Art Gallery

Great photographers see the same world in which we exist, but their artistry is in the perspective, the framing and the context which casts a moment in ways that elude most of us. Judy Glickman Lauder is a great photographer, but part of her unique extraordinary artistry is the “soulfulness” she brings to her work as demonstrated in this exhibition.

There is something more than the faces and objects and places that appear in this exhibition. They are all part of a larger story, a personal thirty-year voyage on which she invites us to join her as she has always photographed that to which she is drawn. Some of the images in this exhibition lace historic and often tragic events with a human filter that urges us to have it all enter our lives as something more than memory. The faces become part of a timeline which surges forward to the future.

Other images catapult us into the exquisite loveliness of our world, encouraging us to find interest, if not joyfully fall in love with the places and objects which we may not have previously beheld the same way as the sensitive eye of the photographer encourages us to focus differently. Together, this exhibition contains an incipient hope that we forge forward into the splendor and possibilities of tomorrow never losing our grasp of the preciousness and power of yesterday.

The journey of this exhibition awaits us.
—Rabbi Peter J. Rubinstein

About Judy Glickman Lauder

Judy Glickman Lauder is an internationally recognized photographer, humanitarian and philanthropist. She is a Fellow of the Royal Photographic Society of Great Britain. Her work is held in private collections and public institutions around the world, including the J. Paul Getty Museum, Los Angeles; the Whitney Museum of American Art, New York; the Metropolitan Museum of Art, New York; and the United States Holocaust Museum, Washington, DC. She is represented by the Howard Greenberg Gallery in New York City.

A number of photographs were recently published by the Aperture Foundation in a book titled Beyond the Shadows: The Holocaust and the Danish Exception (2018). These photographs are also the subject of two traveling exhibitions, Holocaust: The Presence of the Past and Resistance and Rescue: Denmark’s Response to the Holocaust, which have been shown at more than two hundred institutions around the world. Other books include Upon Reflection: Photographs by Judith Ellis Glickman (2012); Both Sides of the Camera: Photographs from the Collection of Judy Ellis Glickman (2007); as well as a book on the work of her father, For the Love of It: the Photography of Irving Bennett Ellis (2008).

Presently, Ms. Glickman Lauder serves on the Board of Trustees of the Portland Museum of Art and is a member of both the Getty Museum Photographic Council and the Photographic Visiting Committee of the Metropolitan Museum of Art.

Since 1935, 92Y’s Harkness Dance Center has been an historic home of modern dance, supporting the talents of pioneers like Martha Graham, Alvin Ailey and José Limón. As part of this year’s Harkness Dance Festival (March 1-30), we present photographs by James Klosty and Stephanie Berger to create a conversation between two eras of one of the dance field’s most important artists: Merce Cunningham.

James Klosty’s black and white photographs (1968-1972), taken during the golden years of the Merce Cunningham Dance Company, tell the story of the radical experimentations and collaborations between a powerful nexus of personas, and of Cunningham not only as a choreographer but also as a dancer at his peak. We see, through Klosty’s unfettered access, icons of the avant-garde—John Cage, Marcel Duchamp, Jasper Johns—interacting and creating art with Cunningham as the company rehearsed and toured the world redefining dance and influencing younger artists for generations.

Klosty writes that his intention “has not been to document or ‘illustrate’ Cunningham’s dances … dancing is a process far less understandable … than the arresting, gracious, somehow comprehensible form the dancer’s body assumes upon a piece of paper …. While photography is literally a timeless art—what’s left when time is taken away—dancing’s very being is time … For this reason my focus is not dancing but an association of artists … (and) the current almost palpably surrounding the man, charging his work, informing every aspect of that world which, by his presence, he defines.”

In contrast, Stephanie Berger’s vibrant color photos feature the last company of dancers with whom Cunningham worked, and capture a later generation of collaborators, many of whom have gone on to their own choreographic careers, like Dylan Crossman, highlighting the impact of Cunningham’s legacy. Berger’s photos emphasize the heights of the jumps, the quickness of the steps, the geometry and precision of the dancers that are stunning for their virtuosity and unpredictable forms. As technology advanced with digital cameras, time speeds up and the crispness of pixels contrast with the grain of film.

Berger writes, “I photographed the Merce Cunningham Dance Company dancers many times, during dress rehearsals and live performances, including their two-year residency within the site-specific galleries at Dia:Beacon and the company’s “Final Events” performances at the Park Avenue Armory. I am still in awe of Merce’s collaborations with artists and the cutting-edge innovations he created even as he approached his nineties. Responding to the sounds and shifts of tempo, I looked for moments that articulated the dancers’ expressivity and form, to show tension and energy, stillness and movement that frame the genius of his choreography and bring the viewer back into the experience of these performances.”

Through the lenses of both Klosty and Berger, we see the timelessness of Cunningham’s work, and how his many collaborations inspired a legacy that will influence art and choreography of the future.

Ron Agam: Experience Experimentation

Ron Agam was born in France in 1958. Arriving in New York in the 1980s, he established himself as a photographer and opened the Artlife gallery in SoHo. In 1994, his debut monograph, At the Wall, garnered wide acclaim for its penetrating photographs of the ultra-orthodox inhabitants of the Mea Shearim neighborhood and the daily rituals of the Western Wall. In 2009 Agam was made Chevalier of the Legion of Honor of France, cited for his “key role in establishing a relationship of trust and cooperation between France and the Jewish community in America.” In 2010, Agam picked up a crayon and began to draw. He has since established a fruitful second act in his artistic career as a painter. Rendered in formally precise, texturally refined surfaces, his wide-ranging works yet cohere as a unified body that questions the mechanics and metaphysics of the act of seeing itself.

Faculty Exhibit

This exhibition of work by the faculty of 92Y’s Art Center is an integral component of the 92Y annual exhibition program. The Art Center at 92Y is committed to the practice of hiring teaching artists: individuals trained in fine art, ceramics and jewelry who maintain their own professional careers while giving back as teachers. Featuring their work as artists in this exhibition is our way of acknowledging and celebrating their creative identities outside of 92Y. It is also a way to say thank you for the time and energy they commit to our students in the studios. While celebrating the talents of the current faculty, this exhibition also serves as a reminder of the long and rich history of the Art Center and the contributions of its prestigious faculty to the wider field of visual arts.

This exhibition, along with the student exhibitions that are held in the spring, is generously supported by one of 92Y’s most dedicated supporters, Gilda Block and her late husband Henry. A patron in the best sense of the word, Gilda is also a regular participant in many 92Y programs from lectures to concerts to painting classes. Gilda experiences firsthand all that 92Y has to offer its community and has found meaningful ways to contribute to this effort for which we are ever grateful.

Allison Valchuis Chapman
92Y Art Center

92Y welcomes celebrated artist Shantell Martin to a three-month multimedia residency at 92Y. Martin’s work is a meditation of lines; a language of characters, creatures and messages that invites viewers to share a role in the creative process. With her characteristic black-and-white, 3D, spontaneous freestyle compositions, Shantell Martin will break down the wall between creator and community. Audiences are invited to interact with Martin’s work through intimate moments that bridge fine art, performance art, technology, and conversation.

Why Now. is an exploration of identity. It explores how the process of self-discovery plays into one’s identity with community and society at large. While this is an important and serious journey every person must make for themselves, Martin demonstrates the positivity of a spontaneous, fun and humorous approach.

Shantell Martin

Below the surface of Shantell Martin’s characteristic black and white compositions is an artists’ inquiry into the role of artist and viewer. In Martin’s world, a work of art is inseparable from its creator and its audience …

This project is made possible by generous support from the Mary Lou and Robert J. Morgado Charitable Trust.

The 26th Annual 92Y Art Center Student Exhibition

For over 88 years the 92Y Art Center has provided students of all ages and all levels of accomplishment with a superior educational experience, whether in art appreciation, fine art, ceramics or jewelry and metalsmithing. As part of this mission, the Art Center provides training that helps to build technical skills as well as an informed appreciation of the arts. What is paramount is the art-making process: the self-fulfillment, intellectual engagement, challenge and fun that the practice of studio art can provide. However, the exhibition of one’s work can be an important part of this process. It provides a forum for contemplation, comparison and critique, along with the simple joy of sharing one’s accomplishments. This annual exhibition of work by adult students enrolled in 92Y’s studio art classes celebrates the talents of individual students, the devotion of the faculty to the process of teaching, and the 92Y community of artists.

The numerous entries received always require us to limit the number of objects exhibited in the gallery. We would like to sincerely thank Sara Softness, assistant curator of special projects at the Brooklyn Museum, for serving as the guest juror of this year’s exhibition. As part of her duties, she has selected her favorite work from each of the following categories: oil painting, drawing, collage, watercolor, ceramics and jewelry design.

In addition, the Art Center would like to thank Gilda Block for her continued generous support of this annual student exhibition.

Allison Valchuis Chapman
92Y Art Center

Balanchine: The Eternal Present
New York City Ballet
Photographs from over 40 years
By Paul Kolnik

Credit: George Balanchine rehearsing Stephanie Saland in Apollo; Choreography by George Balanchine © The George Balanchine Trust; BALANCHINE is a Trademark of The George Balanchine Trust.

Since 1935, 92Y’s Harkness Dance Center has been a historic home of modern dance, nurturing the talents of such pioneers as Martha Graham, Alvin Ailey and Merce Cunningham. In the tradition of these trailblazers, we pride ourselves on carrying forward the art of dance in our educational and performance programs.

Each year we present the Harkness Dance Festival – five weeks of performances with today’s innovators and history makers of dance. The 2018 festival, which ran February 23 to March 24, featured a varied spectrum of artists and works, from revivals of classics to world premieres, and reflects the reputation of 92Y’s Harkness Dance Center as the place not only where modern dance was born … but where it’s all heading.

We were so pleased to present Paul Kolnik’s stunning photographs as part of the 2018 festival. For more than 40 years, he has had an extraordinary window into the world of the New York City Ballet and the astonishing dancers who have worked with the company over the years. These images truly capture the exalting spirit of these artists and specifically the “Eternal Present” of Mr. Balanchine’s legacy.

Christine Chen
Director of Dance and Adult Programming

This event and the exhibition are supported by Producers Circle members Meryl Rosofsky and Stuart H. Coleman.