Paul W. Zuccaire Gallery at Stony Brook University

Thom Thompson: Retro: A Selection of Works from 1969 to 2000 September 12October 21, 2000 Years and experiences have moved by so fast that neither of us finds it easy to recollect what we now refer to as the early daysGood teachers and good mentors are essential: They inspire perpetual learning and teach us how to communicate ideas. Thom Thompson is both. -Dan Cassano.... While Thompson photographs the drive-in at a distance, he photographs commercial ships close-up creating luminous, abstract compositions. Being this close creates a solitary experience. His landscapes, on the other hand, viewed from the distance panoramically, also create a sense of the solitude of the individual traveler. Like the drive-ins, the carnival photographs reflect an era present and past, current in small towns and cities. There is a sense that the viewer is the remote witness to a "landscape" devoid of humans, each mechanism portrayed at rest. This creates an air of sadness or nostalgia for that which has been temporarily abandoned as it awaits a new interaction or becomes a thing of the past. - Excerpt from catalog, written by Howardena Pindell

The Paul W. Zuccaire Gallery is proud to present RECKONING: Student Mural on view February 1 - March 1, 2021. RECKONING presents artwork from Stony Brook students across campus in response to the challenges and issues of the day. Add your own voice on a large paper mural included in the exhibition. In addition, artwork from RECKONING: Faculty Exhibition will be projected on the gallery wall. Open Monday-Friday 12-2pm with additional hours by appointment. Learn more https://bit.ly/3scXZTr

Warren Brandt: A Retrospective, July 1-August 7, 1993, Zuccaire Gallery In his early years in midcentury New York, Warren Brandt - native of Greensboro, North Carolina, and future, full-fledged "child of Matisse" - seemed to have handily adapted the Abstract Expressionism ethic. He was painting free form and expressively and hanging out evenings at the Cedar Tavern with Accion Painting chums Willem de Kooning, Fram Kline, Paul Jenkins, and Milton Resnick. In his early thirti...es, Brandt already had impressive credentials: studies with Yasuo Kuniyoshi at the Art Students' League (a soft, Renoiresque Nude from 1946 strongly displays the influence); five years in the Army in the privileged, perk-laden position of official portraitist to the commandants; and then, at Washington University in St. Louis on the G.I. Bill, study with, first, Philip Guston, then Max Beckmann. Gymnast (1948) reveals how deeply Brandt felt toward both the tutelage and the art of the fabled German expressionist. See more

Sara Greenberger Rafferty: GLOVES OFF November 2 - December 17, 2017 Three years ago, Paul W. Zuccaire Gallery had Sara Greenberger Rafferty: GLOVES OFF on exhibit. Bringing together recent video, sculpture, and photography, Sara Greenberger Rafferty furthers her ongoing fascination with domesticity, the body, consumer culture, fashion, violence, and stand-up comedy in a kaleidoscopic view of contemporary culture on the edge. The boxing term gloves offfrequently used as a metaphor to characterize brutal political campaigns and post-9/11 military interrogationaptly describes the subtle aggressions in American popular culture Rafferty lays bare.

Susan Shatter: Tracking the Terrain: Landscapes, Seascapes, Bodyscapes On view November 11-December 13, 2003 at the Zuccaire Gallery. Susan Shatter's landscapes have a kind of intransigent objectivity, as though the artist were refusing all communion with her theme every attempt to see nature from some imaginary within. Shatter refuses to fall coyly and knowingly, as is the custom into the pathetic fallacy, to take nature as a rich realm of emotional connotation, even t...hough that sometimes seems its gift to us. She neither mythologizes nor de-mythologizes it, she begins with it simply as there. The Bodyscapes were made in response to chemotherapy, which added to Shatter's sense of victimization not only was she gratuitously victimized by the nature to which she has devoted her art, but science also seemed to victimized her body, however hard it struggled to heal the damage done by nature and to psychotherapy, which tried to repair the damage done to her psyche by her death-threatening bodily ailment

Christa Erickson: Prosthetic Memory, Bodies, Bits, & Devices January 30-February 24, 2007 In Erickson's work, playing suggests the possibility of transgression at the same time as tt reminds us of the methods by which we are prevented from playing freely and made to conform. Just as her work reverses our understanding of memory as a practice that moves from the Inside out to one that moves from the outside in, she also reverses our understanding of surveillance from a practic...e that moves from the outside In to one that moves from the inside out. Just as a memory is not something we have, but something that has us, the gaze is not only extemal to us, but becomes most effective when it is internalized by us. Surveillance as a mode of subjectification is demonstrated in several of the installations here, including Search, Leaming Distance, Dataskins, Debt Reducer, and Dis-ease. Our movements are literally and figuratively traced throughout the show. See more

We’re digging through our archives to highlight some of the artists, artwork, and exhibitions that have been at the Zuccaire Gallery. With winter approaching quickly, Lorna Bieber: TRACES, displayed four years ago, gives us some lovely winter sceneries! Lorna Bieber: TRACES November 5 - December 18, 2016 Lorna Bieber creates hauntingly beautiful images out of found photographs that she then manipulates through an elaborate process of photocopying, enlarging, painting and collaging. The result is a series of grainy black and white pictures of trees, flowers, animals, houses and the occasional human figure, produced either as large single-image photographic murals or as wall-sized montages.

Izumi Ashizawa, I Cried Because I Had No Shoes Until, 2019, performance art, featured in RECKONING: Faculty Exhibition 2020. A duo show with a live musician on stage, this was an unconventional puppet performance inspired by the Japanese traditional Bunraku puppet theatre’s invisible puppeteer called Kurogo. In Bunraku, Kurogo is dressed in black from the head to toe, being considered invisible or non-existent. I adapted this theatrical code and put this invisible fig...ure as a main character in my piece. By doing this, I tackle the issue of identity and gender politics. What is perceived as invisible is spotlighted, and invisibility becomes the core. At the very beginning of the performance, I appeared as a female character, but was soon forced to turn into an invisible character. My co-performer was a British male actor who interacted with countless shoes without owners manipulated by an invisible female. The intentional casting of British male actor juxtaposed with shoes without owners evokes the wound of social invisibility and colonization. Performance commissioned and premiered in Liverpool, U.K. Co-performer: Matthew Austin. Musician: Chris Jones.

Altair Pan, 2020, RECKONING: Student Digital Mural In 2020, we are going through many major events such as #MeToo, Black Lives Matter protests and pandemic. In this artwork I made, we are like these fish who wish to get closer to the bait (the star represents hope), but we cannot due to what is going on right now (images of events act as a wall). However, I believe we will live through this together, because there is a bigger world awaiting us to explore like the birds flying in the vast sky. https://you.stonybrook.edu/reckoningmural/

Rhumb-Line, 2020, sound installation and video documentation from RECKONING: Faculty Exhibition 2020. Rhumb-Line is a sound installation that contends with ecosystem silencing in the anthropocene. Audiences listen to a live chorus of robotic frogs whose presence is heard but initially unseen. Their calls act as rhumb linesnavigational tools relying on a fixed reference point to establish a constant bearing. In our work, sound becomes a spatial bearing and an agent of reckon...ing. Visitors engage in acts of sonic retribution against an advancing tide of environmental silencing caused by climate change, urbanization, and habitat destruction. Because of the pandemic, visitors participate virtually and become members of a fragile online sonic ecosystem, performing rhythmic calls with a computer mouse on a website connected to the frogs. Audiences listen to their calls mimicked by the frogs and evolved through artificial intelligence while controlling ambisonic microphones used to generate the listening experience. By listening for rhumb lines, visitors attend to a community of bodies that call for stewardship and protection from violent acts of imposed silence. Margaret Schedel with Robert Cosgrove and Brian Smith, Rhumb-Line, 2020, sound installation and video documentation, 2 min 14 sec. Watch the full video at https://you.stonybrook.edu/reckoning2020/