UPCOMING EXHIBITIONS
 
Tongue in Cheek: The Inflatable Art of Jimmy Kuehnle
June 4 to September 18, 2016


Jimmy Kuehnle. Punch Bubbles, 2016

 
 
It’s not marble, it’s not bronze, but it is sculpture ─ bright and bouncing. Jimmy Kuehnle’s inflatables are exciting art form and witty commentary on our interests and enthusiasms. 

This summer, Kuehnle’s inflatables invade the Hudson River Museum’s limestone Victorian home, Glenview, and the Brutalist concrete spaces in its modern wing, mushrooming in the galleries. The sculptor, who at times can be found inside his huge and popular costumes inflated by 12-volt motor blowers, says, When you’re inside an inflatable, the lack of 90-degree angles and natural architectural forms makes for a surreal experience.

Kuehnle also turns his creativity and mechanical know-how from costumes to site-specific installations that activate the space around them. Massively scaled, these sculptures are put in the way, so you must push and prod past them, as you ask, “Is this space mine, or does it belong this extremely large creature blocking me?” Kuehnle’s message, Stop and connect with me — talk and touch me, and, an addendum, Your space may not be as private as you think it is or would like it to be.

The Hudson River Museum is host to Jimmy Kuehnle’s first large-scale solo installation in New York. Products of numerous renderings, Kuehnle inflatables, here in Summer 16, include three new works:  Super Punch Bubbles, blossoms of bright color emerging from Glenview’svenerable tower windows that function as an illuminated clock, light blinking the change of hours; You Lick Me, I Lick You, inflatables shaped like tongues that drape the Museum’s Entrance Arch; and in the galleries, Hot Polyester Bladder Lung, that “breathing” beckons you towards its shifting form as it expends life into far reaches of the Museum.  The huge neon-pink Please, no smash, a costume-sculpture hybrid, just returned from its sensational season at Cleveland’s MOCA, fills the Museum’s atrium and is joined by You Wear What I Wear and Hello Bye. The titles of the works are as intriguing as the works. I like titles that make people curious, says Kuehnle, but also offer the potential for your own interpretation by have some sort of call-to-action.

Kuehnle sculptures, which he makes from vinyl-coated polyester fabric, inflate and deflate, pulsing, and by extension breathing, like an organism. Bestowing kinetic energy on a sculpture demands of its maker a sophisticated approach to scale and movement. The installation, itself, always requires new construction and problem solving aided by programming platforms for electronics and the traditional push and pull of winches, pulleys, and rigging. When I work on projects, I always like to learn things and have new experiences.  So I set up challenges, situations that require new techniques, said Kuehnle.

Kuehnle who teaches at the Cleveland Institute of Art, has had solo shows at museums, galleries and universities in the United States and internationally. In 2014 he was selected for the national survey exhibition State of the Art: Discovering American Art Now at the Crystal Bridges Museum of American Art. As a Fulbright Graduate Research Fellow in Japan, 2008, he pursued his interest in public art and sculpture.

Organized by the Hudson River Museum.

 

Juan Bernal: Pure and Simple
May 14 - September 18, 2016


Juan Bernal.  Cathedral, 2008

 
 
Juan Bernal finds sublimity in nature's designs, the hidden bounty in nature’s smallest gifts — a single leaf, a drop of water, the morning’s first shaft of light.

Juan Bernal: Pure and Simple opens at the Museum on Saturday May 14 in celebration of Yonkers Arts Weekend (Saturday and Sunday, May 14 and 15), presenting paintings and photographs from several series by this artist who originally hails from Colombia: The Light (Paintings of Light Rays); Dew (Paintings of Water Droplets); Fragments (Paintings of the Geometry of Leaves). 

Artist and architect, Bernal looks deeply into nature’s elemental forms and sees broader life and a larger landscape. He follows the leaf in new color, young and green, until it bursts into the brilliant orange of life realized. In his works Bernal perfectly balances the genres of landscape and still-life, urging us to step closer, pause, and enjoy the shimmering lushness of nature in the everyday.  

To contrast these close-up views of nature, Bernal creates a new painting for this exhibition —The Great River—a six by nine foot panorama of a composed landscape along the banks of the Hudson River, his scene inspired by the grandly-scaled compositions of  19th-century Hudson River School painters Thomas Cole, Frederic Church, and Jasper Cropsey.  These earlier painters often combined sketches of different locales to create one idealized scene they then returned to their studios to perfect.  Bernal, too, creates a Hudson River scene but “sketches” first, not with portable easel and paint, but with camera and computer.  He shows how, piece by piece, from first photograph to final painting a work comes together. 

Key to Bernal’s paintings is light. Light shines through a leaf or a droplet of water. A leaf illuminated bears its elongated vein and opens its internal structure to our sight. We sense our connection to Nature’s rationality and reflect on its suggestion of the divine — both wellsprings of life.

Organized by the Hudson River Museum.

 

Red Grooms Paints the Civil War
October 8, 2016 – February 12, 2017


Red Grooms.  Battle of Lookout Mountain, 2010

The Civil War, America’s story, is told by Red Grooms, American artist, who for 50 years has brought life from city and country to sculpture and canvas, with truth that he inflects with compassion and humor.

Long linked to the Hudson River Museum by The Bookstore, a “walk-through” sculpto-pictorama that has amazed and amused Museum visitors for over 30 years, Grooms turns, now, to the story of the war America waged within its own borders.  Red Grooms Paints the Civil War, at the Hudson River Museum, from October 8, 2016 through January 15, 2017, shows us this war vividly in color and action.

Grooms’ paintings and installations of our contemporary environment are famous for a parade of dazzling personalities busily engaged in the moment. We recognize their faces, body language, and motivations. The war waged by the Northern and Southern states presents Grooms a new canvas of arresting people and their ambitions.  Steely-eyed generals—Grant, Jackson, Sherman; women who powered the war―femme fatale Southern belles and Union spies, and soldiers in blue and gray who stoically bear the brunt of battle with little ammunition and even less food but who can be brought to tears by a letter from home – North or South.

Grooms records the panorama in portraits and the landscapes of battle scenes on the face of sliced logs and on wood  in oil and graphite, settings for his paintings as rustic as the countryside where many of the war‘s battles raged. The faces of African-American Abolitionist Frederick Douglass and of John C. Calhoun, defender of slavery, both appear.  Union Major General Custer is painted with attitude and there are three silver-haired Robert E. Lees. Above the squabbling generals, the near-missed victories, and the sad defeats of the four-year struggle, stands President Abraham Lincoln, whom Grooms paints in two portraits, Magenta Lincoln and Lincoln in Beersheba. In the line of Lincoln’s lips and the square of his shoulders that Grooms draws, he gives us the leader, the only possible one, who could carry the country through this scarring time.  Grooms shows us the battles Grooms shows us two battles, both in Tennessee―the Battle of Lookout Mountain fought just before the lunar eclipse that screened the Confederate retreat off the mountain, and the Battle of Shiloh, the “bloodiest battle of the war,” where the Southern general–in-command was felled, mortally wounded, and the Northern general-in-command mustered, overnight, 40,000 more soldiers to hold the field. Hard fighting.

Echoing and illuminating Grooms’ art in this exhibition are paintings, photographs, maps, and medals, from the Hudson River Museum’s trove of historical images from the Civil War.

Grooms, a longtime New York City resident and artist, originally from Nashville, Tennessee, began his career in the city during the late 1950s and early 60s, during the creative fervor of SoHo “happenings” and the advent of Pop Art. From the 1960s to the 70s, Grooms produced a series of bright-colored installations viewers could walk through like Philadelphia Cornucopia and Ruckus Manhattan.  In the 1990s Grooms returned to his exploration the Civil War that interested him in his youth and this

Organized by the Hudson River Museum.


Tom Burckhardt: FULL STOP
October 8, 2016 – February 12, 2017


Tom Burckhardt. Full Stop, 2005-2006

Tom Burckhardt has created a 3-D immersive environment filled with the materials of a modern painter toiling in romantic obscurity. FULL STOP (2005-06) is a full-scale replica of a mythical artist’s studio made of cardboard, wood, glue, and flat black paint. The installation, 10 feet high by 18 feet wide is filled with art historical references, such as Jackson Pollock’s shoes and Jasper Johns’s Savarin coffee can that here holds paintbrushes. The viewer who enters the walk-through studio observes the tools for art making and art books that provide inspiration, but sees no product.  In the center of the studio stands an empty canvas. Burckhardt said, “I wanted to capture the situation when an artist has run out of ideas and is blocked…”, or, comes FULL STOP.  Burckhardt, himself, is the foil for the “block.” His studio appears grounded somewhere between the 1940s and 60s, a time when painting moved from Abstract Expressionism to  Pop Art, and then on to the conclusion that it was obsolete, an idea embodied by the empty canvas at the center of the installation. This narrative of nullity comes up against Burckhardt’s own energy. He wanted a lively cartoon quality and  chose a brown palette — “Rather than painting it in full color, I like the cartoon quality of black and tan, so you can really see that it’s cardboard.”
          Tom Burckhardt’s many installations include his restoration of The Bookstore, a Pop Art masterpiece by Red Grooms, and a permanent installation at the Hudson River Museum.

Tom Burkhardt: FULL STOP is curated by Michael Goodson, Director of Exhibitions, Columbus College of Art & Design in collaboration with the artist.