Photography by Sasha Rudensky ’01, assistant professor of art, is featured in an exhibition titled “Tinsel and Blue” from June 8 to July 16 at the Sasha Wolf Gallery, 70 Orchard Street, New York, N.Y.
Rudensky is a Russian-born artist whose work has been exhibited widely including at the Musee de l’Elysee in Lausanne, Switzerland; Fries Museum in Leewarden, Netherlands; Macro Testaccio Museum in Rome, Italy; ArtScience Museum in Singapore; and Danziger Projects in New York. In 2010, Rudensky’s work was included in “reGeneration 2: Photographers of Tomorrow Today,” an international survey of emerging photographers. Her work is held in a number of public collections including Musee de l’Elysee, Yale Art Gallery, and Center of Creative Photography in Tuscon, among others.
Rudensky received her MFA from Yale University School of Art in 2008 and BA from Wesleyan in 2001. She was the recipient of the Ward Cheney Memorial Award from Yale University, Mortimer-Hays Brandeis Traveling Fellowship, Leica/Jim Marshall Award, and Jessup Prize from Wesleyan. In 2013, Rudensky was awarded the Aaron Siskind Individual Fellowship grant. Her work has appeared in New York Times Magazine, Der Spiegel, Cicero Magazine, American Photo, PDN and others. She is currently head of the photography program at Wesleyan.
Sasha Rudensky at “Tinsel and Blue,” June 8. (Photo by Cynthia Rockwell)
On April 6, artists and visitors gathered at the Ezra and Cecile Zilkha Gallery for a reception for week three of the Senior Thesis Exhibition. This week’s exhibition features work by seniors Sophie Becker, Casey Herrick, Samantha Ho, Gla, and Zach Scheinfeld from the Department of Art and Art History’s art studio program. The exhibition will be on display through April 10. (Photos by Hannah Norman ’16)
Casey Herrick’s senior thesis, “Safe Conduct.”
“Wednesday,” by Gla.
Ricky Preslar, who has undergone growth-attenuation therapy, in his bedroom. (Photo by Sasha Rudensky/For The New York Times)
Photographs by Sasha Rudensky ’01, assistant professor of art, are featured in the March 22 online edition of The New York Times. The images accompany an article “Should Parents of Children With Severe Disabilities Be Allowed to Stop Their Growth?”
Rudensky’s images are of 9-year-old Ricky Preslar, who who underwent a controversial medical intervention known as growth-attenuation therapy. When children with intellectual and developmental disabilities enter adolescence and adulthood, the simple tasks of caring for them — dressing, toileting, bathing, holding and carrying — can become prohibitively difficult for parents. Arresting a child’s growth could benefit both child and parent. Ricky currently weighs 43 pounds and is 43 inches high.
From the time he was 4 until just shy of his 7th birthday, he received doses of estrogen high enough to stimulate the premature closing of the epiphyseal or “growth” plates, the thin wedges of cartilage found at the end of the long bones in children and adolescents.
Rudensky studied studio art and Russian literature at Wesleyan where she received a BA in 2001. She received her MFA in photography from Yale University in 2008. Her other photographs can be found online at http://www.sasharudensky.com.
The Preslar family at home. (Photo by Sasha Rudensky/For The New York Times).
Several students are displaying their artwork around – and on – Wesleyan’s public spaces this month.
Students enrolled in Sculpture I and Studies in Computer-Based Modeling and Digital Fabrication displayed their art around the Center for the Art’s public spaces Dec. 12-16.
Sculpture I, taught by Professor of Art Jeffrey Schiff, is an introduction to seeing, thinking and working in three dimensions. Throughout the semester, the class examined three-dimensional space, form, materials and the associations they elicit. Through the sculptural processes of casting, carving and construction in a variety of media, students developed and communicated a personal vision in response to class assignments. Projects included janitorial supplies hanging in suspension, plastic color shapes making a stain-glass window, electronic components and wires in a complex network, hanging funereal urns with flowers, large sewn mice, mirrored boxes covered with artificial turf, lint filling the air holes in the cement, and more.
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Joe Siry, at left, accepted the Wright Spirit Award from Scott Perkins, a conservancy board member. Perkins nominated Siry for the award. (Photo by Mark Hertzberg.)
On Oct. 3, Joseph Siry, the Kenan Professor of the Humanities, professor of art history, received the Wright Spirit Award in the Professional category from the Frank Lloyd Wright Building Conservancy at its annual conference this year in Milwaukee, Wis. A prolific scholar of the venerable architect, Siry has written several books and scholarly articles about Wright. He also has contributed to the Frank Lloyd Wright Building Conservancy in many ways over the years, as a lecturer, panelist and contributor to the group’s magazine.
A citation read at the ceremony by Scott Perkins, a conservancy board member and director of preservation for Frank Lloyd Wright’s Fallingwater in Pennsylvania, began: “If one were to believe that Frank Lloyd Wright is the subject of more books and articles than any other figure in the visual arts, then among those responsible for that statistic would be Joseph M. Siry … I would also venture a guess that one could formulate a entire graduate seminar syllabus solely around Professor Siry’s contributions to the scholarship on Wright and his circle, and throw in a second one dedicated just to the information found in his footnotes, as it is clear he delights in primary research.”
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Artwork by Keiji Shinohara, artist in residence, is on display at Roger Williams University through Oct. 28. After two separate showings at Odakyu Shinjuku Art Salon in Shinjuku, Tokyo, Japan and Art Zone-Kaguraoka in Kyoto, Japan, Shinohara’s “Color Harmony/ Color Woodcut” exhibit comes to a close at Roger Williams’ SAAHP Exhibition Gallery.
Shinohara describes his work as “employing ancient methods, while diverging from tradition by experimenting with ink application and different materials to add texture,” thus creating what he calls “a fusion of Japanese aesthetic and Western modernism.”
“Color Harmony / Color Woodcut” focuses on his perception of different landscapes. The aim, he says, is not to portray “realistic accuracy,” but to concentrate on the “feelings and emotions behind these abstract landscapes.”
Shinohara is on the faculty in the Art and Art History Department and Department of East Asian Studies.
On Oct. 5, Phillip Wagoner, professor of art history, professor of archaeology, was named a co-recipient of the American Historical Association’s John F. Richards Prize in South Asian History. The John F. Richards Prize recognizes the most distinguished work of scholarship on South Asian history published in English. Eligibility includes books on any period or field of South Asian historical studies and works which integrate South Asian history with broader global issues and movements.
Wagoner shares the prize with Richard Eaton of the University of Arizona. Together, they co-authored the book, Power, Memory, Architecture: Contested Sites on India’s Deccan Plateau, 1300–1600, published by Oxford University Press in March 2014.
In this book, Wagoner and Eaton examine the political histories and material culture of smaller, fortified strongholds both on the plains and atop hills, the control of which was repeatedly contested by rival primary centers on the Deccan Plateau. Exceptionally high levels of conflict over such secondary centers occurred between 1300 and 1600, and especially during the turbulent 16th century when gunpowder technology had become widespread in the region.
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Peter Mark on the summit of the Ortler, the highest mountain in the Italian Sudtirol, in August. At Wesleyan, Mark teaches a course on “The Mountains and Art History.” (Contributed photo)
An international research team headed by Professor of Art History Peter Mark has been awarded a grant for a project titled “African Ivories in the Atlantic World.” The $115,000 three-year grant from the Portuguese Fundação para a Ciência e a Tecnologia (FCT) will make it possible for the research team to carry out the first laboratory analyses of selected ivories, in order to determine more precisely the age and the provenance of these little-known artworks. In addition, team members will compile the first comprehensive catalogue of “Luso-African ivories” in Portuguese collections, as well as the first thorough study of those carvings that were exported to Brazil at an early date.
Mark is the co-founder and director of the research group, based in Lisbon, Portugal.
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John Paoletti, the Kenan Professor of the Humanities, emeritus and professor of art history, emeritus is the author of Michelangelo’s David: Florentine History and Civic Identity, published by Cambridge University Press, Feb. 2015. Paoletti was on the faculty at Wesleyan from 1972 to 2009.
According to the publisher, this book takes a new look at the interpretations of, and the historical information surrounding, Michelangelo’s David. New documentary materials discovered by Rolf Bagemihl add to the early history of the stone block that became the David and provide an identity for the painted terracotta colossus that stood on the cathedral buttresses for which Michelangelo’s statue was to be a companion. The David, with its placement at the Palazzo della Signoria, was deeply implicated in the civic history of Florence, where public nakedness played a ritual role in the military and in the political lives of its people. This book, then, places the David not only within the artistic history of Florence and its monuments but also within the popular culture of the period as well.
Paoletti taught the history of Italian Renaissance art and of the art of the 20th century from 1972 to 2009. He received the Binswanger Prize for Excellence in Teaching at Wesleyan in 1997 and the Distinguished Teaching of Art History Award from the College Art Association in 2003. He is an expert on art of the Italian Renaissance in Europe and the United States after 1945.