EXTENDED THROUGH SEPTEMBER 18! Marks Family Gallery North
Marks Family Gallery North – Tito Spiga Exhibition Space
Renée Cox: A Proof of Being presents a selection of the best-known and most celebrated photographs produced by the artist since 1992. The exhibition traces the evolution of Cox’s practice through a series of performative self-portraits, demonstrating the ways in which she has reclaimed art historical themes in order to explore notions of womanhood, beauty, and agency.
On view in the exhibition are photographs from some of the artist’s most recognizable bodies of work, including her groundbreaking Yo Mama series (1992–94) and her monumental photograph The Signing(2017). Renée Cox: A Proof of Being also marks the New York premiere of a recent work, the immersive video installation Soul Culture (2022).
Organized by Monique Long, independent curator.
Gallery Hours:
Friday to Monday, 12-5 PM
FREE
Louise & Howie’s Coffee Bar featuring Tutto Caffè is open in the lobby during gallery hours. Refreshments are not allowed in the galleries but may be enjoyed in the lobby and in our gardens.
Join us for this exclusive opportunity to meet the Now Here artists and get an understanding of the artists collective and the site-specific installation, ask questions, and engage with the art.
The No W here Collective, made up of Alice Hope, Toni Ross, and Bastienne Schmidt, will present the off-site exhibition entitled Now Here, Curated by Christina Mossaides Strassfield. The project will primarily respond to the Life Saving Station’s faking box (a box in which a long rope is faked; used in the life-saving service for a line attached to a shot), seen as the emblematic artifact in the Station’s collection that emanates their mission — to save lives. The faking box, in itself, embodies a formal aesthetic that relates to the Collective’s original artifact and inspiration, the Metropolitan Museum’s Marshallese Navigation Chart.
The collective will show works in the south facing crew quarter’s room on the second floor, the Station’s western facing backyard, and the southeast corner of the wrap around porch, as well as other areas on the site. In the crew’s quarters, the artists will do responsive installations to the room itself and the faking box. The outdoor installations will also be responsive to the site, the faking box, and will include implicit references to the Navigation Chart, from the artists’ non-literal creative perspectives.
About the Amagansett U.S. Life-Saving Station The Amagansett Station was constructed on Atlantic Avenue in 1902, one of a network of thirty life-saving stations on the South Shore of Long Island. Through each night and in bad weather the crew at these stations kept watch from the lookout tower and by patrolling the beach. Discovering a ship in distress, the life-savers would perform a rescue by launching their surfboat or by firing a line to the ship and taking people off with a breeches buoy. From 1902 to 1937 the crew of the Amagansett Life-Saving Station, most of whom were experienced local fishermen and shore whalers, kept watch over this beach and rescued sailors and passengers from a number of shipwrecks.
The Life-Saving Service and the Lighthouse Service were the two federal programs intended to increase the safety of coastal navigation. These two services were later joined in the U.S. Coast Guard. The Amagansett Life-Saving Station complements the Montauk Point Lighthouse in recalling that era of our maritime history when ships sailing the ocean provided the principal means of transporting goods and people in coastal America.
Join us for this exclusive opportunity to meet the Now Here artists and get an understanding of the artists collective and the site-specific installation, ask questions, and engage with the art.
The No W here Collective, made up of Alice Hope, Toni Ross, and Bastienne Schmidt, will present the off-site exhibition entitled Now Here, Curated by Christina Mossaides Strassfield. The project will primarily respond to the Life Saving Station’s faking box (a box in which a long rope is faked; used in the life-saving service for a line attached to a shot), seen as the emblematic artifact in the Station’s collection that emanates their mission — to save lives. The faking box, in itself, embodies a formal aesthetic that relates to the Collective’s original artifact and inspiration, the Metropolitan Museum’s Marshallese Navigation Chart.
The collective will show works in the south facing crew quarter’s room on the second floor, the Station’s western facing backyard, and the southeast corner of the wrap around porch, as well as other areas on the site. In the crew’s quarters, the artists will do responsive installations to the room itself and the faking box. The outdoor installations will also be responsive to the site, the faking box, and will include implicit references to the Navigation Chart, from the artists’ non-literal creative perspectives.
About the Amagansett U.S. Life-Saving Station The Amagansett Station was constructed on Atlantic Avenue in 1902, one of a network of thirty life-saving stations on the South Shore of Long Island. Through each night and in bad weather the crew at these stations kept watch from the lookout tower and by patrolling the beach. Discovering a ship in distress, the life-savers would perform a rescue by launching their surfboat or by firing a line to the ship and taking people off with a breeches buoy. From 1902 to 1937 the crew of the Amagansett Life-Saving Station, most of whom were experienced local fishermen and shore whalers, kept watch over this beach and rescued sailors and passengers from a number of shipwrecks.
The Life-Saving Service and the Lighthouse Service were the two federal programs intended to increase the safety of coastal navigation. These two services were later joined in the U.S. Coast Guard. The Amagansett Life-Saving Station complements the Montauk Point Lighthouse in recalling that era of our maritime history when ships sailing the ocean provided the principal means of transporting goods and people in coastal America.
Guild Hall presents NOW HERE at the Amagansett U.S. Life-Saving Station
July 16 thru October 2, 2022
Opening Reception: Sunday, July 17, 5-7PM
Hours: Interior: Friday – Sunday, 11AM-3PM, or by appointment Exterior: Any time Note: Face masks are required indoors for visitors over the age of 2.
Note Regarding Parking: Beach parking requires an East Hampton TOWN permit from 8AM-6PM. A permit is not required after 6PM. Parking is available at the Amagansett Marine Museum during permitted hours, or you can pay for parking at the beach. 6PM programs will have a delayed start to accommodate any parking challenges.
Amagansett U.S. Life-Saving Station, 160 Atlantic Avenue, Amagansett
The No W here Collective, made up of Alice Hope, Toni Ross, and Bastienne Schmidt, presents the off-site exhibition entitled Now Here, Curated by Christina Mossaides Strassfield. The project primarily responds to the Life Saving Station’s faking box (a box in which a long rope is faked; used in the life-saving service for a line attached to a shot), seen as the emblematic artifact in the Station’s collection that emanates their mission — to save lives. The faking box, in itself, embodies a formal aesthetic that relates to the Collective’s original artifact and inspiration, the Metropolitan Museum’s Marshallese Navigation Chart.
Faxing box, part of the collection at the Amagansett U.S. Lifesaving Station, 2022. Photo: Joe Brondo for Guild Hall
The collective will show works in the south facing crew quarter’s room on the second floor, the Station’s western facing backyard, and the southeast corner of the wrap around porch, as well as other areas on the site. In the crew’s quarters, the artists will do responsive installations to the room itself and the faking box. The outdoor installations will also be responsive to the site, the faking box, and will include implicit references to the Navigation Chart, from the artists’ non-literal creative perspectives.
Click HERE for a description of Alice Hope’s work.
Click HERE for a description of Bastienne Schmidt’s work.
Collective member Alice Hope states “The Life Saving Station’s faking box is formally beautiful, and poetically and conceptually inspiring. I think of it as emblematic to the life saving station itself; it’s the organizing principle to a lifeline. For the last few years I’ve been stringing can tabs to make a continuous line that resembles rope. Sometimes the line accumulates in tangled piles and often I organize it into spiral forms. The faking box will inspire a new organization — a new form of my continuous can tab line.”
The exhibition will be accompanied by educational talks and panels with the artists and as well as family workshops to supplement the site-specific installation experience.
Click HERE to read an essay on NOW HERE by George Negroponte.
About the Amagansett U.S. Life-Saving Station The Amagansett Station was constructed on Atlantic Avenue in 1902, one of a network of thirty life-saving stations on the South Shore of Long Island. Through each night and in bad weather the crew at these stations kept watch from the lookout tower and by patrolling the beach. Discovering a ship in distress, the life-savers would perform a rescue by launching their surfboat or by firing a line to the ship and taking people off with a breeches buoy. From 1902 to 1937 the crew of the Amagansett Life-Saving Station, most of whom were experienced local fishermen and shore whalers, kept watch over this beach and rescued sailors and passengers from a number of shipwrecks.
The Life-Saving Service and the Lighthouse Service were the two federal programs intended to increase the safety of coastal navigation. These two services were later joined in the U.S. Coast Guard. The Amagansett Life-Saving Station complements the Montauk Point Lighthouse in recalling that era of our maritime history when ships sailing the ocean provided the principal means of transporting goods and people in coastal America.
Christina Strassfield has known Jeff Muhs for 30 years and has followed his work’s evolution. Join her as she asks in-depth questions on how and what his inspiration is for creating these unique works of art and what compels him to work across different media simultaneously.
Jeff Muhs was the “Top Honors” winner of the 2018 Artist Members Exhibition, selected by Connie Choi, Associate Curator,The Studio Museum of Harlem, New York. Muhs is a contemporary American artist known for both his paintings and sculptures. Engaged in exploring art history as well as using found materials, the artist’s practice includes blurred versions of paintings, expressive abstractions based on the Long Island landscape, and concrete sculptures of female torsos tightly bonded in various materials. Born in 1966 in Southampton, NY, his father was a sculptor who taught Muhs wood carving at a young age. Going on to attend the School of Visual Arts in New York during the mid-1980s, Muhs directed his focus towards painting before returning to sculpture later in his career. The artist’s works are held in the collections of the Guild Hall Museum in East Hampton, NY, the Los Angeles County Museum of Art, and the Hunter Museum of American Art in Chattanooga, TN, among others. Muhs continues to work from his studio in Southampton, NY.
Fitted face masks are required for all guests over the age of 2 indoors regardless of vaccination status, except when eating or drinking. Click HERE for full COVID-19 protocol.
Join Christina Strassfield for the opportunity to learn more about individual works of art as she talks about a selection of works from the holdings of over 2400 works that reside in the Permanent Collection. Strassfield has chosen 90 works from all media to show the historical contribution of artists of the area. Over her nearly 30 year tenure Strassfield has been personally responsible for attaining many of these donations for the Permanent Collection.
90 Years, curated by Christina Mossaides Strassfied, is a selection of paintings, sculptures, photographs, and works on paper showcasing 90 years of collecting Artists of the Eastern End of Long Island. From its earliest days, the museum collected and showcased artists who lived and worked in the area. The mission of the museum has held fast and a selection over 2,500 works will be featured including works by Jackson Pollock, Willem de Kooning and Roy Lichtenstein.
Fitted face masks are required for all guests over the age of 2 indoors regardless of vaccination status, except when eating or drinking. Click HERE for full COVID-19 protocol.
Join Jeff Muhs, winner of the 2018 Artist Members Exhibition, for an up-close and personal tour with the artist discussing his sculptures and paintings followed by Q & A.
This is a unique opportunity to learn about the artist’s technique and innovative process of using cement as his sculptural medium and to examine the various series of paintings included in this exhibition.
Winner of the 2018 Annual Guild Hall Artist Members Exhibition
Jeff Muhs was selected by Connie Choi, Associate Curator, The Studio Museum of Harlem., New York. Jeff Muhs is a contemporary American artist known for both his paintings and sculptures. Engaged in exploring art history as well as using found materials, the artist’s practice includes blurred versions of paintings, expressive abstractions based on the Long Island landscape, and concrete sculptures of female torsos tightly bonded in various materials. Born in 1966 in Southampton, NY, his father was a sculptor who taught Muhs wood carving at a young age. Going on to attend the School of Visual Arts in New York during the mid-1980s, Muhs directed his focus towards painting before returning to sculpture later in his career. The artist’s works are held in the collections of the Guild Hall Museum in East Hampton, NY, the Los Angeles County Museum of Art, and the Hunter Museum of American Art in Chattanooga, TN, among others. Muhs continues to work from his studio in Southampton, NY.
Fitted face masks are required for all guests over the age of 2 indoors regardless of vaccination status, except when eating or drinking. Click HERE for full COVID-19 protocol.
Interdisciplinary artist Andrea Cote and choreographer Ann Robideaux will activate theMinikes Garden as a place to gather amid a video installation accompanied by live sound by Chris Jones, and curated by Christina Mossiades Strassfield, Museum Director and Chief Curator.
The project explores how we embody personal and communal movement languages, through containment and connection in domestic and public spheres. The artists invited both professional dancers and recreational movers to explore movement inside six-foot square sheets delineated with geometric forms and cosmological patterns. As we occupy this present liminal zone, the artists create a place for visitors to inhabit that is at once intimate and communal.
Reservations are not required. Simply drop in over the course of their time in the garden!
The eAT Coffee Bar will be open for drinks and refreshments!
Join Museum Director/Chief Curator Christina Mossaides Strassfield for an intimate tour of Robert Longo’s A History of the Present.
This long-awaited exhibition is a celebration of and a critical investigation into the span of American history bookended by Abstract Expressionism and the current moment in which we live. In two adjacent galleries Longo juxtaposes America’s past with its present through 17 monumental, highly labor-intensive charcoal drawings that act as mirrors into history.
Click HERE for full COVID-19 information to review prior to your visit.
