We occasionally post open calls for exhibitions. All open calls will be listed on this page.
TIME (Winter-Spring 2024) Accepting submissions through November 1, 2023
Works of 3-D or 2-D visual art, artist books, sound / broadcast, video, performance, or social practice that engage with the theme of time, broadly construed. Submissions of films, performance, dance, lectures/talks, and live music are welcome, as we will also be programming time-based work as part of the exhibition.
Alex Bingham . Frank Chang . Rebecca Davis . Jennifer Kabat . Eliza Lu Doyle and Perri Cohl Hofmann . Laura Marris . Lize Mogel . Cris Ortiz . Alan Powell . Owyn Ruck . Kamilla Talbot . Christina Hunt Wood
Anthony Beck / East Brook Community Farm, Walton, Steve Burnett / Burnett Farm, Bovina, Cicada / East Brook Community Farm, Walton, Sarah Connelly / Weathered Hill Farm, South Kortright, Seth Friedman / Greentopia Farm, East Meredith, Anne Hall / Crespell, Lexington, Andie Hope / East Brook Community Farm, Walton, Ryn Hartka / East Brook Community Farm, Walton, Marshall LaCount / Star Route Farm, Charlotteville, Lynn Loflin / Newton Farm Collective, Westkill, Jess Ludwicki / Echo Orchard, Hamden, Kate and Dan Marsiglio / Stony Creek Farmstead, Sea Matais / Iridescent Earth Collective, Danny Newberg / Double Dee Farm, Delancey. Curated by Tianna Kennedy / Star Route Farm
The Wind Is At Our Back Sam Liebert, Mary Tremonte, Willa Goettling, Kevin Caplicki, Molly Gore, Koren Martin, Brad Trent, Fletcher Street Stables in Philadelphia, Anthony Van Dunk and NYC Federation of Black Cowboys, the Center for Artistic Activism, Unstoppable Voters, Justseeds Artists’ Cooperative, Desiree Aspiras of Printmakers Against Racism, Lilah Friedland at Invisible Hand Press, Draft Animal Power Network, NYFC Greater Catskills Chapter and Bushel Collective
Opening Balance Christopher Bailey, Alina Bliumis, Jeff Bliumis, Elizabeth Bonaventura, Rebecca Chamberlain, Community Protest Signs, Pia Dehne, Angela Dufresne, Jessie Henson, Adjua Gargi Nzinga Greaves, Elana Herzog, Haley Hughes, Izumi Inoue, Justseeds with Culturestrike, Richard Kraft, Saira McLaren, Jenny Miles, Michael Milton, Saretta Morgan & Ariel Goldberg, Heather Phelps-Lipton, Emmalea Russo, Lisa Sanditz, Ben Sisto, Molly Stevens, SUNY Delhi students in Architecture, Laura Taylor, Mercedes Teixido, Melissa Thorne, Trevor Wilson.
Opening on Saturday, August 4, from 5-7pm, BUSHEL is pleased to present a two-person show with Lisa Sanditz and A.L. Steiner. Sanditz will present ‘Man Caves and Volcano Vases’ (paintings, drawings, ceramics), and Steiner will present ‘Appendage’ (photo-based collage).
Lisa Sanditz‘s recent shows include ‘The Color Show’ at The Thomas Cole House (Catskill, NY), curated by Kate Menconeri and Kiki Smith, and ‘Oscillation,’ a project of Prospect New Orleans curated by Dan Cameron, at Jonathan Ferrara Gallery, NOLA. Sanditz has shown widely both domestically and internationally. Reviews of solo shows have been published in The New York Times, The New Yorker, Artforum, New York Magazine, Modern Painters, Frieze, and The Los Angeles Times, and a recent interview appeared last fall in BOMB. (more…)
Opening on Saturday, June 30 from 5-7pm: BUSHEL is pleased to present O Naturale!, an exhibition of new works by Elana Herzog and Molly Stevens. O Naturale! brings together two artists who make formally varied works that use found, made, grown, altered, and manufactured materials to trouble the lines between utility and pleasure, intent and accident, power and submission, appropriation and appreciation.
Opening Friday, May 11, 5-7pm: Bushel is pleased to present ‘Deep Library,’ an exhibition of new works by painter and ceramicist Saira McLaren and gardener, writer, and floral designer Colie Collen. The exhibition will remain on view until Sunday, June 24.
In this two-person show timed for the cusp of the growing season, flowers are both subject matter and matter itself. Their surface beauty is neither denied nor fetishised, allowing their full drama—’suspicious, indecent, yet nastily noble,’ in Baudelaire adapter Shuzo Oshimi’s words—to unfold.
Bushel is pleased to present new work by Michael Milton. The focus of Milton’s recent paintings is expression through abstraction, or a kind of de-personalized expression the artist aims to foster by placing stark limitations on his compositional and material choices. The majority of these works are made on shaped panels—many cut from corrugated cardboard, as an extension of the drawing process—and are built from straight lines set at wildly articulate, often intersecting angles.
Bushel is pleased to present an installation of paintings, collage, audio recordings, video, and handmade books by Laura Taylor. Working across forms and formats but with a singular attention to her subject matter, Taylor creates a layered viewing and listening experience that recalls and deploys the affective powers of childhood memories that become, rightly or wrongly, totemic cues of identity. Beginning with analog artifacts from her early childhood in Brazil—including slides that have discolored with time, faded super-8 footage, and hardback copies of a book written in the 1960s by her demographer father—Taylor scans, prints, un-binds and screenshots, then cuts, paints, glues, projects, and draws, all in multiple iterations, before editing and combining the results into installations she conceives of as three-dimensional, walk-in books. Displayed throughout the exhibition are a selection of Taylor’s artist books: one-of-a-kind text-and-image creations that visitors are welcome to handle and read.
Bushel is pleased to present new work by Haley Hughes. Treating image both as charted landscape and unfolding narrative, the paintings in ‘In Search of the Wheel Turning Monarch or the War of All Against All’ bear eery witness to the current situation, subjecting globalism and drone attacks, climate change and mass shootings, capital and politics to the demands of their Technicolor dreamscape. Drawing from the colors, patterns and symbolism of Islamic and Indian art; the narrative trajectories of 17th-century Chinese scrolls; and Western landscape painting, these works question the assumptions of empire and dominant historiographies in vivid, gory detail.
Pressure Burns is a curated collection of oxidized book pages that have been removed from publications on art masters—Renaissance, Baroque and Impressionist-era—purchased by artist Ben Sisto from outlets such as The Strand in New York City and Cellar Stories in Providence, RI over a period of three years.
Before transformations in technology made full-color printing commonplace, art and design books would be printed in black-and-white, with the color illustrations ‘tipped in’ (glued) to individual pages. For this exhibition, Sisto has selected pages from his collection of vintage art books (Renaissance, Baroque and Impressionist) and removed the color plates.
The term ‘beaver fever’ doesn’t lack for associations in excess of its primary meaning (as a common name for giardia), especially when questions of gender and feminism are at play. The phrase’s convulsive suggestibility fits these three painters—Angela Dufresne, Pia Dehne, and Elizabeth Bonaventura—who are showing together for the first time. Their work shares a punning play on the natural world in which realism quickly turns unreal. Dufresne borrows from history painting, the Hudson River School, and mythology to present a world replete with the pleasures of the flesh (and fish: Dufresne is a keen fly fisher).
Bushel is pleased to present Shadde, a new site-specific painting installation by Troy-based artist Melissa Thorne. ‘Shadde’ is the Old English word associated with the modern English ‘shed.’ Also referring to ‘shade,’ shadde conjurs notions of the common rural shed as well as the shady escape—connected to, but removed from the domestic sphere. The ubiquity of the agricultural shed and its infinite architectural variety render it a fascinating structure for exploring ideas of interiority, utility, and gender.
‘Tondos: Hudson River’ is the first exhibition of Richard Kraft’s newest body of work, a survey—or surveillance—of a great river’s moods. These images imply a determined eye, the passage of time, and solitary walks as they seem to be made from a bridge, looking down. Ordered and minimalistic at first glance, this collection of gridded glimpses points to questions that are much messier, like the actual surface of the river itself. What does it mean to take pleasure in a walk, a habit, or a view? How can we experience, in the present, the history of natural artifacts that have been plied to human use? How might we respond to being dazzled by beauty? The first tondos predated the advent of the camera, but their shape recalls that of a lens, adding another question to the mix: the question of photography itself.
Opening on Saturday, May 20 (5-7pm) and continuing through mid-June, ‘Homatorium II’ collects work made during and after an artist’s residency held by Chamberlain and her husband on the grounds of a psychiatric institution in the Netherlands, where they and their children spent the summer of 2013. The exhibition juxtaposes paintings of sites within the institution that resident patients said gave them a sense of hope or calm with other works — based on visits to Richard Neutra’s VDL Research House (Los Angeles) and the Williamsburg Houses (Brooklyn), along with vintage images from the Neutra Architectural firm (housed at Cal-Poly University’s ENV Archives-Special Collections) — that continue the artist’s investigation into architecture’s promise to meet psychological needs for safety, possibility and belonging. Printed pillows piled in window seats promise sanctuary while in the windows themselves, hanging from aluminum hospital track, are custom-lace translucent curtains patterned after “safety paper”—the obscuring designs printed on the insides of security envelopes.
Bushel is pleased to present SIGNS OF THE TIMES, a changing exhibition of handmade signs and banners that voice opinion on the issues of the day. The exhibition will run from February 11 through March 27, 2017.
“Many of us are concerned at the alarming rise of hate, bigotry, sexism, and xenophobia in our country,” say coordinators Mina Takahashi and Marco Breuer.
Bushel is pleased to present a solo show of recent works on paper by New York-based artist Jessie Henson.
Jessie Henson‘s sculptures and drawings explores the tension between the concrete reality of ordinary life and the search for escape through fantasy and whimsy, making visible an interior world of play and personal narrative while negotiating aspects of fragility and mystery in the world. Henson has exhibited internationally, including in New York, Los Angeles and Mexico City. In 2013, Henson was the Windgate Fellow at Urban Glass in Brooklyn. She was an artist-in- residence at the Bemis Center for Contemporary Art in Omaha, Nebraska in 2010 and 2013, a Create Change Fellow at the Laundromat Project in New York, and has participated in the AIM program at the Bronx Museum of Art. She has also been a resident at the Vermont Studio Center, supported with a full fellowship by the Joan Mitchell Foundation. Henson received her MFA from Rutgers University, the School of Mason Gross, and her BFA from the Corcoran College of Art and Design.
Bushel is pleased to present the first gallery exhibition of Nik Clifford and Jenny Miles, who work together as graphic designers under the name Hardhat Design. ‘I Drank in the Vapours & Swallowed the Dust’ is an installation-based show that uses an accumulation of found and collected photographs, objects and words to consider why and how we fill objects with meaning and to reflect on the rituals and mementos we use to create and hold on to our personal (often hidden) stories, myths, and memories.Nik Clifford & Jenny Miles are Brooklyn and Hobart-based graphic designers (who also draw, paint, write & build cabins). Born and raised in New Zealand and England respectively, they have been working and living together for over 15 years. They increasingly bring the personal into their creative projects, whether hand-drawn or -painted illustration and sign-writing, local community-based projects, or collaborative social events. Their first gallery show also focuses on the personal.
Bushel is pleased to present recent works on paper from South Kortright-based artist and designer Trevor Wilson. Combining interests in grid-based structures, geometric minimalism and meditative iteration, Wilson’s large-scale graphite drawings build complex psychic architectures from limited means: three or four shades of pencil, meticulously rendered squares and occasional sweeping arcs. The artist’s background in architectural glass design is also apparent in this series, completed over the last two years.
Trevor Wilson is a graduate of Otis College of Art and Design in Los Angeles and has been designing and fabricating architectural glass in upstate New York since 1998, formerly with WRW Studio and, since 2015, at Trevor Wilson Studio.
Bushel is pleased to present recent works on paper from Los Angeles- and Hamden-based artist Mercedes Teixido. The exhibition presents Teixido’s sketchbook-scrolls—unedited repositories for the elements of her daily drawing practice, including list-making, writing, and the exploration of imagery—alongside selections from her current series of collage-based drawings. On Friday, August 12 from 5-6 and on Saturday, August 13 from 12-3, Teixido will perform on her ‘drawing machine’: the public will be invited to dictate letters that the artist and her machine will transform into drawings in duplicate.
Bushel is pleased to present new work from NYC- and Andes-based artists Alina and Jeff Bliumis. The pair have worked collaboratively since 2000, but this show is built around a single recent series from each artist: POST NEWS from Alina Bliumis and VIEW FROM BELOW from Jeff Bliumis. POST-NEWS is a series of single-print etchings inspired by the unintentional visual narratives newspaper pages convey and their aftereffects on readers; VIEW FROM BELOW consists of oil paintings of Delaware County residents and workers inspired by the views—both real and imagined—of a patient confined to a hospital bed for an extended period.
The photographs and objects on view in transverse orientation mine the intersections of the found, collected, arranged, and made. Borrowing the forms of salvaged hand-crocheted doilies, Phelps-Lipton’s composite images of individual portraits of moth carcasses (re)orient us toward the organizational work of hands and nature. Other works in the show consider related aspects of collectivity, proximity, non-identity, and transformation, from the ubiquity and ephemerality of roadside wildlife to the tension between individuation and uniformity in American tweens.
SUNY Delhi Studies Architecture Abroad: an exhibition of student work from the 2016 study abroad trip.
Bushel welcomes an exhibition of student work curated by SUNY Delhi Architecture faculty Janet Ho, Brook Denison, and Sunnie Joh.
In Architecture, the act of drawing is—among many things—the act of seeing. This idea served as the basis of our studies in January 2016, when students and instructors from SUNY Delhi’s Architecture program traveled to Italy for a three-week course focusing on the architecture of Renaissance and Baroque Italy. Rather than snapping photos of buildings, students were asked to set aside modern digital media, instead placing themselves in the tradition of architects that came before them, and study each building for a prolonged period of time while recording its proportions, lines, color and the play of light using a minimum of tools: pencil and watercolor. The resulting exhibit forms a modern visual record of a historic past that is still relevant to Architecture today.
Emmalea Russo is a multidisciplinary writer and artist living in Brooklyn. Using language, sculpture, and photography, she explores edge spaces in physical environments and human consciousness. She is the author of several chapbooks, most recently Eternal Apprentice, a collaboration with Michael Newton (DoubleCross Press, 2016) and an artist book entitled they (Gauss PDF, 2014). Her iterative slide presentation, Units of Plexiglass, an edit, has been shown at Poets House, Ugly Duckling Presse, and Flying Object. She writes for Artcritical and is a member of the Ugly Duckling Presse editorial collective.
Edge Edit Mode: In the edge edit mode, the portion of the window that normally displays the scene hierarchy is used to display the edges of the shape being edited as a list. Items in the list can be selected with the mouse as for objects in the hierarchy window. (coppeliarobotics.com)
Artist and designer Izumi Inoue marked the beginning of this year, the Year of the Monkey, the way he has marked the arrival of the last 26 years: by creating a lino cut, printing it in a limited edition, and mailing the prints to his family and friends. Inspired by an elementary-school assignment in his native Japan, he embarked on this annual project in 1990, conceiving of each design as a reflection both of the year’s symbolic animal and of his state of mind at the time. Prints of all twenty-six images — including this year’s Monkey, with its folk-art influenced lines — are collected here for the first time.
CultureStrike and Justseeds Artists’ Cooperative have collaborated with artists and environmental justice organizations to create an art print portfolio designed to highlight how climate change disproportionately affects frontline communities. These images inspire us toward a widespread cultural shift — they serve as a vision about how underrepresented communities can lift up their voices to be heard.
This Climate Portfolio is a collection of fine art prints depicting the powerful work of grassroots organizations and groups that are working to defend the most impacted communities against largescale industrial fossil-fuel projects and helping to build resilience in communities affected by global warming.
Drawing from photographic images captured over a span of thirty years, |flāk||(h)wīt| Vs.|ˌinfrəˈred| serves as a retrospective of sorts, reflecting Bailey’s longstanding interests in landscape, politics, gesture, juxtaposition, and iteration, as well as his experimental attitude toward format and ground. From small-format silver gelatin prints collected in handmade boxes to large inkjet prints on canvas, rice paper, and treated aluminum foil, these hard-to-classify works (a painter’s photographs or a photographer’s paintings?) ask to be looked at and then looked at again—for the story beneath the narrative and for their multiple dramas of relation.