memory and Heritage in a New America

TAB

LE OF

CON

TENTS

FROM THE CEO

FROM THE CURATOR

EXHIBITING ARTISTS

EXHIBITION CHECKLIST

PROGRAMS AND WORKSHOPS

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Peter Sis, “The Wall: Study – Head,” detail. 2006. Front Page image, Bibiana Huang Matheis “Dress II.” Back cover image, Pepe Coronado “La Linea US.”

Admission to Crossing Borders exhibition is free and open to the public.

Exhibition Hours Tue-Fri 12-5pm | Sat 12-6pm

The Peckham & Shenkman Galleries @ArtsWestchester 31 Mamaroneck Ave, White Plains

Many refer to America as a nation of immigrants. It is after all a country shaped by generations of people who have come here from somewhere else. Some have come seeking opportunity. Some have come seeking freedom. Some to study. Some to escape. Some against their will. It is an ever expanding diaspora phenomenon as displacement becomes a common occurrence in our increasingly unstable world. So much so, that our common thread has become our migration stories. In past generations, these were the stories of the Irish, European Jews and Italians. Today, in America, these stories are world centric.

The exhibition “Crossing Borders” explores the artistic visions of a group of ten artists who are also immigrants or first generation Americans. Their homelands are faraway places like Iran, China and South Africa. They struggle with issues of assimilation, heritage and divided identities. The exhibition reminds us that although our paths to America were different, our narratives are the same. While our heritages are diverse, our migration stories are both dominant and similar. They echo loudly for each of us the diaspora notion that somewhere, somehow, someone in our past has crossed a border to get here. This is a shared American legacy of courage, humility and memory that binds us together in honor of the journey that someone took on our behalf.

FROM

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CEO

Photo credit: Cathy Pinsky

– Janet Langsam CEO, ArtsWestchester

“THE EXHIBITION REMINDS US THAT ALTHOUGH Our PATHS TO AmEriCA WErE diffErENT,

Our NArrATivES ArE THE SAmE. ”

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My parents met in an elevator at the University of Toronto, Canada. My father, a South-African with familial roots spreading north into Germany and Scotland, was earning some money working in a university lab. My mother was a Toronto-born Canadian student with one set of grandparents who spoke only Italian and another who still worked the family farm in Ireland. Mom and Dad married six months later and eventually made their way to New York. Like so many other immigrants, they left behind family, friends and the known in exchange for new opportunities and the unknown. They brought with them traditions, accents, photo albums, and stories from places I would see decades later through the eyes of a tourist.

My family’s story is like so many others in America, in New York, in Westchester. We are all products of someone in our family, at some point in time, crossing a border. It is this shared story of immigration, of starting over while holding dear to the memories of their homeland, that the artists of Crossing Borders: Memory and Heritage in a New America express through their work.

Crossing Borders is an exhibition about the experience of immigrating and the act of remembering. Each artist embraces their heritage and uses art as a way of keeping the family legacy relevant as they make their own way in a different time and a different place.

FROM

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CurATO

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“IN AMERICA, IN NEW YORK, IN WESTCHESTER, WE ARE ALL PRODUCTS OF SOMEONE IN OUR FAMILY, AT SOME POINT IN TIME, CROSSING A BORDER.”

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Photo credit: Robert Piazza

THE FAMILY ArCHivEy parents’s photo albums are made of thick black pages that house gray-scale

snapshots of my mother and my father, our cousins, their friends at weddings, birthday parties and vacations. As the generations change, tangible records of important family moments are preserved in jpegs and tiffs–in digital files that exist on a screen rather than in hand. Yet the family photo album remains a treasured record and a tool to help us define ourselves in relation to our relations.

Artists raphael Zollinger, Timothy Paul myers and Yardena Youner delve into their family archives, resurrecting images giving them new context and an enduring significance for the next generation.

raphael Zollinger’s “Primary School, 1948” and “Section 3, Inherited Topographies” investigate the role that photographs play as memory markers, memory makers, as well

as their preciousness as heirloom objects in a digital age. Zollinger was born in South Africa and grew up under Apartheid before immigrating to America at the age of 13. His mother’s family had fled Lithuania in 1907. His father was a Swiss National who met his mother while traveling. Zollinger, who originally trained as a sculptor, employs a variety of media, including digital tools, to tell and interpret his family’s story. Photographs culled from an inherited archive serve as both material and subject. The images are hand-manipulated and reprinted, often on metal, or reconfigured as light boxes. The photos become more than evidence of his family’s migrant history – they become tools to express his artistic vision, imbuing them with indelible personal significance. The treatments to the photos’ surfaces disrupts the narrative of the images, just as immigration disrupts a family’s narrative, creating a new story solidly built on the past.

Raphael Zollinger, “Primary School, 1948.”

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Nostalgia, memory and travel are themes Timothy Paul

myers explores in his current body of work. Myers emigrated from Australia in the early ‘90s, seeking a career on stage before transitioning into the visual arts. “Adrift” and “Muzzle” recast 35mm slides and postcards salvaged from yard sales and flea markets. The slides’ images, mostly posed family portraits, were never meant to be discarded or sold to strangers as collectibles. In “Adrift,” Myers revives and protects these precious but lost family moments by framing and illuminating the slides within the body of the boat. Their new housing is a symbol of the act of immigrating (the process of traveling to distant shores) and alludes to the Biblical Arc, the vessel that ensured the continuation of life after the deluge.

“Ultrasound: To Be a Woman,” charts seven generations of women in Yardena Youner’s family. Youner was born in Israel, her family having fled Germany on the eve of the Second World War to escape persecution as Jews. The images reproduced on sheet of white fabric include her family’s earliest daguerreotype portraits to current digital snapshots taken by Youner and her daughters. The work is not only a record of the family’s migration from Germany to Palestine to Israel and finally to America, but also the history of photography. Each sheet is hung on a clothing line, a reference to the role of women in the domestic sphere, but more significantly to the continuation of the family line through generations, despite adversity.

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Timothy Paul Myers, “Adrift,” 2013.

mong the things we carry across borders, and into new geographical and cultural territories, are traditions that shape how we might celebrate holidays or express

ourselves through art and music. Many immigrants adhere strictly to customs of their homeland, while others reshape traditions in a way that reflects their new home. Artists Osi Audu, Ed Young and Nazanin H. munroe create artwork grounded in the traditions of their Nigerian, Chinese and Iranian heritages, while at the same time reinterpreting these traditions in highly personalized ways.

To a Western viewer, Osi Audu’s minimalist and formalist “Inner and Outer Head, No. 29” and site-specific wall drawing “Self-Portrait No. 34” may

not obviously relate to his Nigerian roots. When we hear “African Art,” we imagine tribal motifs or traditional iconography. The monumental diptych and accompanying wall drawing, both executed in clean lines and a monochromatic palette, represent a hybridized approach to art and science. The work draws on a Western visual vocabulary, but is grounded in the teachings of Nigerian tribal religions. The juxtaposition of an object filled with bright, saturated pigments with the same form, this time devoid of color, creates an afterimage in the viewer’s eye. This effect, along with the “thingness” versus “nothingness” of the two panels, references both the Western philosophical schools of Descartes and Sartre, as well as the philosophies of the Yoruba tribe of Audu’s homeland.

REDEFINING TrAdiTiONS

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Osi Audu, “Self Portrait No. 34,” 2015.

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Ed Young’s “Bird and Dizz” is a thirty-foot long scroll that tells the story of Dizzy Gillespie, Charlie “Bird” Parker, and the musical friendship that resulted in bee-bop, a uniquely American brand of music. Young was born in China, but spent his adult life in America. He will tell you his work is not ostensibly Chinese, as he draws on a variety of artistic influences, including Matisse’s cut-outs and photography. “Bird and Dizz”, an uninterrupted string of vignettes painted with Japanese sumi ink and accented with oil-pastel, refers to Chinese calligraphy and scroll painting to translate the vibrancy and conversational quality of jazz music into visual form.

Nazanin H. munroe is an art historian and textile artist whose work reflects the literary and economic history of her Persian heritage. Born in the United States to parents who emigrated from Iran, Munroe

often visited her relations abroad as a child, but the revolution of 1979 changed things. She now uses her installations to reconnect through art what a revolution disconnected. “100 Destinies,” commissioned for Crossing Borders, explores the ancient tradition of divination through the writings of the 14th century Persian poet Hafez. For one hundred days, Munroe consulted the poet’s odes. Those readings are collaged on the wall and connect to a human figure by red threads representing the bloodlines that connect her to this tradition of fortune telling. Each element of the installation is significant: the hand-painted silk garment references thousands of years of trade and art in Iran; the calligraphy of the Farsi word for Destiny was designed by her father; and the color palette speaks to the process of cultural dilution over time and distance.

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Nazanin H. Munroe, “100 Destinies,” silk design detail, 2015.

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PIECING TOGETHER Our STOrYhe process of collage, the selecting and piecing together of fragments to create a new whole, is analogous to the process of immigrating. As migrants can’t transport

everything with them, they pick and choose what object from the past will play a role in shaping their future. Bibiana Huang matheis and Nandini Chirimar use collage to create works that reflect the challenges of negotiating multiple cultures while evaluating the relationship between object and identity.

Bibiana Huang matheis uses the materials in her home and her family’s photographic archives. “Chinese Mojo,” debuting in its entirety in Crossing Borders, is a commanding collection of twenty pairs of photo-

collages that provide an intimate visual autobiography of Matheis, who was born in China and immigrated to the U.S. to attend art school. Each of the 40 images is luscious and dense. Heirlooms, new acquisitions, family portraits and elements of domestic architecture come together to create a multilayered visual space that weaves together fragments from her life into a cohesive, seamless narrative. For Matheis, the process of making the collages is as revealing as the final body of work. “I’ve used this project to confront my own cultural heritage,” Matheis shared. “It is an artistic expression of heritage, of connecting with my ancestors, of cross-culturalism, integration and never being able to fully integrate.”

Bibiana Huang Matheis, “Cabbage and Diamonds” from Chinese Mojo, 2014.

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Nandini Chirimar’s “Fasten Your Seatbelts, We Will Be Landing Shortly,” a new mixed-media chine-colle piece for Crossing Borders, interprets her daily experience of negotiating two cultures. The dealers who represent her work are based in India and much of Chirimar’s family still resides abroad. When it’s time to phone her parents or connect with a gallery, her children are already tucked away in bed. In “Fasten Your Seatbelts…” she reproduces

as delicate aquatint prints calendars and maps from her hometown of Jaipur, India and her current residence in New York City. She collages them together with meticulous drawings of objects in her home. The detail-rich vignettes create a tableau of the activities and things she accumulates in a life lived across twelve time zones. The maps and calendars represent her daily, annual and lifetime journey as an international female artist.

Nandini Chirimar, “Fasten Your Seatbelts We Will Be Landing Shortly”detail, 2015.

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SHIFTING PErSPECTivES

ur reasons for immigrating are not always of our choosing. We move to escape war, persecution, famine or economic disaster. Whatever the impetus, we all

cross borders in hope of finding a better life. The works of Pepe Coronado and Peter Sis interpret the challenging relationship that exists between an immigrant and the turmoil of his former homeland.

In the late 1980s, with the economy of his native Dominican Republic on an unstable footing, Pepe Coronado left home to make his way in the United States as an artist and photographer. In his recent body of work, Coronado turns his lens to the complicated politics between the United States and the Dominican Republic. The U.S. once occupied the D.R., until a coup d’etat ushered in three decades of rule under the brutal and bloody regime of Rafael Trujillo. Coronado’s site-specific sculpture,

“U.S./D.R. In Relationship” and related linoleum-cut prints use a direct and alluring visual language to emphasize an ongoing, yet fluctuating relationship between the United States and the Dominican Republic. One country is inextricably linked to the other by ropes and pulleys, symbolizing that times of closeness or tension can easily transition to periods of distance and harmony. At the same time, the simple iconography of circular arrows embedded in the maps celebrates a long, ongoing fruitful exchange of people and ideas across the waters.

As a child growing up behind the “Iron Curtain” in Communist Prague, Peter Sis dreamed of flying over the wall that divided Czechoslovakia from the Democratic world. Flying beyond borders on a quest for knowledge, freedom and understanding is a theme in many of his books, including “The Wall: Growing Up Behind the Iron Curtain” and “The

Pepe Coronado, “U.S./D.R.: A Love-Hate Relationship,” 2012.

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Conference of the Birds” and selections from both are included in the exhibition. A successful filmmaker and animator, Sis was sent to the United States in 1984 to produce a film on the Los Angeles Olympics. When the Soviet nations boycotted the games, the project was cancelled. Rather than return, Sis sought asylum in America where he would find a niche in illustration. “The Flying Man” is emblematic of the themes, motifs and artistic style that are his signature. Set against a luscious blue background is a human figure formed from a flock of white birds. The figure

soars over a meticulously rendered cityscape. Hidden forms emerge from the blue sky alluding to time, direction and knowledge. “The Flying Man” is an homage to Václav Havel, the writer and philosopher who was the first democratically-elected President of the Czech Republic. The gouache with pen and ink painting became the model for a fifteen-by-twenty-foot tapestry, which currently hangs in the Václav Havel Airport in Prague and was supported through Art for Amnesty by musicians Bono, The Edge, Peter Gabriel, Sting, and Yoko Ono Lennon.

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he artists in Crossing Borders represent the incredible vibrancy and diversity that First Generation and New Americans bring to the cultural character of national and local life. The works give voice to the hundreds of thousands of individuals who try to make their place in a different country. While each artist has his or her own unique story, the themes

expressed through their work transcend the individual and speak to a universal experience of remembering where we came from while navigating new territory and customs. Taken together, these works are a reminder that tradition and culture are not static. Rather they are ever evolving and ever adapting.

– Kathleen reckling, Curator Gallery Director, ArtsWestchester

10 STOriES.

Our SHArEd ExPEriENCE.

Peter Sis, “The Wall: Over the Wall,” detail, 2006.

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CROSSING BORDERSExHiBiTiNG ArTiSTS

| OSI Audu |

BOrN: Benin, NigeriaEduCATiON: Painting and Drawing University of Georgia, Athens, Georgia, USA M.F.A., 1984 | B.A. 1980 First Class Honours, Fine Art University of Ife, Ile-Ife, Nigeria 1994 P.G.C.E. Canterbury, Christ Church College, University of Kent, England.LivES: Hurley, NY

“The Yoruba people of Western Nigeria believe that consciousness, regarded as the head, has both a physical and a non-physical dimension, which is referred to as the outer and the inner head. This notion of exteriority and interiority is reminiscent of Descartes’ dualism and what Sartre alludes to as the ‘existent and essence.’ It is the visual implications of these concepts that inspire my work.”

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“Outer and Inner Head No.29” 2014.

| NANDINI CHirimAr |

BOrN: Jaipur, IndiaEduCATiON: Cornell University, Ithaca, NY, B.F.A. LivES: New York, NY

“Everyday life is the foundation of my work. I constantly observe and think about myself, my surroundings and the traditions that shape my actions. I draw from personal history, relationships, places I have lived, and my different roles as an Indian woman/mother living in America. Researching everyday objects for their social significance, and how they start to define our identity is part of my process… While many of these are from an Indian context, I find they relate to universal questions we encounter in our everyday lives.”

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“Fasten Your Seatbelts, We Will Be Landing Shortly,” detail. 2015.

| PEPE COrONAdO |

BOrN: Dominican RepublicEduCATiON: Maryland Institute College of Art, Baltimore, MD, M.F.A. LivES: Hastings on Hudson/Dobbs Ferry, NY

“The work of Pepe Coronado, ‘U.S./D.R. A Love-Hate Relationship,’ reveals, through an alluring visual iconography, the intricate map of inter-territorial relations that have been historically built between the United States and the Dominican Republic. Coronado has translated the complexity of these relations in a screen print where one territory is visually interpenetrated by the other and vice versa. These juxtapositions reflected in the silhouettes of the maps of each nation in positive and negative, along with a circular movement, allude to a relation that is living and in permanent reinvention–where the existential, dissensions and concurrences, and political and social reflection are mixed together.”

-Paula Gómez Jorge, Art Historian, Critic and Curator

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“U.S./D.R. A Love-Hate Relationship” 2012.

| BIBIANA HUANG mATHEiS |

BOrN: ChinaEduCATiON: Corcoran School of Art, Washington, DC Maryland College of Art and Design, Silver Spring, MarylandLivES: Pawling, NY

“Although the Chinese Mojo project is distinctly Chinese in aesthetic and theme, the heart of Chinese Mojo is my story, which is so similar to other immigrant people’s stories, no matter what their heritage. Like with all immigrants, there is the inherent struggle of being in between two worlds. As such, it is every immigrant’s tale and one that many people of diverse cultural experiences will be able to relate to… I’ve used this project to confront my own cultural heritage and the struggles I’ve faced as an immigrant. It is an artistic expression of heritage, of connecting with my ancestors, of cross-culturalism, integration and never being fully able to integrate. It is a project about connecting with my own creative spirit and genetic artistic thread while exploring the continuity of creativity that passed down through generations in my family.”

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“Red Door” 2013.

| NAZANIN H. muNrOE |

BOrN: Bloomfield Hills, MichiganEduCATiON: San Jose State University, San Jose, CA, M.A., 2007 Department of Fiber, Cranbrook Academy of Art, Bloomfield Hills, MI, M.F.A., 1996 Fiber Art & Textile Design Savannah College of Art and Design, Savannah, GA, B.F.A., 1994LivES: Larchmont, NY

“My work has always drawn from my Persian heritage, but with the intent of posing questions and expressing emotions that transcend culture. In “100 Destinies,” I am drawing from the ancient tradition of divination through poetry (biblophancy) using the 14th century works of Hafez…Fascinated with the concept of destiny and the potential reasons that steer a person’s life one way or another, I have explored divination rituals in my work for many years. In preparing for this installation, I consulted Hafez on a daily basis for 100 days, and displayed the poems as a constellation on the wall behind the figure. Representing my relationship to a homeland where I never lived, but whose cultural practices are a part of my daily life, the figure is cloaked in a garment patterned with the phrase “destiny” (sar-nevesht) in Farsi. Viewers are invited to ask and answer their questions by leaving an anonymous question and taking a poem at random. The poetry is provided in the original Farsi with English translations and interpretation.”

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“100 Destines” 2015.

| TIMOTHY PAUL mYErS |

BOrN: Adelaide, South AustraliaEduCATiON: Texas Tech University, Lubbock, TX, B.F.A.LivES: Brooklyn, NY

“For a long time my work has been based on small, found objects that connect us to past eras, like these old postcards and photos… There is so much of this stuff just drifting around all over the world in flea markets, and piles of it for sale on eBay, that it made me think about how many intimate bits of our personal lives live on long after we are gone, and how we use things like postcards and photographs to try and give structure and meaning to our lives, documenting where we’ve been and what we’ve done.”

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“Muzzle,” detail. 2012.

| PETER SiS |

BOrN: Brno, Czechoslovakia (Present day – Czech Republic)EduCATiON: Academy of Applied Arts, Prague, CZ Royal College of Art, London, UKLivES: Irvington, NY

“I express most of myself through my art and hope that others may enjoy how I convey feelings and ideas through my work. I would like to enlighten people and show them how the world is fascinating, and complex and inspiring.

And this is when I became an illustrator. First making pictures for other people’s books, then coming up with my own stories—about my childhood, about leaving home and about exploring the world. I found out that one doesn’t have to discover new continents, that people can explore in their minds even when locked in a prison cell and that books can be my home, my language, my country. I can share with my children, and children of the world, the universe of dreamers, seekers and people who dared to think differently.“

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“Flying Man” 2011.

| YARDENA dONiG YOuNEr |

BOrN: IsraelEduCATiON: New York University/International Center for Photography, M.F.A.LivES: Peekskill, NY

“These images of the twenty five women speak to me in their silent assertive language. I know each of them individually, and all of them collectively. They are ‘pieces’ (Sontag) of my life… Like an archeologist I dig into my drawer. I sift through so many captured moments, unearthing, sorting out and ‘retro-sounding’ the generations preceding [my granddaughter] Olivia… This search of 7 generations of women, over three different continents and two centuries gives me just a slight hint to the answers to so many of the unanswered questions throughout my life.”

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“Ultrasound: To Be A Woman,” 1996–2015.

| ED YOuNG |

BOrN: Tienisin, ChinaEduCATiON: Art Center College of Design, Pasadena, CALivES: Hastings on Hudson, NY

“Children’s books have taken me around the world in search of visual story-telling throughout human history… Real life, which I must confront, and simultaneously by which I might realize a fuller self, is ultimately about surprises. It has been so for 60 years and I trust, will be so forever after.”

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“Bird and Dizz,” detail. 2015.

| RAPHAEL ZOLLiNGEr |BOrN: Johannesburg, South Africa EduCATiON: ITP Tisch School of the Arts, New York University, M.P.S Pratt Institute, Brooklyn, NY, B.F.A. LivES: Brooklyn, NY

“I combine the languages inherent in both sculpture and photography to construct forms that break down the distinctions between image and object, expression and documentation, icon and index, art and technology… This process enables me to question how objects and images build and shed meaning over time within a screen-based culture. Underlying this is an investigation into what happens when images are re-contextualized in not just form, function and materiality, but also in time. With these works, I seek to bridge the everyday and the political, connect history with the present and, in turn, blur the border between personal and collective memory.”

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“Gathering, Home As Stage,” 2012.

OSI AUDUOuter and inner Head No. 29. 2014Acrylic, wood and graphite on canvas. 66 x132 inches

OSI AUDUSelf Portrait No. 34. 2015Pastel and graphite on wall. 90 x 130 inches

NANDINI CHIRIMARSpices, Lace and flowers… 2012Aquatint, chine colle, pencil, sewing and collage on paper.22 x 30 inches

NANDINI CHIRIMARSpices, Lace and flowers…2012Aquatint, chine colle, pencil, sewing and collage on paper. 22 x 30 inches

NANDINI CHIRIMARfasten Your Seatbelts, We Will Be Landing Shortly2015Pencil, watercolor, pen, etching, collograph, woodblock, collage and gold leaf on Japanese kozo paper.Sizes vary

PEPE CORONADOLa Linea dr2014Linocut from 3 plates. 9 x 14.5 inches

PEPE CORONADOLa Linea uS2013Linocut from 2 plates.

8 x 10 inches

PEPE CORONADOu.S./d.r. A Love-Hate relationship2012Screenprint.

Diptych, each 7 x 7 inches

PEPE CORONADOu.S./d.r. in relationship2015Wall Structure, wood cut-out, mechanical arm.

Site-specific installation

BIBIANA HUANG MATHEISred door2013Wet pigment print on China silk.

120 x 108 inches

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BIBIANA HUANG MATHEISChinese mojo (40 Works Total)2014 All prints: Pigment print on 100% cotton rag. First of five editions.Sizes vary

Bountiful # 1 25 x 25 inches

Bountiful # 225 x 25 inches

Mama Chair & Baba Chair25 x 25 inches

Bibi Chair25 x 25 inches

Dragon Heart # 125 x 25 inches

Dragon Heart # 225 x 25 inches

Sketchbook # 125 x 25 inches

Sketchbook # 225 x 25 inches

Capriccio in F Major # 125 x 25 inches

Capriccio in F Major # 225 x 25 inches

Happy New Year #125 x 25 inches

Happy New Year # 225 x 25 inches

Between # 125 x 25 inches

Between # 225 x 25 inches

Dress # 125 x 25 inches

Dress # 225 x 25 inches

A Poem From My Father # 125 x 25 inches

A Poem From My Father # 225 x 25 inches

Beautiful Blessing # 125 x 25 inches

Beautiful Blessing # 225 x 25 inches

Connection # 118 x 30 inches

Connection # 218 x 30 inches

Conversation with Orchid # 121 x 30 inches

Conversation with Orchid # 221 x 30 inches

Cabbage and Diamonds # 123 x 30 inches

Cabbage and Diamonds # 223 x 30 inches

Year of The Monkey # 123 x 30 inches

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Chinese Mojo (Continued)

Year of The Monkey # 223 x 30 inches

Three Graces # 124 x 30 inches

Three Graces # 224 x 30 inches

Ginseng Tribe # 122 x 30 inches

Ginseng Tribe # 222 x 30 inches

Song of a Flower # 123 x 30 inches

Song of a Flower # 223 x 30 inches

La La Land # 123 x 30 inches

La La Land # 223 x 30 inches

Joy # 122 x 30 inches

Joy # 222 x 30 inches

When the Canary Sings # 121 x 30 inches

When the Canary Sings # 221 x 30 inches

NAZANIN H. MUNROE100 destinies 2015Resist-dyed and hand-painted silk; mixed media.Site-specific installation

TIMOTHY PAUL MYERSAdrift2013Mixed media.60 x 120 x 36 inches

TIMOTHY PAUL MYERSmuzzle2012Mixed media.500 units, each 2 x 3 inches

PETER SISflying man2011Gouache, watercolor, pen and ink on paper.16 x 12 inches

PETER SISThe Wall: They repainted it Again and Again2006Pen and watercolor on paper. 21 x 17.5 inches, framed

PETER SISThe Wall: Study – Head2006Pen and ink on paper.13 x 9.5 inches

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PETER SISBirds: At Last the Birds Take Off2011Watercolor, acrylic gold on paper.15.25 x 22.5 inches

PETER SISThe Wall: Over the Wall2006Pen and ink, watercolor on paper.20 x 28 inches, framed

YARDENA DONIG YOUNERultrasound: To Be a Woman1996–2015Mixed media installation: 25 panels of images on fabric, cloths line and clothespins.Site-specific installation

ED YOUNG Bird and dizz2015Pastel, sumi ink on paper.17 x 344 inches

RAPHAEL ZOLLINGERGathering, Home as Stage2012Hand-manipulated pigment print on paper.38 x 60 inches

RAPHAEL ZOLLINGERTotem, Home as Stage2012Hand-manipulated pigment print on paper.32 x 60 inches

RAPHAEL ZOLLINGERPrimary School, 19482014Pigment print, steel, and paint.40 x24 x 55 inches

RAPHAEL ZOLLINGERSection 3, inherited Topologies2014Epoxy, pigment print, steel and light.30 x 40 x 6 inches

RAPHAEL ZOLLINGERdesk and Window, 19522013Pigment print on steel.30 x 42 x 5 inches

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AMALGAMA Project - Urban jazz blends folklore with dance in the manner of traditional Colombian music

Trio Shalva - performing Mediterranean-influenced music from recent albums as well as new original songs

Crossing Borders: Memory and Heritage in a New America opening reception (RSVP)

Crossing Borders: Memory and Heritage in a New America opening day

Crossing Borders: Memory and Heritage in a New America on view

Zem Audu Quartet and conversation with exhibiting artist Osi Audu

FRIday fEB 278:00PM

SatuRday

fEB 28 8:00PM

SatuRday mAr 142-4PM

Sunday mAr 15 12-5PM

tueS-Sat mAr 17– mAY 2 12-5PM

FRIdaymAr 20 8:00 PM

SatuRday mAr 21 8:00PM

FRIday mAr 27 8:00PM

SatuRday mAr 28 8:00PM

SatuRday APr 112:00PM

SatuRday APr 181-3PM

SatuRday APriL 251-3PM

Monika Jalili - 20th Century Persian Folk and Popular Music, and conversation with Nazanin Hedayat Monroe

Conversation in Art, Words & Music w/Francis Mateo and exhibiting artist and Pepe Coronado

Margaret Leng Tan – East-West Encounters, the Concert Piano Reimagined, and a conversation with Bibiana Huang Matheis

The Whole Story of Half a Girl book talk and signing with Veera Hiranandani

Silk painting with Nazanin Munroe

Family Scrapbooking Workshop with Ann Ladd

SATurdAY, APr 11, 2:00PmThe Whole Story of Half a Girl book talk and signing with veera Hiranandani. Hastings resident Veera Hiranandani grew up the daughter of an American-Jewish mother and Indian father. Her young readers novel The Whole Story of Half a Girl, won critical acclaim. She recently published a new series about food and culture aimed at early readers.

| FREE PuBLiC ANd fAmiLY PROGRAMS |

fOr mOrE iNfO ON ALL EvENTS ANd T iCKETS viSiT:artsw.org/crossingborders

SATurdAY, APr 18, 1:00-3:00PmSilk painting with exhibiting artist Nazanin munroe. Get an introduction to silk painting with Crossing Borders exhibiting artist, Nazanin Munroe. (Note: Limited enrollment. Please sign up early to gallery@artswestchester.org.)

SATurdAY, APr 25, 1:00-3:00Pmfamily Scrapbooking Workshop with artist Ann Ladd. Bring your family photos and get started building a scrapbook that will preserve your favorite memories.

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Crossing Borders: Memory and Heritage in a New America is

a multi-diciplinary celebration of New York’s cultural diversity

and the kick-off of ArTSEE, a Festival of New Work celebrating

ArtsWestchester’s 50th Anniversary.

Crossing Borders: Memory and Heritage in a New America is made possible thanks to:

Special Thanks to ArtsWestchester’s Board of Directors and Arts Committee:

Barbara Elliot, Betty Himmel, Jacqueline Walker, Ellen Gold, Judith Schwartz, PhD and Maren Hexter.

T H A N K S T O O u r A r T S W E S T C H E S T E r S TA f f

SENIOR STAFF

Janet Langsam, CEO

Ann fabrizio

Joanne mongelli

Sandy Orsino

debbie Scates

COMMUNICATIONS

mary Alice franklin

Nathalie Gonzalez, Catalog Design

Alison Kattleman

Eric Siegel

EXHIBITIONS & PERFORMANCE

Lea Banks

Logan Hanley

Tom van Buren

Lisa Johnson

Jaclyn Wing

Arts Ambassadors

interns

artsw.org | #crossingborders |

The ArTSEE Festival features more than 70 arts events presented by 40 arts organizations packed with dance, film, theater, art, concerts, poetry and more.

artsw.org/ArTsee | #ArTseefest

CROSSING BORDERS IS PART OF

m A r C H – J u L Y 2 0 1 5

Major festival support from Entergy, First Niagara, Westchester Medical Center, New York State Council on the Arts, Westchester County Government, National Endowment for the Arts and Con Edison. Media sponsors: The Journal News, News 12, Pamal Broadcasting’s 100.7 WHUD and 107.1 The Peak, WAG, Westchester County Business Journal and Westchester Magazine.