LeRoy-Neiman-Gallery

The 14th floor of Pupin Hall is a place not often visited by those who are not majoring in astronomy or astrophysics. Yet this past Friday, students and professors of all disciplines spent the late afternoon attending a space-themed event on the highest floor of the building.

“Posing Modernity,” the newest exhibition in Columbia’s Wallach Art Gallery, breaks away from curatorial tradition by transcending the artistic norms of gender, sexuality, and race.

“Absence Makes the Heart Grow Fonder,” on display at the LeRoy Neiman Gallery, pushes the printmaking medium to its limits and literally beyond, as the prints spill into an unconventional plane.

Never-before-seen artifacts from the legendary career of Arthur Mitchell, African-American principal dancer with New York City Ballet and founder of the Dance Theatre of Harlem, are now on public display.

We’re awkwardly positioning ourselves around a gigantic, expensive-looking machine when Tomas Vu-Daniel says, “You can actually climb up onto this press. Really.”

In “No. 9,” Columbia University Graduate School of Architecture, Planning and Preservation’s most recent exhibition in the Arthur Ross Architecture Gallery, Mexican architect Frida Escobedo uncovers the history of Todd Williams’ sculptural installation for the 1968 Olympics through photographs, historical documents, and her own replica of Williams’ installation.

In New York’s concrete jungle, it is hard to imagine lush ferns and twisting vines climbing on the walls, but in Miller Theatre, you will find just that.

“Revolt, Resist, Defy!”, the current exhibit in the LeRoy Neiman Gallery, highlights the long history of printmaking as a medium for political dissent through the works of contemporary artists.