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Bronx Museum of the Arts set to open Arts Education Center

The Bronx Museum of the Arts will dedicate its Arts Education Center in a special ceremony next week.

The 3,000-square-foot arts center is housed in the museum’s new North Wing, built in part to expand education programs for youth and families.

Education programs include the Interpretive Art Program and Student Docent Program for visiting schools, Teen Council, Media Lab and Design Lab for after-school youth and Family Affair for children ages 5 to 11 and their parents or guardians.

The event will feature a commemorative plaque presentation to Rep. José Serrano for his support of the museum’s education programs and the arts.

The dedication will take place at 3 p.m. May 31 at the museum’s North Wing entrance at 1040 Grand Concourse.

SOURCE: NYDailyNews.com

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Mom’s apple tree being preserved at Bronx Museum of the Arts 

Holly Block, executive director of the Bronx Museum of the Arts, shows off apple tree being preserved in expansion efforts.

Beauty parlor owner Rose Bell Rufus left her life-long home in Texas in 1963 to join her children, who were attending college in New York City.

After bouncing from apartment to apartment, she finally put down her permanent roots in the Bronx in 1970, buying a three-story house at 1040 Grand Concourse.

Little did she realize that an apple tree she planted in her backyard garden to bring a bit of her native Texas with her would someday grow to become a museum centerpiece.

As the tree grew from a sapling to a fruit-bearing adult, the synagogue next door was transformed into the borough’s first art museum. Its popularity grew, and by the time Rufus was diagnosed with cancer in 1990, tourists were flocking to the neighboring Bronx Museum of the Arts.

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Turning Stereotypes Into Artistic Strengths 

“More, please” has been the critical response to “WACK! Art and the Feminist Revolution,” the survey of pioneering feminist art currently installed at P.S. 1 Contemporary Art Center. The Bronx Museum of the Arts anticipated the demand with “Making It Together: Women’s Collaborative Art and Community,” which focuses on the groups and collectives that linked feminist art to a larger social context.

Organized by the critic Carey Lovelace, “Making It Together” occupies part of the lobby and a small adjacent gallery. Conventional art objects are few and far between: pink-painted walls display archival photographs, manifestoes and other ephemera. The show is much smaller than “WACK!” but includes a wealth of historical material, much of which would be better served by a book or documentary film.

The theme is timely, at least; the current Whitney Biennial is rife with collaborative projects. For female artists of the ’70s and ’80s, collective practice had several advantages. In keeping with the anti-authoritarian spirit of the times, it played down the roles of the individual artist and the marketable artwork. It also turned the stereotype of women as inherently conciliatory and cooperative into a source of strength.

The consciousness-raising session generated ideas for artworks like the “Womanhouse” (1972), an installation created in a rundown Hollywood mansion by students of Judy Chicago and Miriam Schapiro at California Institute of the Arts. Documentation of the “Womanhouse” in “Making It Together” includes a photograph of Faith Wilding’s wall of crocheted spider webs (a recreated version can be seen in “WACK!”).

Art, especially performance art, was inseparable from activism. Leslie Labowitz and Suzanne Lacy’s “Three Weeks in May” (1977), a series of events including self-defense workshops and a performance on the steps of Los Angeles City Hall, raised awareness of sexual violence. “Making It Together” includes an installation documenting Ms. Labowitz and Ms. Lacy’s project, in which the word “RAPE,” stenciled in bold red letters, figures prominently.

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