Lonnie Chu

Dear Chancellor Cantor,

I am writing to express my shock and dismay at the dismissal of Astria Suparak, not as a member of the Syracuse University community, but rather as a resident of the Eastwood neighborhood in the city of Syracuse. While my career is centered on teaching at S.U., my spare-time passion is for my community. I have been a TNT facilitator, I have several community blogs (Walkable Eastwood, the Eastwood Chamber of Commerce, Sunnycrest Park Association), I own a number of rental properties in the city, and I have run an email group for Central New York landlords and investors since 2001. I am vitally interested in the economic wellbeing of this city. And I feel that the dismissal of Astria Suparak is one of the worst blows to this city since the promise of the "urban renewal" of the '60's resulted in destroyed neighborhood communities.

We investors and homeowners believed you when you said there would be a connection from the university to the city. We applauded you when we were able to become involved in the many projects that help this connection to form. We got excited when we saw the art scene develop so quickly in the past year. Even out in the "hinterlands" of Eastwood, we are thrilled to see what's happening downtown, for it affects our neighborhood positively. Astria has made many contacts with area businesses and her work has been a boon to the economic wellbeing of the city. As one landlord/investor has said on the Syracuse-Warehouse blog, there's now an actual pulse in the area!

Astria has been at the heart of much of that pulse. She is not going to be easily replaced, and the work she has started will not continue on its own without her, for something important is at stake: trust between the community and the university. The Connective Corridor and the promise it holds for Syracuse is, first and foremost, a bond of faith in the reliability and responsibility that the university must show the city. If this seemingly irrational and arbitrary decision to dismiss Astria is not reversed, that trust will have been broken. All succeeding efforts will be tainted by this experience. We, the residents of this city, will forever be asking, "Will they pull the rug out from under us this time, too?" It takes an enormous number of volunteer hours, even on the part of community members, to make art happen in a public way. Please, do not betray our faith in the university, for once Syracuse's reputation suffers at a national and even international level (as it is already doing, thanks to this debacle), we will continue to lose the bright, creative people, both young and old, that we so desperately need to keep this city growing in a positive direction. I trust you will understand this and do the right thing.

Sincerely,

Lonnie Chu, MA
Syracuse University, 1998

Krista Birnbaum

Dear Mr. Hoone,

I feel that it would be helpful at this point for the community to understand just what CMAC's mission statement is for the Warehouse Gallery. Clearly a majority of the community has been pleased with the exhibits and programs presented by the space thus far. If a personnel change will result in a subsequent change in the gallery mission, then I suspect the community would like to give input into those changes. I know that the University has been operating under Chancellor Cantor's mission to make a stronger connection between the University and the city of Syracuse. My impression was that the Warehouse Gallery, located in downtown Syracuse, was part of this larger University initiative. Now seems a perfect opportunity to take stock of the success of the gallery and gather input into the mission for the future.

I will not reiterate the many excellent praises of Astria Suparak's work as curator, director, and community member. I agree with so many of the letters that have proclaimed her successes so eloquently. I will say that the exhibits and lectures sponsored by the Warehouse Gallery were a welcome addition to my last year of graduate school at Syracuse University. Ms. Suparak provided a needed space for regional and international contemporary art in Syracuse. Her exhibits also gave a healthy space for voices of women artists and curators to be heard. This was particularly beneficial to me, as women are too often underrepresented in the art world.

I am concerned with the timing of these announcements. As others have already noted, dismissing Ms. Suparak during the current exhibition of feminist work sends a message that this is unacceptable material for an academic environment. Shouldn't just the opposite be true? The cancellation of the Yes Men sends a very similar message. Regardless of whether Ms. Suparak's dismissal is related to these particular exhibits, the coincidence is alarming.

Although I am watching these events from afar (Roswell, NM) my heart is with the Syracuse arts community. My involvement with Spark Contemporary Art Space and Spark Video provided an awareness of the difficulty in energizing local passion about art. The current flood of concern and desire for a vibrant arts community should tell you that something has been going right. Perhaps CMAC's mission statement should be revised to match this positive direction.

Sincerely,
Krista Birnbaum
MFA Art Video 2007

Leah DeVun

Dear Mr. Hoone,



I'm writing to express my disappointment at the termination of Astria Suparak as director of the Warehouse Gallery. I worked in early 2006 to bring Ms. Suparak to Texas A&M University, where she showed the short film program "Quantum Leaps" and spoke to undergraduate students. Ms. Suparak struck just the right tone during her talk. She was accessible, yet she required the students to think and be challenged by the content of the films. This is the point of art programming at a university. Texas A&M is generally a more conservative institution than Syracuse University, and if the students here can profit from Ms. Suparak's curatorial practice, then certainly those at Syracuse can. In addition, I know from my later conversations with Ms. Suparak that she was extremely committed to making Syracuse a vital arts community. I believe her termination is a serious mistake, and I hope that you will reconsider.



Best,

Leah DeVun

Assistant Professor, History and Gender Studies

Texas A&M University

Flash Art

[ reposted from Flash Art website ]


Syracuse Arts Community Unwilling to Let Dismissed Curator Go

Astria Suparak is being dismissed from her post as Director of The Warehouse Gallery in Syracuse, New York. Originally hired in 2006 to run and develop the gallery, which is financed by the university and located in downtown Syracuse, Suparak has been embraced and celebrated by the local arts community for her programming. Her exhibitions have included Come On: Desire Under The Female Gaze, Faux Naturel, Embracing Winter, and Networked Nature. For reasons unclear, Jeffrey Hoone, Executive Director of the Coalition of Museums and Art Centers (CMAC) at Syracuse University has decided to terminate Suparak's position. As stated in a newsletter, "Faculty, students, artists and arts organizations are baffled by this decision." The local community is fighting to see Suparak stay and have begun protesting the decision by sending letters to Jeffrey Hoone.

Before going to Syracuse, Suparak worked for P.S.1 Contemporary Art Center, Queens, NY; Liverpool Biennial, U.K.; IMPAKT Festival, Utrecht, Netherlands; EYEBEAM, New York, NY; Yale University, Hartford, CT; Museo Tamayo Arte Contemporaneo, Mexico City; and LTTR Art Journal, amongst many other organizations for art and new media.

Source:
http://www.flashartonline.com/

Dara Greenwald

Dear Mr. Hoone and Chancellor Cantor,

I am writing to you in dismay at your decision to fire curator Astria
Suparak.

I first became acquainted with Astria Suparak in 1999 when I was
working at the Video Data Bank at the School of the Art Institute of
Chicago and she was curating a video series at Pratt. I began a
professional relationship with her at that time and have continually
found her both a visionary and a pragmatist – a rare combination. Her

curation was thoughtful and challenging and her professional behavior
was just that, professional. She ordered and returned materials from
us in a timely manner over several years as well as made sure
contracts, invoices, etc. were all taken care of. All this is to say
that from her track record, I was shocked to hear of her inexplicable
firing.

Additionally, she later curated my own work in two of her traveling
programs. In that new relationship of artist and curator, I found her
exceptional. She always communicated with me and other artists about
where our work had screened and what feedback or press we received.
This is far more than I can say for many curators I have worked with.
Knowing that someone was so carefully presenting my work inspired me
to continue producing it.

A few years ago, I moved to Upstate New York and was thrilled to be
able to see Astria more frequently since I was closer to Montreal.
When she told me she was moving to Syracuse, I was a bit surprised
but was also excited to have her vision and work as part of the
Upstate and Central New York community. I could only guess that the
Warehouse was itself visionary and promising in its ability to
attract such a talent as Astria away from more major art centers like
Montreal and New York City.

I was extremely surprised that after such an intense recruiting
process, having her and her partner move their entire life, and after
several successful shows that have garnered attention beyond
Syracuse, she would be let go. How can the institution justify this
action? This, in conjunction with the cancellation of the Yes Men
show and just after a show about the Female Gaze, is beyond
disappointing. Just when I thought some new visions and dialogues
would be coming from Upstate, it looks from the outside that the
actions of the administration of Syracuse University paints a
regressive, anti-intellectual, anti-dialogical, pro-censorship
picture which should be antithetical to the role of an academic or
contemporary arts institution. Please re-consider your decision
regarding Astria Suparak and her curatorial works, as I and many
people I know want to be proud of the Upstate arts community, not
embarrassed and discouraged.

Sincerely,
Dara Greenwald
Media Artist
Troy, NY

Allyson Mitchell

Hello,

I am writing this letter in support of Astria Suparak, Director of the Warehouse Gallery at Syracuse University. I was surprised to learn that Astria is losing her job. I have worked with Astria as an artist. She curated my work into the exhibition Faux Naturel, which exhibited at the Warehouse Gallery and then later the Foreman Art Gallery in Quebec. In all of my experiences with Astria she has conducted herself professionally. Astria is an experienced and talented young curator who brings a significant contribution to the city of Syracuse and to Syracuse University. The attendance at openings, invited guest artist lectures and the reviews of the exhibitions that Astria has curated indicate that her programming has the support of people on campus as well as national and international arts communities.

Sincerely,

Allyson Mitchell
Toronto ON

Ryan Tebo

Dear Mr. Hoone,

I graduated from Syracuse University with an MFA in Filmmaking from VPA in 2006. Last fall I remained in Syracuse to teach as an adjunct the ART 250 course, “Ways of Seeing International Avant-Garde Cinema”. Currently, I live in Cambridge, MA and am an adjunct teacher at Emerson College and teach documentary video at Cambridge Community Television. I am writing this letter to express how appalled and flabbergasted at the news I received that the upcoming Yes Men exhibit at the Warehouse Gallery has been canceled. This is truly outrageous that an exhibit like this be cancelled two months before opening. Further, I am disgusted and made livid by the suggestion (I hope it is only a rumor) that Warehouse Gallery director Astria Suparak will be fired from her position. Frankly, this all seems more than a bit underhanded and vindictive. I emphatically and unequivocally urge that both of these decisions be reversed.

In the summer of 2004 I took the course Art in New York, taught by Professor Steven Zaima. This course was an amazing immersion into the world of contemporary art and it made me realize what was most lacking from my MFA education at Syracuse University. There are a few spaces throughout the city that show engaging, contemporary work, Spark Art Space and the Lightwork gallery are two that come to mind, but none of these other galleries provide such a daring, intelligent and exciting opportunity to see art work that, especially in the quality of curating and presentation, could be seen in a gallery in Chelsea District in New York City, for instance. I really wish that I had had this opportunity while I was a student at SU but am glad that I was able to see a couple of the exhibits while I stayed in Syracuse as an adjunct. The Faux Naturel, exhibit was one that I found particularly brilliant, with its amalgamation of diverse mediums creating a powerful show.

The opening exhibit, COME ON: Desire Under The Female Gaze, looks so interesting to me that I am planning on making a special trip to Syracuse to see it and I really wish that I could be there tonight for what I am sure will be a very insightful discussion about the art and issues raised in the exhibit. Something that disappointed me most about Syracuse was what I perceived as a general and pervasive misogynist and conservative (read safe) attitude among the cultural community. This, of course is my own subjective impression of Syracuse, but I know for a fact that I am not alone in this feeling and that there are very many people who share these sentiments. So, I see the exhibit COME ON: Desire Under The Female Gaze as a great opportunity for the Syracuse community to contemplate and confront the issues of sexuality and desire from a feminist perspective. Such daring work was rarely seen in Syracuse while I was there, though it has actually been quite common in the contemporary world art community for decades (and has been especially prevalent in the last few years). The closest work to this in Syracuse has probably been the work shown at Spark, but to have this in a more prominent and University-official setting as the Warehouse Gallery is essential to addressing these problems within the Syracuse cultural community. Also, this is a show that can help Syracuse assert itself as a legitimate voice in the cultural community of the region and country, as well as internationally.

Perhaps it is because I am five-and-a-half hours away, but it is difficult for me to fathom the rationale behind these decisions. I can only posit that they were made by someone largely out of touch with the contemporary art world. If this had been handled with a modicum of transparency perhaps I wouldn’t have these confusions and questions and would be less outraged.

I value and am proud of the education I received at Syracuse University. It has helped me define my life and my work and I feel confident now that I am able to work in and contribute to society. For that I am thankful. However, I regret to say that if these decisions are actualized I will be truly ashamed to call myself a Syracuse University alum. It is my sincere hope that the exhibit, Keep it Slick: Infiltrating Capitalism with The Yes Men. is reinstated and that Astria Suparak is allowed to continue the courageous and challenging work she has been doing as curator and director of the Warehouse Gallery.

Thank you very much.

Sincerely,



Ryan R. Tebo



“The era of the chairbound artist is over…[the artist’s] very vocation, in the face of oppression, is to open the prisons and to give a voice to the sorrows and joys of all” (Albert Camus, The Artist and His Time).

Roslyn Esperon

To Nancy Cantor and Jeff Hoone:

As a student it is my responsibility to implore you to reconsider the decision to fire Warehouse Gallery Director Astria Suparak. I would like to remind you of the great success that Astria has brought to the Warehouse Gallery. Her shows have made an impact not only locally but internationally as well. I specifically cite Astria’s Faux Naturel exhibit that is currently touring Canada . Astria’s involvement has changed our arts community. Under her direction, the Warehouse Gallery has become a space that brings the community and University together through a greater language of art.

Most importantly, Astria introduces a playfulness to curating and an attention to detail that is inspirational. Who else would be so attentive to make sure that the very hors d’oeuvres that are served at an opening reflect the mood of the show? Astria brings to Syracuse a unique sense of taste that encourages the youth of our University to take interest in the fine arts and provides a fresh look that is desperately needed by the Syracuse University arts community. The Warehouse Gallery has been a happening place on campus that students have responded to. I had been looking forward to applying for an internship at the gallery; however, without Astria at the Warehouse, the thought of an internship is not longer appealing.

It is not too late to reverse this decision. Just recently, the University of California offered and rescinded their offer to Duke Law Professor Erwin Chemerinsky. The Chancellor of University of California feared that Chemerinsky would be too liberal and controversial at the institution. However, I would like to state that it is controversy that leads to the most productive academic discussion. Astria’s current show Come On: Desire under the Female Gaze and the now canceled Keep it Slick: Infiltrating Capitalism with The Yes Men exhibit, have and would have continued to produce healthy discourse in this community. If the University of California was able to recognize their mistake and ask Chemerinsky to once again join their faculty, I encourage Syracuse University to be responsible enough to do the same. Keep Astria here.


Thank you,

Roslyn Esperon

Syracuse University Coronat Scholar
Syracuse University Remembrance Scholar
General Supporter of the Arts

David Chu

[ reposted from Assonance blog by david Chu ]
September 20th, 2007 by Dave

Surprise - the blog has taken on a deathly look. This is because the powers that be at Syracuse University have seen fit to dismiss Astria Suparak, who had been doing highly impressive work to vitalize the Syracuse art scene, not only on behalf of the university, but also with the intent of increasing connections between the university, Syracuse artists, and the Syracuse community as a whole.

If you’ve read this blog before, you’ve likely noticed that I try to find positive aspects of living in Syracuse, pass along what I’ve found for your enjoyment, and encourage your comments. I strive to maintain a positive tone; after all, there are many naysayers here, and I very much want our town to grow and prosper, despite its apparent lack of vision and self-esteem. But truthfully, I sometimes get completed frustrated, as I am today. Just when it seemed that Syracuse was beginning to “get it” and get the right people to help our city, hopes may be dashed yet again.

It’s not clear exactly why they dismissed Suparak, as all the facts aren’t in, so to speak. But in a way, that’s just the point - there’s been no explanation to the community and university population: the people that are most affected by this unfortunate decision. Because the administration has kept silent, we can only speculate. Maybe Suparak’s programming, which actually included some somewhat controversial content designed to challenge perceptions, offended some timid souls. Maybe she’s not a natural political player, a problem in a bureacracy full of fiefdoms jockeying for position.

What is clear is this - now that she’s been dismissed, letters of support are pouring in from an impressive contingent of arts luminaries all over the US and beyond. And once again, Syracuse is being viewed as a Loser City, not just by its residents, but internationally. Way to go!!!!!

David Chu
davidchu.net

Alex Rogalski

Dear Mr. Hoone,

I am writing in response to an alarming notice I received regarding the impending dismissal of the Warehouse Gallery’s Director Astria Suparak.

As I am not clearly aware of the rationale behind this dismissal (as it appears few others are), I am writing this letter as a show of support for Astria and the incredible amount of work she has done in her brief year as the director of the Warehouse Gallery.

Living and working in Toronto as a film programmer, I had the opportunity to visit Syracuse this past March to take part in a film screening that was arranged in large part because of Astria’s relocation to your city. I would likely have not made the trip to Syracuse otherwise, as I was not aware of its attempts to create a contemporary art scene.

While spending a few days in Syracuse, I had the benefit of attending the Warehouse Gallery and the ‘Embracing Winter’ show, which was an expertly curated program involving multiple gifted artists from New York and Canada. Not only was it thoughtfully curated, with regards to the artwork displayed, but also it was immediately clear there was a social purpose involved. Astria has accomplished what rarely happens in the arts - an ability to create meaningful relationships between contemporary art exhibits and civic engagement.

As bluntly as I can state this, Syracuse University’s loss will be someone else’s gain.

I am not concerned for Astria’s future, as someone with her talent, commitment and expertise will surely find numerous places where her skills can be fully employed and rewarded. As for the Warehouse Gallery, it will be a great challenge to fill the position with someone who has the contacts, passion, and creativity that Astria brings to the position. Although the circumstances surrounding this decision are not clear to me, the results of it are already being witnessed (as is already evident by the cancellation of the ‘YES MEN’ show). In addition, your decision will have an economic impact upon Syracuse, as Astria’s programming and outreach have given people from larger centers good reason to visit Syracuse, and perceive it as a place that is progressive and cultural.

I would very much like to return to Syracuse, as my trip there this spring introduced me to a city and art scene that was worthy of notice. At this point, I question my return, as I would be unable to support an organization that disregards what it desperately needs.

Sincerely,

Alex Rogalski, BFA, MA
Toronto, ON
Canada

Lonnie Chu

Dear Chancellor Cantor,

I am writing to express my shock and dismay at the dismissal of Astria Suparak, not as a member of the Syracuse University community, but rather as a resident of the Eastwood neighborhood in the city of Syracuse. While my career is centered on teaching at S.U., my spare-time passion is for my community. I have been a TNT facilitator, I have several community blogs (Walkable Eastwood, the Eastwood Chamber of Commerce, Sunnycrest Park Association), I own a number of rental properties in the city, and I have run an email group for Central New York landlords and investors since 2001. I am vitally interested in the economic wellbeing of this city. And I feel that the dismissal of Astria Suparak is one of the worst blows to this city since the promise of the "urban renewal" of the '60's resulted in destroyed neighborhood communities.

We investors and homeowners believed you when you said there would be a connection from the university to the city. We applauded you when we were able to become involved in the many projects that help this connection to form. We got excited when we saw the art scene develop so quickly in the past year. Even out in the "hinterlands" of Eastwood, we are thrilled to see what's happening downtown, for it affects our neighborhood positively. Astria has made many contacts with area businesses and her work has been a boon to the economic wellbeing of the city. As one landlord/investor has said on the Syracuse-Warehouse blog, there's now an actual pulse in the area!

Astria has been at the heart of much of that pulse. She is not going to be easily replaced, and the work she has started will not continue on its own without her, for something important is at stake: trust between the community and the university. The Connective Corridor and the promise it holds for Syracuse is, first and foremost, a bond of faith in the reliability and responsibility that the university must show the city. If this seemingly irrational and arbitrary decision to dismiss Astria is not reversed, that trust will have been broken. All succeeding efforts will be tainted by this experience. We, the residents of this city, will forever be asking, "Will they pull the rug out from under us this time, too?" It takes an enormous number of volunteer hours, even on the part of community members, to make art happen in a public way. Please, do not betray our faith in the university, for once Syracuse's reputation suffers at a national and even international level (as it is already doing, thanks to this debacle), we will continue to lose the bright, creative people, both young and old, that we so desperately need to keep this city growing in a positive direction. I trust you will understand this and do the right thing.

Sincerely,

Lonnie Chu, MA
Syracuse University, 1998

179 Nichols Ave.
Syracuse, NY 13206
315-395-9---

Post-Standard Article -- Melinda Johnson

Yes Men cancel show at Warehouse


Thursday, September 20, 2007
By Melinda Johnson
Arts editor

One of the major exhibits this year at The Warehouse Gallery has been cancelled because of the termination this month of the gallery's director, Astria Suparak.

The Yes Men - who are variously described as social activist art or performance artists, anti-corporate activists - have cancelled their November exhibit, "Keeping It Slick: Infiltrating Capitalism With the Yes Men."

"The reason we cancelled The Warehouse exhibition is because we'd only agreed to do it because of Astria's discretion, persistence and inventivity," wrote Andy Bichlbaum, one of the principals of The Yes Men, in an e-mail.

In his electronic message, Bichlbaum stated that The Yes Men rarely do art shows because it's "too time-absorbing." The exception is "when they intersect with some other more important activity in a direct way."

The Yes Men express their art and activism during encounters with unsuspecting people. They have impersonated politicians, corporate executives and speakers while delivering their political messages.

Besides The Warehouse Gallery exhibit, The Yes Men were to give a lecture and a feature-length film on their activities was to be screened. All of these programs were to be part of Syracuse University's year-long Syracuse Symposium. This year's theme is justice.

On Wednesday, Jeffrey Hoone, who oversees The Warehouse Gallery as the executive director of the Coalition of Museum and Art Centers at Syracuse University, said The Yes Men had not notified him of cancellation of the exhibit.

But, if that is the case, he said an exhibit of contemporary art would be installed in place of The Yes Men at the gallery, which is part of Syracuse University.

"We'll continue with our commitments that we've made to the community about the gallery and to look forward," he said.

Harrison Willis

"What in tarnation?"

Losing Astria Suparak and, in turn, Brett Kashmere as
well could possibly be the most mind-numbingly
unfounded idea I have heard from the administration of
our collective arts community thusfar. If it weren't
for Astria and her progressive curatorial tactics,
Syracuse would still be trapped in the same tiresome
hegemony of ultra obscura and predictable judging that
many of the most prominent art scenes in the country
and the world still cling to so desperately.
Attracting groups outside of the arts in Syracuse
seems most important to me for the continuation of the
Warehouse Gallery's rising recognition, and Astria
certainly has been a wise promoter for shows unique
from the white wall mold of most galleries. Brett also
has drawn out the best in Syracuse' young artists by
constantly advertising his partner's talent alongside
his own at every opportunity.

We hear a lot about the loss of the precious object in
this age of po-mo aesthetic confusion, mourning the
death of originality in the art pieces themselves. It
seems to me now that the originality in danger; the
precious object we claim is coming under fire, has
become the artists, and art promoters themselves.
People who push boundaries never have it easy right
away, as we all know, but the phasing out of two of
our communities strongest creative minds would
certainly count to me as the loss of two real precious
objects.

-Harrison Willis