Syracuse Loses Again

Artforum

2008-05-04T11:29:00.000-04:00

New Director for Carnegie Mellon's Gallery; New Roving Gallery for Bahrain: MUSEUM NEWS

02.18.08

Astria Suparak, a curator known for her efforts to highlight emerging and international artists, has been named the new director of Carnegie Mellon University's Regina Gouger Miller Gallery, effective March 1. Suparak's cutting-edge exhibitions often employ a variety of media, from painting and photography to craft and electronic arts. Suparak, who succeeds interim director Petra Fallaux, comes to Carnegie Mellon from Syracuse University's Warehouse Gallery, a public, nonprofit art gallery. She has also curated exhibitions independently in Montreal and New York. "Astria Suparak will bring a great deal of energy and vision to her new position as director of the Regina Gouger Miller Gallery," said Hilary Robinson, dean of the College of Fine Arts. Suparak curated the Warehouse Gallery's show, "COME ON: Desire Under the Female Gaze," in late 2007. She described the exhibition as "unabashed explorations and unapologetic articulations of female libido" and an attempt to break down the notion of dichotomous gender.

Source:
http://artforum.com/archive/id=19510&search=%22astria%22

Daily Orange

2008-03-01T19:16:00.002-05:00

Former Warehouse director offered position at Carnegie Mellon

Megan Saucke

Issue date: 2/20/08 Section: News

After her controversial dismissal from Syracuse University, former Warehouse Gallery director Astria Suparak is set to take a new position.

Suparak will become director of the Regina Gouger Miller Gallery at Carnegie Mellon University on March 1.

"I wasn't that actively looking for employment because opportunities were coming to me," Suparak said. She received job offers in the Northeast, on the West Coast and in Canada from universities, festivals and arts organizations.

Suparak's unexpected firing sparked an outcry from those in local and international art communities. Jeffrey Hoone, executive director of the Coalition of Museums and Art Centers, took full responsibility for the firing. Both he and Chancellor Nancy Cantor declined to give reason for the decision, citing "confidential personnel issues."

Tom Sherman, a professor of video and media theory, said Suparak's firing came down to different visions.

"I think [the administration] had a different vision of what art would be here, and that didn't include this dynamic relationship with the community," Sherman said.

In November, it seemed Suparak would retain employment by SU as curator-in-residence at the College of Visual Performing Arts. But SU ended negotiations after Suparak talked to The Daily Orange about the possible new position.

Suparak's absence is still felt by many at SU. A new Warehouse Gallery director has yet to be hired.

"This is a very difficult setback for us, not only in terms of our image as a community and as a university that we let somebody that was doing a great job go," Sherman said. "It really lessens our capability to compete with good schools like CMU.

Suparak has a strong vision and knows how to engage a community in contemporary art, he said.

"Our loss is their gain," he said.

Yvonne Buchanan, an assistant professor of illustration in VPA, said Supark bridged different areas in the school and the community.

"She's a very creative, dynamic person, and I feel very badly that SU lost her," Buchanan, a VPA professor, said. "But I'm really happy about the fact that she found a place that really appreciates what she can bring to an academic and creative community."

Since her dismissal, Suparak has been busy working on upcoming exhibitions that include her own artwork. She is also writing for publications and serving on panels for art funding.

Once Suparak starts as director of the gallery at CMU, she will be responsible for leading the gallery, directing exhibitions and working with departments in the university. She plans to collaborate with different departments within the university, across the city and with international organizations.

"They really have the ability to interface what they're teaching with what they're showing in the gallery," Sherman said. "Astria was beginning to put that in place at the Warehouse Gallery, but when she was dismissed we really lost that link between what we were doing in our curriculum and was being shown."

"She was extremely thoughtful, she was very thorough, she had a lot of energy and we liked the ideas that she had for exhibitions," said Hilary Robinson, the dean of CMU's College of Fine Arts. "She seems to have a huge body of support from curators and artists out there, and I'm looking forward to working with her in the coming years."

The city of Pittsburgh also drew Suparak to CMU. She said it is "diverse on multiple levels" and has a "thriving underground art scene."

Pittsburgh was recently named "Best Arts Destination in the Country" among midsized cities by American Style Magazine. It is the home of the Warhol Museum, the Mattress Factory and the Carnegie Museum of Art, all contemporary visual arts venues.

"It's a wonderful place for artists to live," Robinson said.

And Suparak is thrilled about her new position. "There is such a strong history and reputation at CMU for encouraging experimentation and fostering innovation," she said. "I think the gallery is really well-positioned to assume a leadership role amongst universities."

Carnegie Mellon University Press Release

2008-02-16T10:55:00.008-05:00

Astria Suparak Named New Director of Regina Gouger Miller Gallery at Carnegie Mellon

PITTSBURGH — Astria Suparak, a curator known for her efforts to highlight emerging and international artists, has been named the new director of Carnegie Mellon University's Regina Gouger Miller Gallery, effective March 1. Suparak's cutting-edge exhibitions often employ a variety of media, from painting and photography, to craft and electronic arts.

Suparak, who succeeds interim director Petra Fallaux, comes to Carnegie Mellon from Syracuse University's Warehouse Gallery, a public, non-profit art gallery. She has also curated exhibits independently in Montreal and New York.

"Astria Suparak will bring a great deal of energy and vision to her new position as director of the Regina Gouger Miller Gallery," said Hilary Robinson, dean of the College of Fine Arts. "While wanting to reach out nationally and internationally, she also has a keen sense of what the role of the gallery can be here in Pittsburgh. I look forward to working with her in the years to come."

Suparak curated the Warehouse Gallery's incisive "COME ON: Desire Under the Female Gaze" in late 2007. She described the exhibition as "unabashed explorations and unapologetic articulations of female libido" and an attempt to break down the notion of dichotomous gender. Thousands of people visited this exhibition, which received international press attention.

"I look forward to leading the Miller Gallery into its next phase, as a vital component of Pittsburgh's flourishing cultural life," Suparak said. "Future programming will highlight critical and inspirational contemporary artists through provocative and illuminating exhibitions, projects, events and publications. I envision dynamic collaborations with other local, national and international organizations, bridging diverse communities across the campus, the city and the art world at large."

Suparak has curated national exhibitions, screenings and events at the Yale University School of Architecture, the Yerba Buena Center for the Arts, The Kitchen, the National Museum of Women in the Arts, the FotoFest Biennial, Eyebeam, the Anthology Film Archives and P.S.1. She has also worked in England, Mexico, the Netherlands, Germany, Canada, Italy, Ireland, Belgium and France. From 1997 to 2000, she was director of the media series at Pratt Institute, and she is currently serving on the advisory panel for the Aurora Picture Show in Houston and the Public Art Commission for the city of Syracuse.

As an artist, Suparak's work has been published in the feminist journal "LTTR," the British art magazine "Black Diamond" and the book "Graffiti Women: Street Art from Five Continents." She has written for NY Arts, Heeb, The Independent Film and Video Monthly and has an essay in the forthcoming volume of "Live Cinema: A Contemporary Reader."

Suparak received a bachelor's degree in studio art and art history from Pratt Institute in 2000, and later pursued museum studies at Syracuse University.

Named for avid art collector, principal donor and Carnegie Mellon alumna Regina Gouger Miller, the Miller Gallery has sought to support the creation, growth and understanding of contemporary art since January 2000. Located in the Purnell Center for the Arts on Carnegie Mellon's campus, the three-story, 9,000 square-foot space functions not just as a showcase for art, but also for experimentation, examination, discovery and discussion. The gallery is free and open to the public. For more information visit http://millergallery.cfa.cmu.edu.

Curating.Info

2008-01-05T11:55:00.000-05:00

Censorship & Dismissal

Friday, January 4, 2008

Astria Suparak, a US-based curator, noted in a recent public letter that her role as a "citizen and as a curator is to enrich the communities in which I live and work, through engaging, exciting, and relevant creative work." I agree with this sentiment wholeheartedly, and I'd also add that taking these actions involves an intimate knowledge of the context that one occupies and a willingness to take calculated risks. It should also be further noted that very often, curators do not work independently, and therefore institutions that employ curators are bound to support these creative risks if they truly desire to engage in a dynamic discourse around contemporary art.

Suparak was the Director of the Warehouse Gallery at Syracuse University, until she was dismissed from her post on September 30, 2007. Her supervisor, Jeffrey Hoone, Executive Director of the Coalition of Museum and Art Centers (CMAC), said the reason for her dismissal was that the gallery was being "restructured".

According to the New York Times:

Carole Brzozowski, the dean of the College of Visual and Performing Arts at Syracuse University, said the content of gallery shows organized by Ms. Suparak had nothing to do with her dismissal. But people in the arts at Syracuse, including university art teachers, asserted that the ouster was related to risk-taking or innovative exhibitions she organized since becoming the director last year.

Ms. Suparak said of Mr. Hoone: “My aesthetic is very different from his. I’m interested in street art, riot grrl and D.I.Y. aesthetics.” A sign at the entrance to the gallery’s current show, “Come On: Desire Under the Female Gaze,” reads, “This exhibition contains work generally intended for mature audiences.” Ms. Suparak said it was posted at Mr. Hoone’s behest.

The case of Ms. Suparak's dismissal posits very serious questions vis à vis some basic aspirations and assumptions about creative curatorial practice. As an example, in a recent interview with curator Sarah Cook, the interviewer asks (and I'm paraphrasing quite a bit) about what conditions would be considered nurturing for a curator. (The interviewer, Régine Debatty, asks specifically: "What are the conditions required to achieve "upstart media bliss"?") Ms. Cook responds: "Challenging the system – be it the art system, the museum, or the format of the exhibition – and not being afraid to take a risk (generally being an upstart). At the same time, remembering to take care of the artist and the work, take care of other people and your ethics. Creating situations for contemplation and reflection (bliss doesn't have to be monumental, it might only last a minute, but a minute worth remembering)."

I think that this quotation from Ms. Cook says it best - what better way to achieve bliss than to challenge the system, take risks, and yet simultaneously remain steadfast to your standards. In an institution where the curator has to answer to management, it is imperative that management support the sort of calculated, intelligent risks a professional curator would make. If Ms. Suparak's case is as it seems based on the available evidence, it appears that there was a failure in this relationship - this commitment to producing catalytic moments and entry points for dialogue in contemporary art, by making moves that are not always "safe". These failures are worrying, as they don't bode well for the continued enrichment of cultural experience - which means everyone, not just the curators involved, loses out.

Posted by: Michelle Kasprzak

Syracuse Post-Standard: Blog

2007-12-23T21:03:00.000-05:00

Original post here:
http://blog.syracuse.com/kirst/2007/12/winter_we_oughta.html

Hey Sean,

All this ranting about winter, these columns, comments and blogs, sounds like we're "Embracing Winter"...hey wait, wasn't that a show mounted at the Warehouse Gallery by Astria Suparak in the winter of 2007? A show with an entire wall dedicated to snowfall amounts...much like your proposed "high profile downtown chart that keeps track of snowfall inches"? Suparak also mounted shovels (to borrow) and pillars of salt, and played the soothing (and hopeful?) sounds of ice melting. Perhaps it was no accident that Suparak, a Californian, had moved to Syracuse from Montreal.

I have lived in the cities mentioned by Environment Canada's weather stats guru (including St. John's Nfld) but I have never seen snow like Syracuse. This is the only place where it pours snow and is the only place I know that gives a snowfall rate. I moved here just in time for the Blizzard of '93...I think snow fell at around 7 inches/hr!

Whatever the Canadian weather guy says, Syracuse has those Canadian cities beat by miles. And by feet, inches, centimeters and any other measure.

I definitely agree that in Syracuse we should celebrate our superlatives. But I also think we should start thinking "neighborhood" instead of always thinking about big events and revitalizing "downtown". Every neighborhood has snow and cold. Syracuse also has wonderful hills, and almost every neighborhood has a hill or hills. Many people have told me they used to ski near Drumlins and on South Campus. (Did you know that there is a bobsled run behind Ed Smith, built I think, in the 1930's and abandoned following an accident?)

Almost every Canadian city I lived in had outdoor neighborhood rinks, some small and rough, most with lights, often flooded by firemen and shovelled by city workers (or parents). Almost every neighborhood also had an area, a park or other area, with some kind of hill for sledding.

Hills, snow, cold, ice, neighborhood parks...the ingredients necessary for embracing and celebrating winter and we have these ingredients in abundance in Syracuse. It's all here. Maybe we just have to rediscover it.

This is a great topic for discussion! Thank you.

Jan Pottie

Chicana Feliz

2007-12-21T15:32:00.000-05:00

[ Reposted from here ]

Curator of the Year: Astria Suparak

Astria Suparak, taken in Troy, New York May 2007. Astria was a visiting Art Critter for the MFA Class of 2007 at RPI’s prestigious Art Department. I had dinner right across from her and I took this blurry bad angled snapshot of Astria because I was such a fan of hers. She shared with me that she was a Curator just down the road in Syracuse. I was sadly sharing with her that I had just left my beloved Troy, NY art community to live in Washington D.C. She suggested I speak to her friend at the National Museum of Women in the Arts. This September 2007, this conversation led to my work being shown at NMWA. I have since become a member of NMWA and I shared the same space as Maria Martinez does now, and Frida Kahlo did then and the WACK! Art and the Feminist Revolution Exhibit does now.

Well kids & cats, I have some really weird and sad news.

All I’ve heard about Syracuse University is that their art world suddenly exploded into the 22nd Century by hiring my really amazing curator friend Astria Suparak.

If it wasn’t for Astria I would have never had the opportunity to show my work at the National Women in the Arts Museum.

I definitely consider this post a feminist and artist as activist post.

Please keep reading why.

Basically, I was at the closing party of the National Women in the Arts museum here in Washington D.C. when I heard of an injustice! Astria was fired. Apparently the University didn’t want its Freshmen to see real contemporary art that was feminist, progressive and critical to capitalism and social issues pertinent to today’s real world experiences.

I was advised by a friend that my dear sweet, loving, kind, SUPER PROFESSIONAL favorite YOUNG but geniously talented Astria Suparak was “let go” only after a few months at the Warehouse Gallery of Contemporary Arts Museum at Syracuse University

Bloggers, please REBLOG anything you can if you want to help Astria get her job back @ The Warehouse Gallery!

The Warehouse Gallery
350 West Fayette Street
Syracuse, New York 13202
www.thewarehousegallery.org

don’t read my horrible writing on this issue, I’m pissed, I’m not about to start working on my grammar. As anyone who read this blog knows that when I’m pissed off, i refuse to capitalize words or try to make any perfect sense.

The facists at SU don’t deserve to be written about in good grammar.

in any case, read Journalist SAYEJ’s New York Times article on the now highly controversial issue.

source: http://www.nytimes.com/2007/09/21/arts/21arts.html

Gallery Director’s Dismissal Ignites Syracuse Protest

The ouster of the founding director of an art gallery overseen by Syracuse University has drawn protest from academics and art professionals there. The director, Astria Suparak, below, of the Warehouse Gallery, said that Jeffrey Hoone, who oversees the university’s art centers, had told her on Sept. 7 that she would be dismissed effective Sept. 30. She said he did not give a reason beyond saying that the gallery was being restructured. (In a telephone interview, Mr. Hoone said he could not discuss Ms. Suparak but that he was revamping the gallery’s leadership.) Carole Brzozowski, the dean of the College of Visual and Performing Arts at Syracuse University, said the content of gallery shows organized by Ms. Suparak had nothing to do with her dismissal. But people in the arts at Syracuse, including university art teachers, asserted that the ouster was related to risk-taking or innovative exhibitions she organized since becoming the director last year. (Many have posted protests of her dismissal at syracuse-warehouse.blogspot.com.)

Ms. Suparak said of Mr. Hoone: “My aesthetic is very different from his. I’m interested in street art, riot grrl and D.I.Y. aesthetics.” A sign at the entrance to the gallery’s current show, “Come On: Desire Under the Female Gaze,” reads, “This exhibition contains work generally intended for mature audiences.” Ms. Suparak said it was posted at Mr. Hoone’s behest. NADJA SAYEJ

Astria Suparak

2007-12-06T23:47:00.002-05:00

6 December 2007

Dear All,

To everyone who has expressed support for my curatorial and community work, I offer my heartfelt gratitude. During the past three months I've received an abundance of emails and phone calls, which I deeply appreciate, from artists, organizers, business owners, and educators who I have worked with over the last decade and across many cities. It's an honor to receive such strong advocacy and encouragement from fellow curators and institutions that I admire, and I'm delighted that my exhibitions, events, and screenings have been memorable for so many. I never expected this wellspring of support.

I recognize that my situation has touched upon critical issues of creative and academic freedom, institutional transparency, effective civic engagement, and the support for emerging visions and artists. Below you'll find an update on the situation. Through this ordeal, I've thankfully gotten to know the brave residents of Syracuse who are committed to open discourse and social justice. Your collective passion, acuity, and clear articulation are phenomenal. You have given me hope and inspiration during an incredibly difficult time.

In addition to the over one hundred letters that have been posted at www.syracuse-warehouse.blogspot.com, I would like to acknowledge the thousands of others who have privately endorsed my reinstatement at The Warehouse Gallery and/or my hire in the College of Visual and Performing Arts at Syracuse University, and who have voiced disappointment over my dismissal. I appreciate the rallies and receptions organized on my behalf, as well as my appointment to the first Public Art Commission of the City of Syracuse, based on my involvement with Tomorrow's Neighborhoods Today, Th3 Citywide Art Night, Syracuse Experimental Film & Media Workshop, and the 40 Below Public Arts Task Force.

My chief goal as a citizen and as a curator is to enrich the communities in which I live and work, through engaging, exciting, and relevant creative work. I believe that the thousands of Warehouse Gallery visitors, the consistently positive exhibition reviews and attendant press, the invitations to tour exhibitions, and the ample enthusiastic viewer comments demonstrate my ability to fulfill that goal.

I'm unsure what the future holds for me, but I look forward to bringing new exhibitions and events to other spaces and locations, both here and elsewhere. Thanks to initiatives like the Syracuse Public Art Commission, Th3, Lipe Art Park, the Public Arts Task Force, and the Gear Factory; emergent small businesses like Roji Tea Lounge, Sugar Pearl, Second Story Books, and Funk'n Waffles; and collaborative, interdisciplinary arts organizations like Spark Contemporary Art Space, the Community Folk Art Center, Delavan Center, and The Redhouse, Syracuse is beginning to fulfill its promise as a rising cultural center. Regardless of whether the Connective Corridor delivers on its rhetoric about building bridges between University Hill and downtown, I am optimistic that the inspirited residents and students of Syracuse will take up the cause to make this city a better place to live – actually, they're already doing it!

Very truly yours,

Astria Suparak

- My work at the gallery and information on all of the artists that I exhibited were removed from the official Warehouse Gallery website, so I have archived them at www.astriasuparak.com/thewarehousegallery

------------------------------------------------------------------------------------

My situation with Syracuse University has been convoluted and confusing over the past few months. Contradictory reasons were given by Chancellor Nancy Cantor, Vice Chancellor Eric Spina, Dean Carole Brzozowski, Associate Dean Ann Clarke, and Jeffrey Hoone for my dismissal from The Warehouse Gallery as well as the withdrawal of an offer of a new position in the College of Visual and Performing Arts. Here I've attempted to address the questions that people frequently ask.

KEY POINTS:

• My personnel file contains no reason for layoff, no performance review, no complaints, and no warning.
• Syracuse University offered and then withdrew, within the same day, a consulting agreement for my Curator-in-Residence services in VPA (which would have been funded by the Chancellor's Initiatives).
• During my employment at SU, I had only one meeting with a Human Resources representative and Hoone, which seemed to indicate, along with the assignment of a new direct supervisor, a commitment to my work at the gallery for the next programming year.
• Hoone gave me 7 weeks to program one year's worth of exhibitions. When he laid me off, he effectively cancelled two years of programming plans.
• Hoone backtracked on his decision to cancel my Yes Men exhibition and attempted to continue the show without my involvement. The Yes Men, whose work focuses on corporate malpractice and social injustice, refused Hoone's turncoat overture to exhibit without me.
• Hoone stated that my programming was a reason for my dismissal (after weeks of claiming I was laid off for "organizational restructuring," and then for "confidential personnel issue"), although it is this same programming that was a major factor in my hire.
• Hoone asked for changes to nearly every exhibition I organized. For example, I was asked twice by Hoone to remove the word "feminist" from an exhibition title.

REGARDING CENSORSHIP (Suparak)

2007-12-06T23:47:00.001-05:00

REGARDING CENSORSHIP:

Censorship is an issue many observers have instinctively seized upon, primarily due to the subject matter of some of my exhibitions and the timing and way in which I was dismissed. Mr. Jeffrey Hoone, Executive Director of the umbrella organization that oversees The Warehouse Gallery, asked for changes to nearly every exhibition, including exhibition premises, titles, presentation, and publicity materials. I prefer if people draw their own conclusions about whether there was censorship, based on some of the evidence that has already been made public.

REGARDING THE EXHIBITIONS AT THE WAREHOUSE GALLERY (Suparak)

2007-12-06T23:46:00.001-05:00

During the hiring process for the position of Director of Arts Programming in May 2006, I submitted several pages of curated, group exhibition proposals that detailed the ideas, issues, and artists that I wished to work with. These exhibition proposals, along with my curatorial history, resume, and website, were reviewed and discussed during the hiring process. The overall response from the hiring committee to my exhibition proposals was that they were integral to the eight-person committee's unanimous decision to hire me. All of the exhibitions I curated for the gallery were drawn from this original list. I clearly expressed the direction I wanted to take this new organization, which I named The Warehouse Gallery, and the exhibitions that I would organize there. I fulfilled what I set out to do. Mr. Hoone recently stated to a journalist that my programming was a reason for my dismissal (this after weeks of claiming I was laid off for "organizational restructuring", and then for "confidential personnel issue"), although it is this same programming that was a major factor in my hiring.

After I included artist duo and Syracuse University Transmedia faculty members Duke and Battersby in the Faux Naturel group exhibition (which was reviewed in a major international art magazine and toured to a Canadian university), Mr. Hoone mandated that The Warehouse Gallery would no longer include Syracuse University faculty or student work.

Mr. Hoone also stated a desire for solo exhibitions. I explained that I wanted to spend the inaugural year developing and refining the new organization's operation and exhibition procedures, hiring staff, and building the gallery's reputation before approaching accomplished and emerging artists for solo shows. Also, many established artists are booked years in advance. Over the course of my first year, I began correspondence with several prominent artists about solo exhibitions. On July 1, 2007, six out of eight exhibitions that I proposed for the next two years were solo shows, featuring Paul Chan, Natalie Jeremijenko, Nina Katchadourian, Walid Raad and the Yes Men, among others. These exhibitions would have fulfilled the gallery's mission by "illuminating the critical issues of our life and times," including social justice, corporate inhumanity, cultural identity, environmental contamination, militarization, and systems of language and organization. Mr. Hoone expressed personal disinterest in many of the artists I proposed, and described these proposals as "too dense" and too similar, implying they were overly complex and academic. This response contradicted his earlier criticism that the previous exhibitions were "more style than substance." According to visitor testimonials and press reviews, most would disagree with his opinion.

When asked for a written statement clarifying the reasons for my layoff and the cancellation of the first-ever solo exhibition by internationally-acclaimed, anti-corporate artists the Yes Men, Mr. Hoone responded by saying he "determined that there was not enough continuity to effectively proceed with the Yes Men exhibition at this time." Within hours, Mr. Hoone asked for all of my correspondence and exhibition plans with the Yes Men. That is, in the face of mounting faculty pressure in support of my curatorial practice and the Yes Men exhibition, Mr. Hoone backtracked on his decision to cancel my Yes Men exhibition and attempted to continue the show without my involvement. The Yes Men, whose work focuses on social injustice and corporate malpractice, refused Hoone's turncoat overture to exhibit without my participation. They stated that they didn't trust Mr. Hoone or his organization. Furthermore, Mr. Hoone mislead people about the exhibition's cancellation, by blaming me, and then the artists, for what was his initial decision.

When Mr. Hoone laid me off, I had to personally contact all of the artists with whom I had been making exhibition plans for the next two years to tell them that the shows were cancelled, which was extremely distressing. This not only compromised my integrity as a curator, but also the integrity and reputations of the gallery, CMAC, and Syracuse University.

REGARDING THE HUMAN RESOURCES PROCESS AT SYRACUSE UNIVERSITY (Suparak)

2007-12-06T23:44:00.000-05:00

I was never given a formal, first, or final warning indicating that my job at The Warehouse Gallery was in jeopardy.

In March 2007, Mr. Hoone asked me to resign, weeks prior to the University-wide performance review process. Within days of this request, Mr. Hoone left on an unexplained, (in his words) "sudden" Leave of Absence, with instructions that he was not to be contacted. Ms. Patricia Tassini, Assistant Director of Employment Practices and Equal Employment Opportunities at the Human Resources Department of Syracuse University, expressed surprise over Mr. Hoone's request for my resignation, as there was nothing in my personnel file indicating a problem. She implied to me that the proper H.R. procedure had not been followed. Ms. Tassini advised me via phone to continue working as if the conversation with Mr. Hoone never occurred. Shortly thereafter, Mr. Tom Walsh, Senior Vice President for Institutional Advancement in the Chancellor's Cabinet, contacted me via phone to ensure that I would continue working on the next exhibition I programmed at the gallery, which he understood to be important for the University. This exhibition was Networked Nature, organized by Rhizome at the New Museum of Contemporary Art in New York City.

Following this unexpected turn of events, I contacted the members of my hiring committee. One by one, each expressed shock over Mr. Hoone's decision to dismiss me. They all felt my work at the gallery was successful and in lockstep with what I proposed during the hiring process. It appears that Mr. Hoone did not discuss my performance or his decision with Mr. Frank Olive, my Assistant Director, a person I hired and worked closely with, or the eight members of the hiring committee that moved me from Montreal to Syracuse for the inaugural position of Director.

After Mr. Hoone returned from a month-long Leave of Absence in April, I had one meeting with him and Ms. Tassini from Human Resources, during which his request for my resignation was never acknowledged, discussed, or explained. Based on conversations with Ms. Tassini, I was under the impression that at this meeting we would discuss my performance in accordance to Human Resource's review process and a set of goals would be created together. I was led to believe that Mr. Hoone's request for resignation was off the record and without due process. One of the goals given to me by Mr. Hoone was to program the next year of exhibitions, with budgets, within seven weeks. Two weeks after this meeting, I was assigned a new direct supervisor: Mr. Domenic Iacono, Director of SUArt Galleries. In light of my meeting with Mr. Hoone and Ms. Tassini, the list of goals for the 2007-2008 programming year, and the assignment of a new supervisor, I felt secure in my position for the upcoming exhibition year.

Since I was never given a performance review (although I turned in the documents to begin the process), I was left to assess my own performance according to the success of my work's public reception; invitations for the exhibitions to tour internationally; increased attendance for each exhibition (reaching over 4,000 for Come On); and the growing press attention, including consistently positive reviews in the local media and in international contemporary art publications. Attributing to my confidence that I was on the right performance track were the requests that I received to serve on juries for a state arts council and a local art competition; as a recommender for two major national arts grants; as a panelist for final MFA reviews at a highly-respected institution; as an advisory board member for a National Museum's film festival; and as a thesis committee member for a MFA student at Syracuse University; as well as the growing partnerships I had built with various departments at Syracuse University and community businesses and organizations.

With less than a day's notice, Mr. Hoone scheduled a meeting with me for September 7, 2007. At this impromptu meeting, Mr. Hoone stated that he was laying me off. He did not give a clear reason for this, nor was my direct supervisor present. Mr. Hoone expressed concern about the gallery's direction. When I asked what direction he wanted for the gallery, he answered: the same direction it was always going in. This answer was confusing to me. Then I asked what was going to happen with the next exhibition with the Yes Men, scheduled to open two months later. Mr. Hoone told me this exhibition wasn't going to happen. I was responsible for notifying the artists and the many professors in various departments who invested financially and pedagogically in this exhibition, included it in their curricula, and scheduled class visits.

In October I visited the Office of Human Resources at Syracuse University to review my personnel file. The file contained only six documents: four were standard new employee documents (regarding health benefits, etc.), one was a letter from Human Resources confirming my layoff, dated September 25, 2007, and one was an undated and unsigned list of goals for 2007-2008. At that time, Ms. Curlene Autrey, Director of Diversity and Resolution Processes at Human Resources, informed me that if an employee is let go because of a performance or personnel issue, the employee should first receive a performance review indicating the problem, or a letter clearly stating that if s/he fails to meet a set of criteria the result would be termination. I never received any such documents. My personnel file indicated no reason for my layoff, and contained no performance review, no complaints, and no warning. This indicates a lack of performance and personnel-related issues, and an avoidance of proper Human Resources procedures, highly contrasting the explanation widely distributed by S.U. administration including Chancellor Nancy Cantor, that my dismissal was based on "confidential personnel issues."

REGARDING THE COLLEGE OF VISUAL AND PERFORMING ARTS (Suparak)

2007-12-06T20:26:00.000-05:00

In late September 2007, Ms. Ann Clarke, Associate Dean of the College of Visual and Performing Arts at Syracuse University, informed me that she was working to create a position for me in VPA at the request of its faculty. This position, created specifically for me with my input, was to be funded by the Chancellor's Initiatives and administered by VPA. Ms. Clarke wrote, "The faculty call for your being brought into VPA , is in significant part due to wanting an even more engaged forum of connection between your work and curriculum." I understood this outreach on the part of VPA as an opportunity to build on the positive relationships I forged with various faculty members, many of whom brought classes to my exhibitions and events, and sponsored lectures, class visits, and critiques by the artists involved in my exhibitions. The VPA professors staged a unanimous boycott of the annual faculty exhibition to protest my dismissal and the Coalition of Museum and Art Centers' lack of dialogue with its constituents.

At VPA's request, I proposed a Curator-in-Residence position informed by research into other residency models and with the advice and input of diverse city residents and professors. After submitting my proposal for this position to Ms. Clarke, there was little follow-up or discussion about how my proposal related to the needs of VPA as perceived by its leadership, or how my proposal was being considered or modified by the administration of VPA.

In the only meeting I had with Ms. Clarke and Ms. Eleanor Ware, Senior Vice President for Human Services and Government Relations, which I was told to arrive alone to, Ms. Ware began with accusatory innuendo about my dismissal and personnel file. She did not allow for questions or a discussion to clarify these issues, because she said she wanted to focus on the future and not the past. Ms. Ware and Ms. Clarke seemed to want to confirm my interest in a position in VPA , but said the terminology used in my Curator-in-Residence proposal, such as "proposal," "position," and "program," could not be used in the new "mutually acceptable arrangement going forward." I was asked to arrive at a second meeting with Ms. Ware and Ms. Clarke to review a draft legal agreement to settle my last position at The Warehouse Gallery and to outline the new contracting services with VPA. I expressed discomfort about attending another meeting alone, to which Ms. Ware replied that the university's lawyer would be present at the next meeting. Thus, I was required to hire an attorney in order to continue negotiations with Syracuse University.

On October 29, I met with Ms. Clarke and Ms. Carole Brzozowski, Dean of the College of Visual and Performing Arts, along with two professors, Ms. Joanna Spitzner, School of Art and Design, and Mr. Tom Sherman, Department of Transmedia. In this meeting, Ms. Brzozowski and Ms. Clarke were explicitly reassured by Ms. Spitzner and Mr. Sherman that the position I proposed had the support of VPA faculty. Everyone present seemed to agree that I would positively contribute to the College.

Syracuse University's lawyer provided my attorney with the contracting agreement on November 2, 2007. Less than a day later, Syracuse University withdrew the offer. The reason for this turnabout, provided by Ms. Clarke, was that I spoke to the student paper, The Daily Orange, a day prior. Yet within the same article, titled "Suparak may return as VPA curator, liaison for arts," Vice Chancellor Eric Spina was also quoted. In this article I was quoted about the possibility of working with VPA in positive and general terms: "I feel like we've broken through a bit in finding out more information. I'm really glad that they're receptive to it and that they're looking at it." University administration, including Ms. Clarke, never told me that speaking to the press would compromise this new position.

Ms. Clarke later stated that VPA leadership was focused on creating a position to meet the specific needs of VPA. However, in previous discussions between VPA faculty and administration, it was the faculty and student support of my curatorial work and their desire to retain me in Syracuse that led to the possibility of the Curator-in-Residence position. In yet another strange twist, Ms. Clarke and Ms. Brzozowski announced on November 12 their intent to pursue the Curator-in-Residence position (without me), because the faculty had clearly shown support for it. This occurred after they officially withdrew the proposal we had been working on together. When asked during this meeting why negotiations with Ms. Suparak had ended, Ms. Clarke stated that VPA administration couldn't get past the "nuts and bolts" issues (such as office space), and since "there seemed to be no progress," they decided to "cut their loses" and withdraw the offer. Contrary to what Ms. Clarke told me privately and the media publicly, she did not invoke the Daily Orange article as a reason for cutting off negotiations in this meeting. What Ms. Clarke and Ms. Brzozowski failed to acknowledge was that the Curator-in-Residence position is something I created, drafted, and proposed, in dialogue with university faculty and members of the Syracuse community, in response to VPA's vocal support of my work and their request that I remain at Syracuse University.

Post-Standard -- Katherine Rushworth

2007-11-25T01:27:00.000-05:00

Up Close and Personal

Sunday, November 25, 2007

KATHERINE RUSHWORTH

CONTRIBUTING WRITER

I know I'm not alone in wondering what direction The Warehouse Gallery will take in a post-Astria Suparak era. Suparak, the gallery's recently terminated director, had built a solid reputation for mounting smart, edgy-to-the-point-of-controversial group exhibitions. She featured national and international contemporary artists who engaged a wide variety of media. Under her leadership, The Warehouse Gallery was providing the Syracuse visual arts community with a quality and range of shows that no other venue in the area was offering - a breath of fresh air.

So, when I heard The Yes Men - a widely acclaimed, sometimes maligned, band of cultural interventionists - had pulled out of their scheduled "show" at The Warehouse Gallery, I was wondering what would, or could, take their place. The answer is - drum roll, please - a photography show.

This was most likely a quick fill to solve the gap created by the cancellation of The Yes Men, so I think it's only fair to the gallery's interim curator, Jeffrey Hoone, that we wait to see what kinds of shows will be charting the future for this important visual arts venue. Hoone, at the eye of the storm surrounding Suparak's termination, deserves a chance to show us the direction he will take the gallery. He knows he's under a microscope and that community expectations are high.

[ Read more here ]

MENKILLER BLOG

2007-11-23T11:36:00.000-05:00

[ Reposted from here ]

Wednesday, October 24, 2007

Apparently my old friend Astria Suparak is caught in the middle of some sort of academic ego battle at the Syracuse art space that she founded a little while back. I don't really know the whole story, but I guess she's been forced out and has had to cancel some shows, which I can attest is a really lame position to be in.

Astria has been super helpful to me over the years, hooking me up with artists Seth Price and Miranda July for different articles and generally schooling me on art film. I was lucky enough to screen one of Astria's short films in a program at Anthology Film Archives years ago, and I can testify that she's a true believer in the DIY community aesthetic. It's been ages since I saw her - upstate is pretty far away sometimes - but I sincerely hope this gets sorted out and she can get back to doing what she does best... This whole situation seems pretty weird and unnecessary.

Check the links:

www.keepastria.com
www.astriasuparak.com

Fanzine: "Desire in Syracuse: the 'Come On' Controversy"

2007-11-16T11:38:00.000-05:00

Desire in Syracuse: the 'Come On' Controversy
Yvonne Olivas
11.07.07

Desire in Syracuse

I
It was the flyer for "Come On: Desire Under the Female Gaze" that initially caught my attention with its cropped image of I'll Be Your Mirror by Juliet Jacobson and matching seductive title in its glam-metal, fleshy-pink font. In Jacobson's drawing, one half of the graphite image mirrors the other—making it appear that a nude boy with eyes closed reclines and melds into the body of his perfect twin. A giant heart-shape hangs like a moon above the languid pair while skulls and peacock feathers make do as a bed beneath. The name of the exhibition is printed below the image and alludes to Jo-Anne Balcaen's Aw, C'mon while the '80s-rock font suggests Rachel Rampleman's Poison: My Sister Fucked Bret video. My interest piqued, I tracked down the show's curator, Astria Suparak, and the show's three artists for interviews.

The exhibition opened late-August in Syracuse, New York at the Warehouse Gallery. Affiliated with Syracuse University as one of a consortium of school galleries (Coalition of Museums and Art Centers—CMAC), the space maintains relative independence with its off-campus, downtown location. This location allowed The Warehouse to better fulfill its purported aim to act as a bridge between the university and the population of Syracuse while presenting international contemporary engaged art, but more specifically by stimulating dialog about art's role in society and expanding notions of art with exposure to current art practice.

Of course, "Come On" did just that with three young women artists taking on desire and sexuality and brought together by a curator who openly describes herself as a "young, queer woman of color." And whether at first by choice and later by dint of circumstance, the ongoing theme of the exhibition was the personal laid bare and exposed. Alternately sexy and uncomfortable the show was always HOT. And not just because of the artwork. Browsing online I found that the exhibition had already been extensively covered by the press; curiously, the curator was fired just after the show opened. It was not too long until speculations about censorship over the content of the exhibition were circulating online. Hot indeed! And presumably no accident either.

An eight-person hiring committee at the university had actively pursued Ms. Suparak for the position of inaugural director of their new contemporary art gallery which she would eventually name The Warehouse. They believed that she possessed the ability to make it a vital space for art. This committee was wowed by her active connection to the contemporary art world. As an independent curator, she had already organized shows for P.S. 1, Museo Tamayo Arte Contemporaneo, Yerba Buena Center for the Arts, Participant Inc., Yale University, Eyebeam, New York Underground Film Festival, Anthology Film Archives, apexart, etc. According to Suparak, the committee unanimously voted to hire her—and this after she had presented them with many, many fully formed exhibition proposals with titles and lists of artists. Suparak said, "all the exhibitions I organize[d] for the gallery were drawn from that set of ideas." In other words, it appears that the administration knew exactly what they were getting when they hired Suparak—a very active and independent curator. Ostensibly that is what they wanted. Successful, that is precisely what they got; just not as they must have anticipated. It seems that Suparak's vision mightily exceeded that of her superiors' stunted imaginations, and yet not that of The Warehouse's larger audience—"Come On" alone received 4,000 visitors—impressive, especially in a small city like Syracuse.

II
For anyone familiar with contemporary art, or even the history of art, the frank sexual content of some of the work in "Come On" would not prove surprising or shocking. Context is another matter as it often compels the judgement of the measure of transgression. Single works of art are routinely removed from exhibitions for their particular content. During our interview, both Rachel Rampleman and Juliet Jacobson mentioned the very recent censoring of a Nan Goldin photograph in Gateshead, England at the Baltic Centre for Contemporary Art. The snapshot titled Klare and Edda Belly-Dancing shows two young girls playing—one dances above the other who is nude on the floor with legs open. It is part of a 149-piece photo series called Thanksgiving and owned by Elton John. It was seized by authorities who deemed it pornographic. Those who would have this one photograph removed probably imagine that it does not detract from the work of art. Disagreeing with this limited conception of art, Elton John had the remainder of Thanksgiving removed from view in support of the integrity of Nan Goldin's work.

This question of content and context is particularly illuminating in light of curator Astria Suparak's dismissal mid-showing of the "Come On" exhibition. In a series of emails, published online at "syracuse loses again," Jeffrey Hoone, the executive director of CMAC who personally dismissed Suparak, asks her to defend the work in the "Come On" exhibition, which he continually characterized as "weak and seriously flawed." Hoone stated that they would "have to do quite a bit of work to provide a context and rationalization for exhibiting these pieces." He singled out Juliet Jacobson's drawings, the content of which he claimed would be "clearly offensive to a good number of people" and would "be a challenge for sophisticated art lovers…and certainly seen as controversial by many."

III
Juliet Jacobson is a Brooklyn-based artist. She had four works in the show—huge graphite drawings (some as large as 48 by 114 inches) of nude males taken from the pages of '70s and '80s "European, men's-interest magazines." Men pose languorously in these drawings. They penetrate each other as in You Said You Hated Your Body, That It's Just a Piece of Meat, But I Think You're Wrong. I Think You're Beautiful; they kiss in No Weak Heart Shall Prosper; or they hold their erect penises as in Narcissus or I'll Be Your Mirror; and sometimes when they are coupled, one boy is white and one boy is black. All of the images are symmetrically composed where the figures are mirrored or bifurcate from the center. Included are images of snakes, skulls, feathers, flowers and the moon. For Jacobson, the flowers and skulls figure symbolically as a "wish to dismantle limits in love and sex and the demarcation of death as a singular horizon for being." The drawings distort and fracture the body in space and collapse their center. This collapse is presumably the effect of love—something that Jacobson speaks of in reference to her work—human meaning created by the mutuality of self and other rather than the hierarchical arrangement of self and other.

Rachel Rampleman, who also lives in Brooklyn and whose work includes video, photography and sculpture, provided a contrast to Jacobson's work. Poison: My Sister Fucked Bret (2006) is a 30-minute video account of Rampleman's little sister Sarah's night with '80s glam-rock band Poison's lead singer Bret Michaels. It is the memory of being a suburban, Ohio teen in the throes of total rock-idol worship to the excitement and disappointment of actually getting to meet him. Flashback images of a younger Sarah are interspersed with Poison video clips, Bret posters and an older Sarah, who now has a different body, narrating her encounter with her teenage-dream idol. She speaks from the backdrop of her home—in her bedroom on her bed, in her bathroom seated in front of a large mirror, in front of a television against which her body is only a black silhouette—sometimes a toddler walks in and out of the frame, or can be heard repeating "la la la la la la." From the clip that's on youtube, you get the sense that her experience with Bret was a mixture of awe and deflated expectation, but matter-of-factly so and not without a dose of humor. At the end of the encounter Bret asks Sarah if he could do anything different for her, in her mind she says, "get an enlargement…take some Viagra."

Neither Rampleman nor her sister expected many people to see this trailer. But they did. On youtube her story was dismissed by comments, the "basic gist," of which, Rampleman said, "was, 'Does Bret bang the fat fans? We think not.' A lot of people were like, 'There's no way.'" Even though these comments were not part of the "Come On" exhibition, they are telling. They acutely register that when it comes to women, bodies are judged first, words second; comments went so far as to suggest that if they found her undesirable, then her story was not even plausible.

Montreal-based artist Jo-Anne-Balcaen felt that her work Blow had much in common with Rampleman's Poison. It was a sculpture made of long skinny black balloons with all their tied openings bound together on a wall. This created a neat rosette of black tubes, which incidentally, resembled condoms with their nippled, receptacle ends pointing out. Since the work was comprised of blown up balloons, it wilted and deflated over the course of the show—mirroring the fate of expectation or memory of celebration turned to disappointment or a return to the mundane. Blow might also intimate that physical female sexual desire does not want to be let down.

Balcaen's other four works in the show were text-based. They included the taunting and reassuring phrase Aw, C'mon written in a heavy-metal font cut from a silvery Plexiglas that made the words reflect like a mirror. Dictionary Definitions: Prince of Darkness , Yearning Year Round, Blurt Blush juxtaposed words and their definitions, alluding to the flux of connotation and meaning inherent in words. Deceptive in their straight forwardness, these works were reminders that words are just like balloons, or other mundane objects, in that they arouse expectation and suggest associations. Hinted at is a cultural inheritance that informs the expectation that words are gendered—as if one word could obviously be feminine, while another, obviously masculine.

IV
Returning to the idea of content and context, it may be tempting to accuse Jeffrey Hoone of censorship in light of his email correspondence with Astria Suparak, the director and curator of the Warehouse Gallery, whom he dismissed. The problem with this accusation is that it narrows and occludes the perception of a constellation of relevant issues at play. In these emails, Hoone demands an account of the work in the show to which Suparak supplies a lengthy defense citing its timeliness with regard to the recent "WACK: Art and the Feminist Revolution" at LA MOCA and "Global Feminisms" at the Brooklyn Museum of Art; and then further contextualizes the work in regard to third-wave feminism, but especially foregrounds the subject of female sexuality and desire juxtaposed and complicated with the imagery of sexualized, homosexual males. She closes by confirming the exhibition's relevance to a list of several classes at the university.

Hoone lights upon Suparak's mentioning of recent art exhibitions that deal with feminism and contends that she could have borrowed some of these artists like "Catherine Opie, Kara Walker, Sam Taylor-Wood and others" to "introduce the Central New York audience to important artists dealing with issues of gender, sexuality and representation." This statement admits much, particularly that he misunderstand Jacobson's or Rampleman's or Balcaen's work; or what feminism might mean to a generation of artists with roots and familiarity with DIY, Riot Grrrl, third-wave feminism and queer theory; and how it is that this versatility and fluency with theoretical positions and mediums might inform their practice. He betrays fixed thinking in recommending certain artists, subtly suggesting that feminism—or worse, women artists as a general category—comes prepackaged with ready discourse attached. In doing so he does a great disservice to these established artists by implying that there is a text-book approach to dealing with women and art.

Standing in sharp contrast to this text-book approach was Suparak whose exhibition's resisted narrow thinking and neat categorization—"Come On" was exemplary in this regard. For Hoone though, it must have had the character of something he could not understand nor contain—it was too messy, too sexy, too complicated—overall, too hot. But it was the same HOT thing that Syracuse embraced; and while probably challenging, a threat it was not. The fact is that Suparak did curate contextually strong exhibitions. This is why she had a following. This is why the Warehouse was widely hailed as a success. And this is why no one but Hoone balked at "Come On: Desire Under the Female Gaze." Suparak was exceedingly capable of creating a context for challenging and new work. So Hoone could not really censor her, subtracting one work from her well-conceived exhibition would not sufficiently stop her as a phenomenon. There was only one possible solution to removing Suparak as a threat. He unilaterally decided to terminate her position.

Promptly after he did so, in a swift chronology of events, he cancelled the next show Suparak had scheduled, "Keep it Slick: Infiltrating Capitalism with the Yes Men," furthering an attempt to stamp out her sphere of influence. There was an outcry from the faculty who had given funds for the exhibition and Hoone decided not to cancel it. In support of Suparak and protest at her dismissal, the Yes Men declined to show if they could not work with her. Hundreds of people, even beyond the city limits of Syracuse, have protested her firing and written letters and lobbied for her reinstatement. A protest was even staged at the front doors of the gallery itself. These include statements of support from Lauren Cornell, executive director of Rhizome; artist Carolee Schneemann; artist Stephen Vitiello; the Bard College Faculty of the Department of Film and Electronic Arts; and the Chairs of the College of Visual and Performing Arts at Syracuse University. She was even appointed by a vote of 7-0 by the Syracuse Common Council to the city's new Public Arts Commission in recognition of the fact that her influence did indeed extend beyond that of the university. Still, a unilateral decision made by one man is somehow being allowed to stand, depriving a university and a city of something they want and no doubt leaving in its wake a new culture of fear and distrust.

Yvonne C. Olivas
Thank you Sady for all your help.

cover image is from Jo-Anne Balcaen's, Blow, 2001, balloons, approximately 8 by 11 by 3 feet and (right) Aw, C'mon, 2005, Plexiglas, 14 by 40 by 3/4 inches.

Please check out:

Jo-Anne Balcaen: http://www.joannebalcaen.ca/
Juliet Jacobson: http://www.sevenseven.com/jacobson/
Rachel Rampleman: http://www.cynthiabroan.com/frameset_Rampleman.html

And for more information about Astria Suparak and recent events:
http://www.astriasuparak.com/
http://syracuse-warehouse.blogspot.com/

Copyright 2006 Fanzine Media (www.thefanzine.com) - All Rights Reserved.

Tom Sherman

2007-11-12T10:34:00.000-05:00

An open letter asking for answers

November 11, 2007

The corporate takeover of art at Syracuse University

On September 28, 2007, Astria Suparak was dismissed as Director and Curator of Syracuse University’s Warehouse Gallery. Suparak was given no reason for the termination of her contract—Chancellor Nancy Cantor told the press and a broad constituency supporting Suparak that this dismissal was a personnel issue, not a decision to censor Suparak based on the content of her shows. Hundreds of SU faculty, students and a national and international art scene continue to believe otherwise and the story has traveled far and wide (New York Times, Artforum, Flash Art, Art Info, Buffalo News, Syracuse Post-Standard, etc.). This unexplained dismissal of a well-known and respected curator, in tune with her community and on the ascent, is a huge embarrassment for Chancellor Cantor, Syracuse University and the city of Syracuse.

Although all evidence pointed toward censorship (Suparak’s last exhibition was “Come On: desire under the female gaze,” a show Chancellor Cantor and members of her cabinet tried to hide from incoming freshmen), Jeffrey Hoone, the Executive Director of the Coalition of Museums and Art Centers at Syracuse University (CMAC) stated publicly that he dismissed Suparak because he was ‘restructuring’ the Warehouse Gallery. Between SU’s administration hiding behind a shield of “confidential personnel issues” and Hoone’s vague restructuring explanation, the story exploded nationally and internationally, severely damaging the reputation of the arts at Syracuse University and the city of Syracuse.

Throughout the month of October 2007, Chancellor Cantor and Vice-Chancellor Eric Spina continued to support Hoone’s decision to dismiss Suparak, while behind the scenes this same administration encouraged the College of Visual and Performing Arts (VPA) to work out a deal to hire Suparak as a Curator-in-Residence. Ann Clarke, Associate Dean of VPA, asked Suparak to submit a proposal for such a position and Clarke began meeting with the faculties of the Department of Transmedia and the School of Art and Design to involve the University community in the formation of this Curator-in-Residence position. The Administration (Cantor and Spina), asked Eleanor Ware, SU’s Senior Vice-President for Human Services and Government Relations to work with VPA’s Ann Clark and Astria Suparak to strike a deal. The idea was that the Chancellor and Vice-Chancellor would put up the money, the College of Visual and Performing Arts would be the administrative home of this new position, and this new initiative would allow Suparak to continue her innovative curatorial work minus a permanent space (SU’s Administration refused to reverse their decision that the Warehouse Gallery would be transformed into an extension of CMAC’s SU Art Gallery with Jeff Hoone as Interim Curator).

On Friday morning, November 2, 2007, lawyers representing Syracuse University and Astria Suparak exchanged a draft contract for this Curator-in-Residence position in VPA. VPA Dean Carole Brzozowski and Ann Clarke had met earlier, on Monday of that week, with Suparak and SU faculty members, Tom Sherman and Joanna Spitzner. All agreed this was a chance to invent something exciting, a new kind of position that could put a charge into a stagnant, somewhat dusty visual arts component of the College. Many were hopeful a deal was about to be struck a little over a month after Suparak’s last day at the Warehouse Gallery. But on November 2nd, late in the afternoon on that same Friday, Astria Suparak received word from her lawyer that SU’s lawyer had called to say the University had withdrawn the offer. Ann Clarke later sent an e-mail to Suparak confirming that the University’s offer for the Curator-in-Residence position had been withdrawn by VPA’s administration, Carole Brzozowski and Ann Clarke. Clarke said the offer was withdrawn because of a lack of trust (their decision was apparently based on their perception of a lack of ‘chemistry’ between them and Suparak), and because VPA is in too poor a shape to take the University’s money for the Curator-in-Residence position!!??.

Since the money for this new position was coming exclusively from the Chancellor and Vice-Chancellor’s offices, did Brzozowski and Clarke consult with Cantor and Spina before pulling the plug? To date Brzozowski and Clarke have made no attempt to communicate with the public on the reasons for their withdrawal of this offer.

Let’s reflect on the events of this autumn and where we might go from here. Jeffrey Hoone dismissed Suparak, during the ascent of her growing success at the Warehouse Gallery, without giving cause. The Chancellor and Vice-Chancellor stood by this decision, supporting Hoone, stating that SU’s Human Resources policies had been followed and implying that there was cause, while hundreds of letters and thousands of e-mails from University, city, national and international artists, curators, educators, business leaders, city officials and concerned individuals were demanding Suparak’s reinstatement at the Warehouse Gallery. Everyone wanted to know why Suparak was fired and how this could be supported by the University. Toward the end of October, Suparak was permitted to check her file at SU’s Office of Human Resources. There was no statement of cause for dismissal in this file. There was no evidence of a performance review. No review ever occurred. No complaint or citation about her performance was ever filed. In fact, her file was completely clean.

Meanwhile, CMAC remains intact with Hoone as its Executive Director, and a chill has been cast over CMAC’s once independent galleries and spaces. The faculties of the Department of Transmedia and the School of Art and Design have boycotted and effectively cancelled SU’s 2007 Faculty Show. These faculties were not only protesting Suparak’s dismissal but the total disconnect between the creative academic mission of these Departments and the University-imposed CMAC ‘coalition.’ VPA’s visual and media arts faculty and students find themselves literally without exhibition space for their own work. The Warehouse Gallery that they were investing in financially and pedagogically (the Yes Men show and Suparak’s other unrealized exhibitions) has been snatched away to serve Cantor, Spina and Hoone’s vision of the arts at SU. What expertise do they employ when making their decisions? Has the College of Visual and Performing Arts ever been weaker?

Trust between the administration and faculty, students and alumni has been shattered. The University and city have been hurt badly. Young people were actually moving to and staying in Syracuse because the scene was showing signs of life. If the arts are indeed part of Syracuse ’s rebirth, then we have all suffered quite a setback. The reputations of many of the key players have been tarnished. We should all be deeply embarrassed. The global arts scene is wired and communicative and has a long memory. From Syracuse to Brooklyn to San Francisco to Paris to Beijing —if you are in the arts you would have to be under a rock to have missed this story. Our first international arts story since a Yoko Ono retrospective brought Ono and John Lennon to the Everson Museum in 1971, and it is this stinker! This CMAC/Warehouse Gallery fiasco will cost the city in the long run and will hurt the University in its efforts to recruit and retain good faculty, staff and students.

This whole mess could have been avoided, had it not been for the excesses of an uptight corporate university culture and a group of decision-makers sharing a basic disrespect for artists and creative, open-minded people in general. Silencing a respected curator profoundly in-tune with her community and on the ascent is a blatant act of censorship. Spin it anyway you like—the direction, timing and nature of the hostility toward Suparak and the community that supported her speaks for itself. Take a look around this city and University. You will see a demoralized, disenfranchised, angry creative sector. You will see an art scene wounded by a corporate University fearful of and hell-bent on oppressing the energy, inventiveness and joyful noise of its creative community.

Where do we go from here? The first thing we ask is for an explanation of why the University’s offer of the Curator-in-Residence position was withdrawn. Astria Suparak was negotiating in good faith with the University, and many people within the community had worked very hard to make something positive happen in the aftermath of the CMAC/Warehouse Gallery debacle. While the best solution would have been to simply reinstate Suparak at the Warehouse Gallery, the Curator-in-Residence alternative made a lot of sense. Why was the University’s offer to fund and facilitate this new position withdrawn and who withdrew it?

The other question is what is the University going to do to address the critical need for space for faculty and students in the Departments of the School of Art and Design and Transmedia to exhibit their work and interact with the public? Drama and music have dedicated theatre and concert spaces; engineering, biology and chemistry have their labs. Exhibition spaces for the visual and media arts are the equivalent of laboratories in other disciplines. After years of being criticized for low visibility, now in this climate of scholarship in action we find the University’s art galleries and spaces serving other interests. Why does the University choose to ignore the pedagogical and social needs of the faculties and students of its degree programs in visual and media arts?

This community deserves answers to these questions. Awaiting public statements on these issues from the University administration and the College of Visual and Performing Arts,

I remain,

Sincerely,

Tom Sherman

Daily Orange -- Matthew Nojiri

2007-11-12T10:30:00.000-05:00

[Reposted from here]

Would-be curator loses offer to return to SU

By: Matthew Nojiri

Posted: 11/12/07

Astria Suparak's status as an employee of Syracuse University has flipped once again.

The negotiations to bring Suparak back to SU as curator in residence for the College of Visual and Performing Arts ended almost two weeks ago after she spoke with a media outlet, said Ann Clarke, VPA associate dean.

The university decided to end its negotiations with Suparak, who had been controversially fired as director of The Warehouse Gallery in September, after a front-page article appeared in the Nov. 2 issue of The Daily Orange, Clarke said. In the article, Suparak discussed the plans for her return to the university.

Suparak showed "a lack of faith in the process" by speaking with the media, Clarke said.

"The fact that Astria was speaking to the press was disappointing," Clarke said. "It's the fact that the article took place when we thought we were getting somewhere."

The article misrepresented the complexity of the negotiations, Clarke said, adding that creating the new position was a fragile process.

VPA professor Joanna Spitzner, who is a leader in the Committee to Keep Astria campaign, said she is frustrated by the secrecy surrounding the decision. Most of the VPA professors do not know that the negotiations have ended, she said.

"I know about it and some other faculty do, but they haven't even made the announcement to the faculty." Spitzner said. "They haven't been willing to talk about it. Ann Clarke and the dean need to be the ones to tell the faculty."

Suparak's return was initiated with the VPA faculty, who proposed the idea to Clarke and VPA Dean Carole Brzozowski. The deans approached Chancellor Nancy Cantor and Vice Chancellor Eric Spina about developing a new position for Suparak and contract negotiations began soon after, Clarke said.

"We had deep concerns about our ability to pull this off," Clarke said. "It was a really sensitive proposal. When you add to that challenge that it's going to take place in an environment of controversy, that makes it even more difficult."

The university and Suparak were working to define the responsibilities of the position as curator in residence, Clarke said.

"The issue was whether or not we could bridge the gap between what VPA needed and what Astria had proposed," Clarke said. "That was at the heart of the contract negotiation."

Initially, Suparak proposed to work as a liaison between the college and outside artists - as she had done at The Warehouse. The university was waiting for Suparak to create a new proposal based on their discussions, Clarke said.

"Her desires were not matching up with our needs," Clarke said.

The decision comes after a month of protests, newspaper editorials and letters of disapproval from the Syracuse community to Cantor and Jeffrey Hoone, director of SU's Coalition of Museums and Art Centers.

Hoone fired Suparak from her director post at The Warehouse Gallery in September.

The VPA faculty - who organized a successful boycott of an exhibit at the Schaffer Art Building in October - were excited about the prospects of Suparak's return, said Spitzner, the VPA professor.

"This decision took away a person we really liked working with," Spitzner said. "It was made without really consulting anyone or giving a good reason."

Suparak's firing is part of a growing disconnect between VPA professors and the university, Spitzner said. The faculty wants to be consulted about the decisions made by the administration, she said.

"The faculty really wanted this to happen," Spitzner said. "I can't understand why they're making this decision. They are continuing to make decisions without talking to people."

Daily Orange -- Eddie Jacovino

2007-11-02T12:00:00.000-04:00

[Reposted from here]

Suparak may return as VPA curator, liaison for arts

By: Eddie Jacovino

Posted: 11/2/07

After a controversial firing in late September, Syracuse University is entertaining the idea of rehiring Astria Suparak.

The news comes after a month of public outcry since Suparak's dismissal as director of The Warehouse Gallery.

Suparak said she has been in negotiations with the university on what SU is calling a "consulting arrangement," and lawyers from the two parties spoke Thursday. Vice Chancellor Eric Spina could not comment on the negotiations, saying they concern a specific personnel matter.

Within a week of leaving SU, Suparak filed a proposal to create the position of curator in residence at the College of Visual and Performing Arts.

According to the proposal, Suparak would still act as a liaison between the school and outside artists and agencies, though she would likely not have a gallery to manage.

"I feel like we've broken though a bit in finding out more information," she said. "I'm really glad that they're receptive to it and that they're looking at it."

The breakthrough follows a successful boycott by VPA professors last week, which resulted in the cancellation of an exhibit at the Schaffer Art Building.

A letter was also sent Tuesday to members of SU's Board of Trustees, which is scheduled to meet today.

"It is imperative that we recruit and retain talented individuals who can contribute to the creative environment of the university and the city to which it is connected," the letter read. "Syracuse University can show itself an innovator in the arts by making every effort to keep Suparak in this community."

The letter, authored by the Committee to Keep Astria, had 23 signatures, said VPA professor Joanna Spitzner, a leader in the group. Most of the signatures came from members of the arts community outside of SU.

Spitzner said the letter and the boycott are examples of Astria's supporters keeping the issue relevant after flooding the inboxes of Chancellor Nancy Cantor and Jeffrey Hoone, executive director of SU's Coalition of Museum and Art Centers (CMAC), in the days following Suparak's dismissal.

"They're being responsive. It's just a slow process," Spitzner said. "We're trying to be patient, but still keep the pressure on."

Word of Suparak's dismissal broke in the weeks before her last day on Sept. 30. She had been director of The Warehouse Gallery since 2006.

Hoone took full responsibility for the firing, which he called a "personnel change." He was supported by Cantor, who said the proper avenues were taken.

But Suparak said her file at human resources doesn't contain a performance review or any document referring to personnel issues.

Instead, her dismissal is considered a layoff.

"We stand by CMAC as the right vehicle to enable the active and engaged interaction with the arts that we want, and Jeff Hoone as the right leader of that organization," Spina said in an e-mail Thursday.

He added that he has been speaking with Hoone and VPA leaders about the future of the coalition, and they expect to have productive meetings with members of the Syracuse community.

If SU accepts Suparak's proposal as it is written, she would report directly to Ann Clarke, associate dean of VPA, and not to Hoone. Clarke did not return efforts to contact her.

In a second statement, written Oct. 18, Suparak said the VPA curator's position would be an opportunity for her to take advantage of her position on the city's Public Arts Commission.

She was voted unanimously to the commission by the Syracuse Common Council days after the university said she would be losing her job at SU.

Suparak said she is serving on the volunteer commission while collecting unemployment and doing freelance work for art magazines. Last week, she was in Pittsburgh, working for the Pennsylvania Council on the Arts.

Joe Masterleo - Comment on Post-Standard Article

2007-10-24T21:30:00.000-04:00

[Reposted from here]

Mr. Kirst:

Seems like the local and university communities are getting a belly full of what they asked for in Nancy Cantor and Daryl Gross, big-city slickers who came in extolling the small town virtues of "community", yet who have a bent for approaching sensitive matters with autocratic hatchets behind their backs while implementing a peculiar form of mathematics - adding by subtracting. To wit, the AD's recent against-the-grain decision to nix the SU swimming program in favor of women's collegiate hockey, and the chancellor's latest axing, the dismissal of Astria Suparak. These out-of-town administrators are proving to be "sharp" all right - guillotine sharp when it comes to assaying and embodying community consensus in their administrative decision making.

If the AD and chancellor are keeping their collective fingers on the pulse of "community", it's with "thumbs down", and on parts of our local anatomy that have yet to be identified.

Joe Masterleo,
Jamesville, NY

Post-Standard Article -- Sean Kirst

2007-10-24T11:02:00.000-04:00

Dismissal of Gallery Curator Sparks Boycott

Wednesday, October 24, 2007

SEAN KIRST

POST-STANDARD COLUMNIST

A few years ago, not long after Nancy Cantor became chancellor of Syracuse University, she offered a wish about the future of the city.

At the time, the hottest question involving SU and the greater community was whether to retain Paul Pasqualoni as football coach. Cantor, who would eventually support athletic director Daryl Gross in his decision to fire Pasqualoni, dreamed of a day when the intensity of civic interest about the future of downtown might match the civic interest in the future of a coach.

The real issue, Cantor said, came down to identity: People see a piece of themselves in their football team, which is the same way she hoped they would someday feel about their central city.

Three years later, the Pasqualoni debate has been replaced with a football furor over the status of Greg Robinson, the new coach. But Cantor is also dealing with a faculty rebellion triggered by last month's announcement of the dismissal of Astria Suparak as curator and director of the Warehouse Gallery on West Fayette Street.

In a sense, that dispute is intertwined with Cantor's wish.

The latest expression of faculty anger is a boycott of an exhibition at the Shaffer Arts Building that traditionally showcases the artwork of SU professors and instructors. That show was canceled because the boycott is "100 percent effective," according to a statement written by Joanna Spitzner, an SU instructor and a leader in efforts to retain Suparak.

In her statement, Spitzner described how the canceled show will be replaced this week by an alternative exhibit. Holly Greenberg - an associate professor of printmaking - will be among several dozen faculty artists displaying their work in a show that begins Thursday at the Spark Contemporary Art Space on East Fayette Street.

Tuesday, Greenberg said she decided to join the boycott because of what happened to Suparak. But she said the deeper issue involves simmering faculty discontent going back to the creation of SU's Coalition of Museums and Art Centers. Under the direction of Jeffrey Hoone, CMAC oversees university gallery space.

"When it was formed, nobody from the Department of Art or the College of Visual and Performing Arts was consulted about the best way of uniting our art organizations here," Greenberg said. "Teaching art is our life. Being artists is our life. I think a lot of faculty were put off," she said, by the way CMAC was created.

The Suparak dismissal intensified that feeling, Greenberg said. "Until CMAC is dissolved," she said, "I would hope the faculty would continue to boycott (university) events."

The firing of Suparak has captured the attention of city officials, community artists and the operators of several downtown galleries. Considering the history of the arts downtown, what is most interesting - and most hopeful - is that anyone beyond campus even cares.

The Warehouse Gallery is the public face of Cantor's ambitious efforts to link the campus and the city. The chancellor was the driving force behind the rehabilitation of the old Dunk & Bright furniture warehouse at West Fayette and West streets. The building was converted into classroom space, mainly for SU's school of architecture.

Suparak was in charge of the gallery, until her firing infuriated many at SU.

"The dismissal of Suparak, a well-respected curator who has worked with many SU faculty members, is a great loss to this community," Spitzner wrote in her statement. "This action reflects the lack of dialogue the administration of CMAC has with faculty, students and the arts community - the constituents CMAC serves."

Spitzner and many others maintain the firing smacked of censorship, since a recent Suparak show included images of homosexuality and genitalia. Hoone and other university officials adamantly deny those charges, and say it was linked to personnel matters they cannot discuss.

As for the continuing existence of CMAC, Kevin Quinn, an SU vice president for public affairs, said the university will continue to "support CMAC and (we) believe it is the right idea, but we have had conversations in the past and will continue to have conversations to ensure that CMAC is well-aligned and fully engages our faculty, campus and community."

For those of us without the expertise to offer even peanut gallery opinions about Suparak and her job performance, the most intriguing piece of the debate involves what's quietly happened around the Warehouse. If you include The Redhouse arts center, the Delavan Art Gallery and the Lipe Art Park, an authentic arts district is quietly growing within that old industrial neighborhood.

That evolving personality stands to be strengthened even more if WCNY, a public television station, moves into a proposed $17.5 million headquarters on West Fayette.

The noisy public conflict over Suparak and her future is, in a sense, a manifestation of Cantor's wish: Many around Syracuse are bringing the same passion to a debate about downtown and the arts that we more often see around this town about touchdowns and head coaches.

You just hope, at a moment of such opportunity, that feuding players on both teams can find their way back to the game.

Renee Mulcare

2007-10-21T19:35:00.000-04:00

To lose Astria Suparak as the curator of the Warehouse Gallery is devastating. She has been such a strong presence in the art community, and I feel, along with many others, that she has been wrongfully dismissed. This is unfortunate to say the least, for Astria's contributions here have been phenomenal, bringing about a stronger community for the arts as well as connecting the university to the city through her tenure at the Warehouse.

It is frustrating to know that SU and the city of Syracuse are losing a vital asset to building a strong art community and working towards Nancy Cantor's vision towards Scholarship in Action. The way that I have always understood Cantor's idea of Scholarship in Action, was that being "in action" one would be exploring differences, learning new things, and experiencing a wide variety of opportunities to expand our knowledge. This allowance of Astria to be dismissed, however severely diminishes the strong idea of Scholarship in Action. It seems to be a selective Scholarship in Action, almost as though Astria wasn't bringing the right kind of diversity to Syracuse, which doesn't seem to make any sense.

The bigger problem that I see with the whole situation is the lack in reasoning and explanation for Astria's dismissal. Jeff Hoone has provided nothing to the community as to why he felt that he should release Suparak from her position. His lack in an argument to back up his decision has yet to surface, and the fact that he has declined to shed light on the situation makes me question his status and position in the Syracuse art community. Frankly, I don't want him to be here. I've begun to lose trust already in his decisions and what he will do in the future. Why is it so hard to provide a legitimate reason? This lack of one makes me think that perhaps there isn't one. That should be a red flag warning. There would be greater issues at hand if this were the case. I do not know his reason, but I am still very much in doubt about him in general. To make such a drastic change as this deserves an explanation. Without an adequate explanation, Hoone is doing more than removing Astria. He has put himself in a situation in which he is losing credibility in his judgments. As someone that is in his position, I would think that putting yourself in a place where people are questioning your ability to do your job is not a place where you want to be.

This severe lack in information and explanation from the school and Hoone's position is disturbing. It makes me think that there is something bigger going on that is being left out, and it's extraordinarily frustrating. That is a horrible place to be in when you are that high up in the chain. It's a stupid move. There is no other way to say it. It's poorly thought, without reason, without anything to give credibility to the decision made regarding Astria. It's sad. It's really sad that this is what is happening and that it is like a horrible essay written in which they are trying to prove a point with nothing to back themselves up. I don't trust that, I won't trust that until something is explained.

Renee Mulcare
Film, College of Visual and Performing Arts
Syracuse University 2010

Updates

2007-10-21T19:30:00.000-04:00

Jeff Hoone has replaced the Yes Men exhibition with Gary Schneider’s Genetic Self-Portrait, which opens on Nov. 15. Calls for a boycott of the exhibition, and Hoone's "new direction" for The Warehouse Gallery have already begun.

Genetic Self-Portrait was completely funded from its inception in 1996 by Howard Stein’s Joy of Giving Something (JGS), Inc. Light Work, another arts organization Hoone controls, published the catalogue for this exhibition in 1999 (financed by Howard Stein). The entire exhibition - all 61 photographic prints - are owned by Stein.

In other words, this decade-old photography exhibition is replacing an original and much anticipated show by internationally-acclaimed anti-corporate activists, The Yes Men.

Meanwhile, the faculty of the School of Art and Design (Departments of Foundation, Art, and Design) and The Department of Transmedia at Syracuse University have boycotted the annual faculty exhibition at SUArt Galleries to protest the Suparak's dismissal.

A press release states: "The decision to remove Suparak from her position was made by the Executive Director of Coalition of Museums and Art Centers at Syracuse University. SUArt Galleries and The Warehouse Gallery are both members of CMAC. The dismissal of Suparak, a well-respected curator who has worked with many SU faculty members, is a great loss to this community. This action reflects the lack of dialog the administration of CMAC has with faculty, students, and the arts community - the constituents CMAC serves. While faculty respect the work of the individual spaces in this coalition, we do not support the current direction of CMAC."

Working together, the faculty and staff of these departments and the directors of Spark Contemporary Art Space have organized their own exhibition. It is hoped that this will bring together the many people involved in the local and university art communities. The one-night only "Ice Out: Art, Design, & Transmedia Faculty Exhibition, 2007" opens on THURSDAY, OCT. 25th, 7-9pm at Spark Contemporary Art Space, 1005 E. Fayette St., Syracuse, NY. Free admission + refreshments. Open to all.

Syracuse University is considering a new position for Suparak: Curator-in-Residence in the College of Visual and Performing Arts. The details are still being worked out. If you support this idea, let the University know.

Jan Pottie

2007-10-14T18:08:00.000-04:00

Let's Review

Last spring a faculty member revealed that Jeff Hoone was "giving Astria Suparak a hard time." This was noted but not addressed because Astria remained so positive about the Warehouse Gallery. The shows looked great, were very well attended and were receiving excellent press.

Astria Suparak's curatorial reputation was solidly established before coming to Syracuse. Her appointment as Director of the Warehouse Gallery made many people in contemporary art circles aware of Syracuse University for the first time.

To her credit Astria did not share Jeff Hoone's dissatisfaction. In retrospect it is clear that Hoone's campaign to have her dismissed had begun.

Let's review the harassment of Astria Suparak by Jeffrey Hoone. His blustering, erratic, contradictory and often ranting emails posted on this site (Sherman: Hoone & Suparak) provide stark evidence of his bullying tactics.

Hoone's harassment of Suparak was oddly accepted by Human Resources as the groundwork necessary for a dismissal for "personnel issues", a designation meant to protect the reputations of both the complainants (Hoone, Cantor, Spina, Walsh, Wells, Quinn, Ware et al) as well as the dismissed employee, in this case the diminutive but vibrant Asian American curator, Astria Suparak.

Seem a little lopsided?

Astria forged on, valiantly putting in long hours to meet Hoone's increasingly contradictory demands and impossible deadlines.

We in the University and broader Syracuse community were unaware of the obvious (and sanctioned?) harassment.

Suparak's openings were thoughtful, flawless and also just plain fun.

When Come On opened Syracuse audiences had had a year to adjust to the Suparak curatorial style and were looking forward to another year of Suparak's compelling art installation approach: her own hand visible, her unwavering insistence that curation is art.

The 2007-2008 exhibition schedule looked great! Come On: Desire Under the Female Gaze was a huge and welcome success for the Warehouse Gallery, a success that would have grown exponentially with the scheduled show, The Yes Men.

For unfathomable reasons, Astria Suparak was suddenly dismissed in the middle of her successful show Come On: Desire Under the Female Gaze.

The show's success must have come as a surprise (and disappointment?) to Jeffrey Hoone and the Chancellor's cabinet. Furthermore the show was successful in spite of attempts of several grown men (with Cantor's approval) to censor it.

Several people have insisted that there has been no censorship, as does this letter from Chancellor Cantor's new spokesperson, Ann Clarke:

"I can also assure you that they both [Cantor and Spina], as individuals and representatives of the University, maintain impeccable standards, that in no way include condoning censorship of any kind, subtle or overt." (Oct. 7,2007)

This posturing has become tiresome.

Let's review the ways in which Astria Suparak was censored by Jeff Hoone, the Chancellor and the Chancellors Cabinet, including Eric Spina, as evident by an email exchange publicly released by Jeffrey Hoone (to implicate the Chancellor and members of her cabinet as protest mounted over Suparak's firing?)

1. Jeffrey Hoone's insistence that the words "feminist" and/or "feminism" could not appear in the title or materials.

2. The addition of a disclaimer to limit audience: "Tom Walsh, Eric Spina, Barry Wells, and Kevin Quinn have been discussing the issue at the Chancellor's request. The exhibit is to continue as planned, with the addition of a sign outside the gallery space indicating that the content is for mature audiences” Lisa Jong-Soon Goodlin -- Jeffrey Hoone -- Matthew Snyder

3. The elimination of promotional materials for Come On from freshmen packets: "The marketing materials for the exhibit that were to be placed in the ReadySet (new student welcome materials) will not be included after all" Lisa Jong-Soon Goodlin -- Jeffrey Hoone -- Matthew Snyder

4. Some members of the chancellor's cabinet actually went to the gallery to "review" the material (oh to be a fly on the wall as these men perused art made by young women about sexual desire and did not find themselves!)

5. Finally and most obvious is that they resorted to the ultimate act of censorship when they removed Astria Suparak from her position as Director and Curator of the Warehouse Gallery in the middle of Come On, and canceled all her scheduled exhibitions.

It is beyond naive for Hoone, Chancellor Cantor, the members of her cabinet and her new spokeswoman, Ann Clarke, to continue to insist there has been no censorship. Dismissal is the ultimate censorship.

Please stop!

This was a poorly informed decision made by people clearly out of touch with faculty and students, and the educational mission of the University.

Had anyone at any time consulted with a single member of the Department of Art, Department of Foundation or Department of Transmedia at Syracuse University they would have learned that members of these faculties had invested in the Warehouse Gallery 2007-2008 exhibitions, and particularly in the Yes Men show. Faculty had both written The Yes Men show into curricula and supported it financially.

Students at Syracuse University would rightly fail for handing in conclusions based on such shoddy research.

Let's review the capacity of this administration to insulate themselves from the educational mission of the University:

On or around September 13th, at a Senate meeting, Professor Tom Sherman approached Chancellor Cantor about the cancellation of the Yes Men Show. Sherman assumed that Hoone had acted alone and that the Chancellor was unaware of Suparak's firing and the exhibition cancellation.

To Professor Sherman's dismay and surprise Chancellor Cantor's response was to reassure him that all the proper steps were being taken through Human Resources to secure the dismissal Astria Suparak !

How do you spell out of touch? C-A-N-T-O-R?

Professor Sherman informed the Chancellor of faculty involvement and financial investment in the Yes Men Show. This was clearly news to her. Unfortunately she seemed unable to digest the implications of this "new" information.

Nancy Cantor remained unable and unwilling to digest the implications throughout the next several weeks, responding to the many intelligent, considered and sincere emails with an automatic email response:

"I have asked Jeffrey Hoone, executive director of the Coalition of Museum and Art Centers, to more fully respond to your concerns as I trust his leadership and this is a departmental personnel issue."

Nancy Cantor

Chancellor Cantor has little idea of how this automatic response has diminished her in the eyes of her many admirers in the arts community both within the University and the city.

This poor administrative decision has alerted faculties, professors, students, and alumni of the extent to which the administration has insulated itself from members of its own constituency and the educational mission of the University.

A poor administrative decision compounded by the failure to address it.

For example, University Scholars, and dedicated alumni, Ken White and Rebekah Scotland have written a thoughtful letter outlining their concerns and reiterating their love for Syracuse University. Chancellor Cantor has yet to respond. Rebekah Scotland and Kenneth White.

Instead the Chancellor and Provost persist with the same kind of insular strategy and have simply replaced Jeff Hoone with new spokesperson, Ann Clarke.

Through emails Ann Clarke has insisted that in order to move forward, discussion must be removed from a public forum, indicating the University is prepared to offer Suparak some kind of contract.

This was welcome news for Suparak's many many supporters. The letters stopped as supporters waited for this wrong to be righted, for the harm to be undone.

Unfortunately in private forums the administration, through Ann Clarke, has continued to impugn the reputation of Astria Suparak.

For example, Clarke states that although she hasn't personally read the file, Eric Spina has assured her there was cause for Suparak's dismissal.

Perhaps the cause for dismissal was based on all those sleepless nights while Astria altered course yet again to appease Jeffrey Hoone's newest impossible demand and ASAP deadline.

The only thing that is really well documented is the well documented harassment of Astria Suparak by Jeffrey Hoone in his many 'ASAP' emails.

This under-handed, gossipy approach taken by the administration through their new spokesperson, Ann Clarke, is simply an extension of the on-going harassment of Astria Suparak begun by Jeffrey Hoone.

It makes everybody feel bad and it makes the University look bad.

Many people have worked very hard to keep Astria Suparak, a highly regarded, well-known curator in Syracuse because she makes the University and the city better.

So finally let's review why discussions regarding Astria Suparak will remain in a public forum:

The culture of censorship and secrecy at Syracuse University has to end.

There has been enough back-room dealing by Jeff Hoone, the Chancellor's cabinet and Human Resources regarding Astria Suparak.

Members of the administration and/or their spokesperson are unable to resist attempts to further impugn, through insinuation and gossip, the reputation of this dynamic Asian American woman.

It will remain in a public forum because many of us are intellectually invested in our alma mater and are concerned about an administration that operates in secret, slyly working behind scenes, twisting and misusing the legitimate policies of Human Resources, policies that are meant to protect reputations and not harm them.

It will remain in a public forum because the reputation of the University has been harmed as a direct result of the harm it has caused Astria Suparak, through her firing and on-going attempts to smear her reputation.

Let's not let this be misunderstood. Astria Suparak stands alone negotiating her future in the face of this very lop-sided committee that includes Cantor, Hoone, Spina, Wells, Walsh, Quinn, Eleanor Ware and Ann Clarke.

The recent paradoxical offer of a supposed comparable position (curator at large without a space or any budget) is an obvious bad faith attempt to silence supporters.

Astria Suparak should be encouraged and funded to proceed with the exhibitions she had planned for the 2007-2008 season, beginning with The Yes Men Show. This show exceeded all criteria of her mandate at the Warehouse Gallery, promising to broaden and invigorate the knowledge of faculty and students through direct exposure to contemporary art practice.

Astria Suparak was providing opportunities for direct exposure to contemporary art that have not been available outside major cities. This is why faculty had written her exhibitions into curricula and provided financial support.

Please have the courage to undo this wrong and allow Astria Suparak to proceed with her exhibition schedule.

Jan Pottie,
Alumna, Syracuse University
Phi Kappa Phi

Bard College -- Faculty of the Department of Film and Electronic Arts

2007-10-09T19:14:00.000-04:00

To Jeffrey Hoone, Nancy Cantor, Eric Spina and Carole Brzozowski,

We write this letter in protest of the perplexing dismissal of Astria Suparak from the Warehouse Gallery.

Most of us have known and worked with Astria for many years. She is quite simply one of the most important and influential programmers of experimental film and video of her generation. Her numerous projects as an independent curator brought new audiences to experimental film and video, forged new links between the worlds of film, gallery art, and music, and promoted the work of young artists. Since arriving at Syracuse, she has brought fresh and exciting exhibitions to the Warehouse Gallery, and consequently pushed the profile and reputation of this fledgling institution far beyond the local level.

Given that the Warehouse Gallery and the Syracuse arts community as a whole have benefited so greatly from Astria’s work there, her sudden dismissal from her position seems inexplicable. Her firing would be a great loss to New York state film and art, and we strongly urge you to reconsider this shortsighted decision.

Sincerely,

Faculty of the Department of Film and Electronic Arts
Bard College
Annandale-on-Hudson, New York

Peggy Ahwesh
Gerard Dapena
Jacqueline Goss
Ed Halter
Peter Hutton
Les Leveque
John Pruitt
Marie Regan
Kelly Reichardt
Keith Sanborn

Caspar Stracke

2007-10-09T09:58:00.000-04:00

Dear Mr Hoone, Ladies / Sirs

I am certainly aware of the fact that by now, eight days after Ms. Suparak's last official day in the Warehouse Gallery and endless chain of emails and discussions you certainly will have stopped reading any further email regarding this case.

Nonetheless, I feel obligated to send this mail. Here is a distant voice from South Korea where Astria Suparak's curatorial work is known. And I hope this geological distance underlines the dimension which this case has now taken. I appeal to Mr Hoone to re-consider his decision, after realizing what a strong international support stands behind Ms Suparak, an extraordinary curator and important creative force for Syracuse University and the region.

Regards,

Prof. Caspar Stracke
UNIVERSITY OF ULSAN
Department of Design, office: B/D 6-302
P.O. Box 18, Ulsan, 680-749, Korea

Jon Rubin

2007-10-05T18:00:00.000-04:00

To Whom it May Concern:

If you don't want a gallery director: with never-ending energy; who
has a unique and well informed vision; with a wide grasp of
contemporary art; with a large and growing following of artists,
critics, museums and curators; with the ability to make your
gallery's programming popular within the local community; who is an
advocate of artists and viewers alike; who can put your gallery on
the international map; who is an articulate and thoughtful writer;
who is an intellectual and creative peer; then you've made the right
decision in letting Astria Suparak go.

Sincerely,

Jon Rubin
Artist / Professor
Carnegie Mellon University

The Faculty of the Department of Transmedia

2007-10-04T14:30:00.000-04:00

To: Nancy Cantor, Chancellor
Eric Spina, Vice-Chancellor
Carole Brzozowski, Dean of CVPA

In light of the dismissal of Astria Suparak from the Warehouse Gallery on September 28, 2007, the faculty of the Department of Transmedia will not participate in this year’s Faculty Exhibition in the SU Art Gallery in the Shaffer Art Building. The loss of Ms. Suparak, a dynamic, successful curator of contemporary art at the Warehouse, effectively diminishes our dialog with our colleagues and students and with the broader community. We have all lost as a result of the decision to dismiss Astria Suparak.

Further, the formation of and administrative direction of CMAC, to the exclusion of other options, have left media and visual art students and faculty with very limited local options for the exhibition of their work. A suitably staffed and funded gallery space (or spaces) needs to be put in place to serve our pedagogical mission in the media and visual arts. This space or spaces must permit the independent actions of professional curators, under the guidance of an advisory board representative of faculty, students and broader community, to deliver contemporary art of substance to our media and visual arts community, a constituency willing to embrace the development and celebration of a creative practice which is representative of the diversity of all its constituents.

Sincerely,

The Faculty of the Department of Transmedia

Rebekah Scotland and Kenneth White

2007-10-04T14:27:00.000-04:00

Dear Chancellor Cantor:

We write with sincere concern for our alma mater. The circumstances surrounding the removal of Astria Suparak from directorship of the Warehouse Gallery raise grave questions against the ability of Syracuse University to offer a welcome environment to "interactive and collaborative" learning, which you call our "great strength." As students, we were thrilled by the interdisciplinary opportunities opened by your Creative Campus initiatives. We watched Syracuse University blossom under your guidance, and we followed your lead. Through the monthly Spark Video Program, Thursday Screeners media forum and visiting artist series, Diversity in the Arts exhibitions, the Sparkettes Video Collective for women, and the Westcott Community Center Video Program, among others, we strove to answer the Syracuse community's hunger for cultural enrichment. You showed us that direct, on-the-ground participation can affect positive difference on the local, national, and international levels. We recognized the importance of this mission and service, we devoted ourselves to it, and for our efforts we were honored as Syracuse University Scholars. We were, and remain, deeply passionate about the cultural excellence of Syracuse University, and as such we feel obligated to speak.

Suparak's termination is antithetical to the institution we devoted ourselves to, and that honored us. We have both independently written letters to you registering our grievance with CMAC Director Jeffrey Hoone's actions against Suparak and the arts community of Syracuse University. We write again now, together, to re-state our alarm, in hope that the events of the last month may be rectified, and to offer our assistance in preservation of the generative communication we fully know is found at Syracuse University.

The success and positive contribution of COME ON is without doubt. Throughout her tenure as Warehouse Gallery Director, Suparak has advanced the Syracuse arts community to previously unattained levels of relevance and admiration, and her value to this community is well documented. Suparak is an asset necessary to the realization of Scholarship in Action.

No justification for Suparak's removal has been provided by Hoone beyond "personnel changes" and "management restructuring." In July 2007, he aggressively ridiculed Suparak's curatorial judgment and demanded justification of COME ON: Desire Under the Female Gaze, its artists and works, calling the exhibition "weak and seriously flawed." Hoone forbid use of "feminist" in the exhibition title. In July, Hoone's first option of discussion with Suparak was "canceling or postponing the exhibition." Then, in his 22 August 2007 letter to SU Director of Communications and Media Relations Matthew Snyder, Hoone completely contradicts his statements of July and defends Suparak through regurgitation of Suparak's own defense demanded by himself. Two weeks after Hoone's written 'defense' of Suparak, he fired her.

Hoone's July 2007 correspondence with Suparak presents more than just difference in aesthetics. He reveals a hostile work environment loathe to non-heterosexual male perspectives. Hoone is not only ignorant of feminist history and aesthetics specifically, he is unwelcome to the generative communication on which Syracuse University is founded. We find Hoone's actions totally unacceptable.

Furthermore, Hoone chose to reveal that you convened four male university administrators (Tom Walsh, Eric Spina, Barry Wells, and Kevin Quinn) to "discuss the issue" of the exhibition's timing. No women, nor members of the greater Syracuse arts community, participated in this review of female sexuality whose ruling was censorship of Suparak's exhibition: approved advertisements were pulled from ReadySet new student welcome materials and Hoone's harassment of Suparak continued to her unexplained termination. We are left to imagine that Hoone's letter of 22 August, implicating you and your administration in the censorship of Suparak, was an attempt at a strategic defense in preparation for his imminent termination of Suparak. Chancellor Cantor, do you still "trust his [Hoone's] leadership?"

The evidence of this situation leaves us with many questions.

Why did Hoone voice his concerns about COME ON so late in the exhibition's planning? Why did he completely contradict his criticism two days before the exhibition's opening, then fire Suparak two weeks later? Why did Hoone cancel the Yes Men exhibition (Suparak states that she "asked him specifically" about this action)? What are the 'restructuring' plans for the Warehouse Gallery that Hoone claims are the reason for Suparak's dismissal? Why were no members of hiring committee that nominated Suparak consulted on her termination? Why were no members of the Syracuse University arts community consulted on her termination?

We ask you to please re-instate Suparak to directorship of the Warehouse Gallery. We believe there is opportunity for Syracuse University and the Syracuse arts community to benefit from the attention this issue continues to garner. Please exemplify the great character we devoted ourselves to, love so much, and know to reside in Syracuse University.

Thank you for your time and attention. We look forward to your response.

Sincerely and respectfully,

Rebekah Scotland
B.F.A. 2006
University Scholar

Kenneth White
B.F.A. 2005
University Scholar

Cc:
Vice President and Provost Eric Spina
VPA Dean Carole Brozowski

Marisa Arezzi

2007-10-04T12:05:00.000-04:00

October 1, 2007

I am writing in support of Astria Suparak, her commitment to and work at the SU Warehouse Gallery, and her overall contributions appropriately recognized by the greater Syracuse community. I was very sorry to learn of her dismissal and am distraught by the predictable, scripted explanation delivered by Jeffrey Hoone. I have read the events surrounding her termination and find it more surprising that Jeff Hoone hired a woman of her background and stature in the first place. It is out of character.

How unfortunate that Jeff's appointment to his current position went so quietly under the radar. This is a job that was created for and handed to him at a 'private reception'. One would think that such an important post would demand a national search. The lack of accountability has been present, by design, from the beginning. Comments made by Nancy Cantor regarding his "leadership" show ignorance of his career and personality.

In the matter of Astria Suparak, Jeffrey Hoone is nothing more than a mouthpiece.

In the US our human rights and constitutional freedoms have been steadily eroded in the name of fear, money and power. The dismissal of Astria Suparak is part of that erosion. We will probably never know who made the decision to dismiss her, when it was made, or for what reason.

I hope the tremendous outcry of support offers some thanks to Astria for sharing her vision and extraordinary talents.

Marisa Arezzi

Metropolitan New York

The Faculty of The Department of Art

2007-10-04T08:59:00.000-04:00

To:

Nancy Cantor, Chancellor

Eric Spina, Vice Chancellor/Provost

Carole Brzozowski, Dean of CVPA

In light of recent administrative and staffing decisions that have taken place within the Coalition of Museums and Art Centers (CMAC), we as the Department of Art voice our concern as to the vision and direction of this University sponsored initiative. The firing of Astria Suparak and the cancellation of the Yes Men exhibition without wider consultation or regard to the effects of these actions upon the faculty, students or greater Syracuse community, point to larger problems within SU galleries as an institution. These recent decisions made by CMAC are consistent with its short but problematic history: acting without transparency to the exclusion of the constituents it proposes to serve.

Having grown increasingly frustrated by being marginalized in all curatorial, exhibition, and staffing decisions in the galleries and museums maintained by Syracuse University we find that the Coalition of Museums and Art Centers does not serve one of its primary missions. That is to support and work in concert with the educational, creative, and scholarly pursuits of faculty and students. Like faculty in many other departments, many of us developed a relationship with CMAC through working with Astria Suparak to tie curricula and pedagogy to the challenging and innovative curatorial programming brought to the Warehouse Gallery. Through opaque decision making processes that impact the whole of our campus and local communities the separation between CMAC and the greater community has grown even further. Such decisions cannot be made alone without also communicating an indifference to those also affected by the decisions and thoughtlessness towards other community members.

In protest to the method in which CMAC has made decisions at the exclusion of faculty, students, and community members, the Department of Art will not participate in the up-coming Faculty Exhibition at the SU Art Galleries. We insist that the administration reevaluate the termination of Astria Suparak and consider how Astria could play a greater role in the College of Visual and Performing Arts, evaluate how CMAC serves the university community from the perspective of its constituents, and develop an advisory board of faculty, students, and community members to whom CMAC accountable.

The Faculty of The Department of Art

Brett Dougherty

2007-10-03T00:13:00.001-04:00

September 24, 2007

Mr. Hoone,

I don't know the entire circumstance surrounding Ms.

Suparak and yourself, but I do know that you would be

committing a grave and unintelligent mistake if you

were to fire her from her position as curator from the

Warehouse Gallery. I have never encountered anything

but amazing artistic and personal payoff from all of

my time around Astria and she has been an immensely

rewarding person to talk with and have around.

Please realize that if this is a personal vendetta

against Suparak, you should leave that unprofessional

jargon to the side and look at everything she has

given the arts community here at Syracuse University

and the central New York area.

-Brett Dougherty

Carl(a)

2007-10-02T16:40:00.000-04:00

To whom it may concern:

It is not often that I am compelled to write letters of support for 
people and situations that I am not intimately involved with.  I am 
an artist with a developing media practice that is looking for 
opportunities to nurture and focus my work further. Naturally, this 
has made me consider applying to graduate schools not just within my 
own country but in the United States.  Essentially, I am looking for 
an open, nurturing yet rigorous and challenging environment to expand 
my practice. Syracuse as a community is known for fostering new and 
distinct talent and bridging it with artists whose work that is 
renowned the world over.  Syracuse University is able to attract an 
eminent faculty that teach with the same passion that they put into 
their own work.  This is quite a rare situation, and it seems as if 
the surging arts community in Syracuse is at a high point.  
Personally, the Transmedia program at SU seems like a perfect fit.   
From what I can tell, it is an innovative program with a healthy 
balance of international students that are nurtured by a renowned 
faculty and buttressed by a wealth of curators, galleries and open 
minds.

This perception has been undermined by the overtly autocratic removal 
of Astria Suparak.  News of her dismissal has traveled fast and far, 
and its effect has resonated beyond the immediate Syracuse arts 
community.  The negative publicity surrounding this action and the 
subsequent publication of the emails between Suparak and Jeffery 
Hoone are eye opening to say the least.  I am not presuming that I 
know what it takes to run a space like the Warehouse, nor would i 
dare say that I know anything about the political machinations 
necessary to support potentially offensive material.  I can only 
assume that it must be difficult and time consuming to balance the 
needs of various special interests in order to support challenging 
work within the framework of a large American university.  However, I 
do know the adverse effect of  a bureaucratic infrastructure that is  
completely at odds with the artistic community that it claims to 
support.  To make matters worse, the email chain exposes Mr. Hoone's 
critical blind-spots, his lack of interest in young and developing 
practices and worst of all a thinly disguised and wholly destructive 
ego that refuses to let one of SU's brightest people share her gift 
for innovative curation.

This shameless display of ego, the tyrannical nature of this disposal 
of a great asset and the insular protection of Mr. Hoone by the 
undemocratic structure of the CMAC have made me seriously reconsider 
if it is worth submitting any application to your school.

respectfully yours,

Carl(a)

Vancouver, Canada

Geri Wittig

2007-10-02T11:22:00.000-04:00

Dear Chancellor Cantor,

My name is Geri Wittig and I am an artist with C5, a new media
collective that has exhibited internationally, including the venues
such as the London ICA, Ars Electronica, and the Whitney Biennial. I
am writing as a professional artist who would like to advocate for the
reinstatement of Astria Suparak to her position as Director of the
Warehouse Gallery. I met Astria this past July, when I visited the
Warehouse Gallery to see the exhibition, Networked Nature, which
included work by C5. During my visit, over the course of 24 hours, I
realized quickly what an asset Astria is to the Syracuse art
community. Firstly the press packet I received from her regarding the
exhibition was one of the most comprehensive and professional press
packages that I've ever received as an exhibiting artist. Over the
course of the evening in discussion with Astria, I came to know an
extremely knowledgeable and professional curator, who was working
diligently to create art events and exhibitions that are on par with
what is being exhibited in centers for cultural production, such as
NYC and Berlin. In fact one of the artists in Networked Nature, Shih
Chieh Huang, was included in the Venice Biennale this summer – the
exhibitions Astria presented were of a high caliber that was in
alignment with the most professional levels of the fine art arena. In
visiting with a variety of art professionals in Syracuse, such as city
officials with the public art program and Anthony Malavenda of the
Redhouse Gallery, I saw and admired a strong desire and will to
enhance and further develop the cultural landscape of the city of
Syracuse. In all of these discussions, it was apparent that Astria was
a key player in those efforts. I believe letting her go from the
Warehouse Gallery really is a huge loss to and setback for those
efforts.

sincerely,
Geri Wittig
C5 Corporation
www.c5corp.com

Stephen Vitiello

2007-10-01T20:15:00.000-04:00

September 26, 2007

To whom it may concern: it's come to my attention through numerous
channels that Astria Suparak is being laid off from her position as
gallery director. I've known Astria through professional channels
for close to 15 years. I was incredibly happy to hear that she was
serving the university through this important position. Astria has
been a unique and important curator as long as I've known her. Her
exhibitions are exciting, challenging and well researched. I
absolutely believe she is someone who is very conscious of the
cutting edge of contemporary art but also the right person to make
this work accessible and comprehensive. While I'm not aware of the
politics that have gone on behind the scene I can only say that her
being "let go" is disappointment to the entire field and it must be
a blow to your local community in Syracuse. As an artist included in
the Networked Nature exhibition I was treated professionally and
with care. If there is any reference I can offer or additional
letter of support, please let me know.

Sincerely,


Stephen Vitiello,
Media Artist
Assistant Professor of Kinetic Imaging at Virginia Commonwealth University
Archivist, The Kitchen, NYC

Clayton to Hoone

2007-10-01T17:26:00.000-04:00

Date:	Thu, 27 Sep 2007 12:26:32 -0700 (PDT)
From:	"David Clayton"
Subject:	Two Questions
To:	"Jeff Hoone"
CC:	ncantor@syr.edu

Jeff,

I have two questions regarding the changes at the Warehouse Gallery.

First, I understand that you chaired the rather large, 9 member of search committee that hired Astria Suparak as Director of the Warehouse Gallery. Were any of the other committee members given prior notice or consulted in the decision of Ms. Suparak's termination? Will this search committee be reconvened to choose the new Director of the Warehouse Gallery?

Second, who will became the Interim Director of the Warehouse Gallery in Ms. Suparak's absence? I have heard that SUArt Galleries will take charge of the programming and eventually absorb the Warehouse Gallery. Is the Warehouse Gallery becoming another venue for the University's lackluster art collection?

Remaining Hopeful,

David Clayton
Syracuse University MFA, 2007

Carmel Nicoletti : Re: Hoone

2007-09-30T15:15:00.001-04:00

Jeff Hoone's comment that the drawings by Juliet Jacobson would be
"clearly offensive to a great many people" concerned me. I wonder if
he's ever attended a figure drawing class or walked through the halls
of
Shaffer Art Building? He seems clearly out of touch with the art
community and their comfort with the human form.

Carmel Nicoletti
Dept of Art and Foundation

Jane Tam

2007-09-30T10:32:00.000-04:00

come on
Saturday, September 29, 2007
Reposted from here

Syracuse has been going through some tough art politics lately with the surprising dismissal of Astria Suparak from Syracuse University funded gallery, The Warehouse Gallery. Astria was appointed gallery director a year ago, almost instantly curating an Art Video Festival at the local art space, Spark. Many are outraged at the sudden firing and overwhelming confused on the bad decision made by the Coalition of Museums and Art Centers's Director, Jeffrey Hoone.

Some speculated the decision was due to the current exhibition up at the Warehouse Gallery, titled, "COME ON:Desire Under The Female Gaze." The CMAC heads were not too keen on the subject matter and how it would be perceived by the Syracuse public. Here is a the description of the show from the gallery website:

The Warehouse Gallery of Syracuse University launches a bold new exhibition, COME ON: Desire Under The Female Gaze, which focuses on the psychological, social, cultural and political dimensions of desire, subjectivity and pleasure.
...
COME ON reveals what is not represented in popular culture and provides a counterbalance to the ubiquitous imagery of sexualized female bodies created for mainstream heterosexual male sensibilities.

The art community in Syracuse have been growing at a fast rate thanks to Astria's influence and connections with the art world. This scuffle throws the growth back 10 steps in making Syracuse a city with a quality art community.

The backlash has succeeded in receiving many supporters for Astria as well as a blog, titled "Syracuse Loses Again." From there you can read the many many letters and press coverage about the situation. You can even read the obvious art censorship argument between Astria and Jeffrey Hoone in their email exchanges. Another interesting blog is Keep Astria.

The City of Syracuse Common Council appointed Astria Suparak to the Public Arts Commission for the period of three years, effective October 1, 2007. See The Post Standard Article.

Here is a flickr set of the COME On exhibit~

Source:
http://thejane.blogspot.com/

K. Erik Ino/Peterson

2007-09-30T02:11:00.000-04:00

Dear Mr. Hoone -

My name is K. Erik Ino/Peterson. I am a video artist, musician, and--by profession--a freelance graphic designer. I am currently finishing up my BFA in Art Video through Syracuse University/University College. I have been in Syracuse for 6 years and have been enrolled as a student for nearly 5. Changing majors 3 times does not make for a quick undergraduate career. However, it has given me a good opportunity to experience and embrace the city of Syracuse and what it has to offer.

In my 6 year stay in the Salt City I have always felt like the arts were under-appreciated. So, when I was brought in as a freelance videographer for the CMAC, in the summer of 2006, I was surprised to learn that things were about to change. I had met and interviewed the illustrious Astria Suparak and knew something great was about to happen. For the first time in 5 years, I was excited to be in Syracuse. For the first time, I felt like Syracuse was the place to be.

I'm writing to express my concern regarding the Warehouse Gallery and the supposed personnel changes. For the last year and a half I have been able to enjoy a truly diverse experience in the arts, via Astria Suparak and the events at the Warehouse Gallery, and I do not want that to end. There has been an interest in the arts, by both permanent Syracuse residents and the SU student body. Something currently exists in Syracuse, that has not existed since Bill Viola or Nam June Paik.

I firmly believe that we owe this to Astria Suparak. She has proven her merit, with shows like Come On: Desire Under..., Faux Natural, and Embracing Winter. Astria made these events happen... and these events are what made Syracuse happenin'! Astria has given the scene a new and important presence... but it needs to be cultivated. If she were to leave now, the scene would wither back to what it used to be and the arts would be dead!

Mr. Hoone... We need to foster the arts in Syracuse; we need Astria Suparak.

Thank you for your time.

Sincerely,
K. Erik Ino/Peterson
Syracuse, NY

Gail Hoffman

2007-09-29T19:16:00.001-04:00

Domenic Iacono
Director
SUArt Galleries

Dear Domenic,

After listening to the issues regarding Astria Suparak's firing as Curator of the Warehouse Gallery, and having been given no evidence from the university for her dismissal despite the outstanding job she has done for the arts community, I must withdraw my submission of work in this year's Faculty Show. Since the SUArt Galleries is part of CMAC and under the leadership of Jeffrey Hoone who has fired Astria, I cannot be a part of this show.

I have shown in the Faculty Show for eleven years, have always had great respect for the work of my colleagues at the Lowe Art Gallery and you all at the SUArt Galleries, so it with great regret and disappointment that I write to you.

Sincerely,

Gail Hoffman
Assistant Professor
Departments of Foundation and
Transmedia
College of Visual and Performing Arts

Lonnie Chu: Oct 1 Support and Coffee

2007-09-29T19:11:00.000-04:00

Hello, friends and neighbors,

This coming Monday, Oct. 1 at 9:30 a.m., a bunch of people will gather in front of City Hall to meet each other, drink some delicious coffee donated by Cafe Kubal (Eastwood) and show support for Astria Suparak, the curator of the Warehouse Gallery who was recently fired for vague reasons. There has been a tremendous outpouring of support for her and a unified expression of admiration for her work, from all over the United States and even abroad, as well as outrage that Syracuse could lose her so quickly. She's only been here a year, yet there's been an explosion of public art in that time and her showings are bringing *positive* international attention to Syracuse and upstate in general. To lose her puts us in worse shape than we were in before she was here, for even though it was just one person at the university who fired her, booting such a professional and talented woman reflects on an entire city that until this year has been seen as somewhat of a cultural backwater.

Fortunately and laudably, the City of Syracuse has gone through with a previously expected appointment of Astria, with others, to the Public Arts Commission. There will be a reception put on by the City at 10:00 a.m. inside City Hall so that the public might meet all of the members of the Public Arts Commission.

http://blog.syracuse.com/news/2007/09/dismissed_warehouse_curator_na.html

You can learn more about the issues at http://keepastria.com and at http://syracuse-warehouse.blogspot.com/. And if you can't make it at 9:30 Monday morning, please send in a warm body - or anyone you know who supports the arts in Syracuse.

I hope I can see some of you then!

Lonnie

--
Lonnie Chu

Party for Astria -- Delevan Center

2007-09-28T23:43:00.000-04:00

PLEASE PASS THIS ON

Dear friends and fellow art lovers,

We will be hosting a party for Astria Suparak to celebrate the
tremendous outpouring of support the Syracuse arts community has
shown in recent weeks and to show our continuing support for Astria.
Today, Friday Sept. 28th, was Astria's last day. Although we may not
have been successful in changing the minds of Jeff Hoone and Syracuse
University, we did join together in an unprecedented manner to voice
that edgy contemporary art and the former Director of The Warehouse
Gallery are important to us. That deserves a celebration. Please
join us to honor what Astria Suparak has accomplished over her past
year in Syracuse and how we have all come together to support her on
this occasion.

WHAT: Party for Astria Suparak
WHERE: Delavan Art Gallery
WHEN: This Thursday, October 4 from 6-8 p.m.

See you there!

-Courtney Rile, Bill Delavan and Caroline Szozda of Delavan Art Gallery
315.425.7500
www.delavanartgallery.com

Rebekah Scotland

2007-09-28T23:32:00.001-04:00

Although I may be too late in writing this letter, I would like to show my support for this tremendous effort to keep Astria Suparak from being wrongly dismissed. While visiting Syracuse this past week, I was disgusted to learn about this entire mess. I met Astria in 2006, while helping her set up a traveling video show that she had curated and brought to Spark. It was our biggest SparkVideo event of the semester, and it met all of my high expectations. Not only did she show a diverse array of videos, but Astria engaged the audience in many fun and unique ways. It was obvious how much energy and effort she put into her work, and I came away from that experience thinking how great it was to see a curator so dedicated to stepping beyond the traditional boundaries of the curatorial role. I was delighted at the chance to see her in action. I feel sad for all those students who won't have that opportunity.

As a former Art Video major, I was thrilled to learn that Astria had become such a big part of the Syracuse Art Community. During my time at Syracuse it was obvious how much we needed more female perspectives in the art community, and more people willing to take risks to revolutionize our art program. It's a real shame that we're going to lose such an awesome voice, just so that these few decision-makers can remain rooted in oppressive traditions and the status quo. Have any of these decision-makers considered the consequences of this?

Rebekah Scotland
2006 graduate of Syracuse University, College of Visual and Performing Arts

Alex Villar

2007-09-28T23:27:00.001-04:00

I am shocked over the news of Astria Suparak's dismissal. The news were especially distressing in view of the growing credibility of The Warehouse Gallery at Syracuse University in international art circuits. Customarily, university art galleries are a quiet business, largely occluded from broader visibility because of the often disconnected scope of their mandates. I believe Astria is doing an excellent job at approximating the programming at The Warehouse Gallery to current debates in the contemporary worlds of art and culture. She took the necessary bold steps to attain the independent and characteristic voice for The Warehouse Gallery that are so necessary to establish the relevance of a cultural art space. Her work has only began; to interrupt it now at such an early stage might compromise the reputation of the space and rob The Warehouse Gallery audiences of everything that was yet to come.

Alex Villar, New York based artist

Mike Everleth -- Bad Lit

2007-09-28T12:56:00.000-04:00

Astria Suparak: Out!

It looks as if Friday, Sept. 28 will be superstar curator Astria Suparak’s last day at the Warehouse Gallery in Syracuse, NY. She was officially canned on Sept. 7 and given until the end of the month to vacate. The reason for her dismissal being given by Jeffrey Hoone, the executive director of the Coalition of Museums and Art Centers at Syracuse University, was due to a restructuring of the gallery’s leadership. Yeah, “restructuring” Astria right out the door. Hoone also says he’s unable to give further details since it’s all a very confidential matter.

Despite massive protests, including a several hundred citizen walk out Sept. 20 and many, many emails and letters written, which are chronicled on the Syracuse Loses Again blog, it appears that Hoone isn’t budging and Astria is abruptly out of a job. Despite Hoone’s extra-super-duper secret restructuring explanation, many feel Astria got the boot over the controversial nature of her latest gallery show, “COME ON: Desire Under the Female Gaze,” a program that explores the discrepancy between the acceptable male subjugation of the female form in art and the overwhelming lack of female perspectives on passive male sexuality.

The Syracuse Loses Again blog has also posted up a fascinating email exchange between Astria and Hoone that was provided by Tom Sherman, a professor of Art Video at SU (Art Video? Sounds like an awesome class…) In the emails, Hoone comes across as extremely apprehensive of the “Female Gaze” show and totally worried about a massive community backlash. Now, the community backlash is regarding his canning of Astria.

At the same time as the firing, the Syracuse Common Council has unanamously appointed Astria to the city’s Public Arts Commission. However, this is just a volunteer position and not a real job. Astria’s staying in Syracuse is dependent on whether or not she can find a similar job at the university or in the city.

I hope somebody does something in an official capacity, whether it’s staying at the Warehouse Gallery or at the university. I haven’t corresponded with Astria personally in a year or more, but she was always very gracious and nice after I covered some of her curated events at the New York Underground Film Festival. She deserves better than this.

Source:
http://www.badlit.com/?p=683

Jan Pottie -- REPOST

2007-09-28T00:07:00.000-04:00

To Whom it May Concern

I would like to comment on the emails written by Jeffrey Hoone and Matthew Snyder. Lisa Jong-Soon Goodin has publicly released two emails from these men, though they were not sent to her. She is releasing these letters on behalf of Jeff Hoone, stating:

it's important to post this email because it shows that when some administrators objected to the exhibit,Jeff defended it...

What's going on here? When some administrators objected to the exhibit? Does Jeff Hoone feel that he has been abandoned by the administration and must implicate them in the Warehouse fiasco?

Well, he may have a point. The email from Mathew Snyder to Jeff Hoone is instructive because it implicates the Chancellor, her Cabinet and the office of Public Affairs in the Warehouse fiasco and also indicates just how out of touch they are from their community (young women now fill the classrooms at SU):

Late last week, members of the Chancellor's Cabinet and Public Affairs office raised questions about the exhibit....I understand that Tom Walsh, Eric Spina, Barry Wells, and Kevin Quinn have been discussing the issue at the Chancellor's request.

Why on earth would the chancellor ask a group of 4 men to "discuss" a show about female sexual desire....how many men would kill for this job!

Can you see them, four grown men sitting around discussing the sexuality of young women, discussing and also pronouncing on the depiction of female sexual desire? They recommended a disclaimer, warning of the content and pulled promotional materials from student packets.

The paternalism is stunning.

The Chancellor, her cabinet and Jeff Hoone are clearly out of touch with the community of students and faculty they serve. The evidence of this has been glaringly obvious from the beginning of this fiasco. For example: canceling the Yes Men, apparently unaware of the degree of faculty involvement and financial investment in this show; firing Astria Suparak, apparently unaware of the amount and depth of support she had generated from many communities in her first year in Syracuse.

Research, research, research. How did they get it so wrong? How did they come to be so distant from the community they serve? All they had to do was ask...

The degree to which the Chancellor and the men of the Chancellor's Cabinet and Public Affairs, are out of touch with their young female students is again underlined in Jeff's letter: I understand that there are plans to have counselors available at the Warehouse this Saturday in case students who view the exhibition may be so inclined to seek our their comfort.

This assumption that young women are too stupid to interpret long black ballons, sagging against a white wall is demeaning for women of all ages. Did any of the Chancellor's Cabinet actually see the show?

Lisa Soon-Jong Goodin released two letters. In the first letter Jeff Hoone defends the content and extols the virtue of Come On:Desire Under the Female Gaze. I would like to point out that, in this defense Hoone, is simply reiterating Suparak's contextualization of the show. In other communication Jeff Hoone disparages the show, finding the images offensive to sophisticated art lovers. How many opposing opinions does Jeff Hoone hold?

Astria Suparak's performance has been exemplary. The Chancellor, her Cabinet, the Office of Public Affairs, Human Resources and Jeffrey Hoone have all behaved so very badly.

To add insult to injury this ensconced group of adults is attempting to cover its gross failure to do any homework by insinuating that this young woman is guilty of some nefarious evil doing known as "personnell issues."

Astria Suparak is not permitted to know what she is charged with, and is therefore not allowed to defend herself. Doesn't this violate the Constitution of the United States?

I am so very ashamed of Syracuse University.

Jan Pottie
Sumner Ave.
Syracuse

Julie Zando-Dennis

2007-09-28T00:02:00.001-04:00

Dear Chancellor Cantor,

I am writing to add my voice to the outpouring of protest against the Coalition of Museums and Art Centers ’ (CMAC) plans to remove Astria Suparak from her post as Director of the University-affiliated Warehouse Gallery.

Like thousands of my generation, I left an economically-depressed Northern New York in the 1980’s to seek better job opportunities and adventure elsewhere. In the course of my life, I have lived throughout the United States , and presently live in Brooklyn , New York . I pass through Syracuse regularly and am aware of, and applaud, developments in the city that indicate visionary leadership, such as the opening of the William F. Walsh Regional Transportation Center and the renovation of Armory Square . While the city has taken important steps towards putting its infrastructure in place, it remains unclear whether Syracuse can attract and retain the young talent that will ultimately drive its growth.

This summer, I heard that Syracuse University had hired Ms. Suparak to direct a newly renovated warehouse gallery in the city. As an artist and former media art programmer, I knew of Ms. Suparak’s thoughtful, intelligent, and energetic work. I was not at all surprised to learn that in a short time she had successfully developed the gallery into a regional powerhouse with a growing reputation.

In my view, leadership of Ms. Suparak’s caliber is what Syracuse needs to attract artists and professionals to the Syracuse area. As a nationally respected curator of visual and media art, her hiring signaled to me that Syracuse University recognized the role an active and engaged contemporary arts community can play in urban redevelopment plans.

Thus, I was greatly concerned when I learned that Ms. Suparak was unceremoniously removed from her post at Warehouse Gallery. From the letters posted on the web, it appears that many people found inspiration and friendship at the Warehouse Gallery. That energy cannot be attributed to bricks and mortar, but rather is due to Ms. Suparak’s enormous talents. It’s a shame the city will lose her.

Syracuse University owes Ms. Suparak, her supporters, and the city of Syracuse a cogent and satisfactory explanation for this unpopular decision. Ms. Suparak is held in high esteem by her colleagues and constituencies, both locally and nationally, because of her outstanding professionalism and enthusiastic personal style. Thus, her abrupt removal, without explanation, appears arbitrary and capricious. Mr. Jeffrey Hoones, the Executive Director of CMAC, has posted a letter on www.syracuse-warehouse.blogspot.com that purports to justify his decision to replace Ms. Suparak. However, the letter’s inscrutable and empty doublespeak does little to assuage the genuine concerns expressed by the Syracuse and national art community.

In sum, the University has not demonstrated that Ms. Suparak is undeserving of her position as Director of the Warehouse Gallery, or that the Gallery would benefit from a change of direction. Indeed, it appears that Ms. Suparak’s tenure at the gallery has been a resounding success. Thus, it is my opinion that the University must reinstate Ms. Suparak, not only for the benefit of the Gallery, but also because such a move will contribute greatly to the growth and reinvigoration of the city.

Very Truly Yours,

Julie Zando-Dennis , Esq.

Joanna Spitzner

2007-09-28T00:00:00.000-04:00

September 27, 2007

Domenic Iacono

Director
SU Art Galleries

Dear Domenic,

Because of the actions of your supervisor and the poor leadership of CMAC, I am will not participate in this year’s faculty exhibition. I do not wish to be a part of an institution that does not value the judgment of the VPA faculty or its constituents.

Feel free to publish this letter in the catalog in lieu of an image of my work.

Sincerely,

Joanna Spitzner
Assistant Professor
Department of Foundation
College of Visual and Performing Arts

Sherman: Hoone & Suparak

2007-09-27T23:42:00.000-04:00

Dear Chancellor Cantor, Vice-Chancellor Spina:

Jeffrey Hoone is circulating his "defense" of the COME ON exhibition to Matthew R. Snyder, Director of Communications and Media Relations Syracuse University Division of Student Affairs, sent Aug. 22, 2007. Hoone’s release of these e-mails reveals that University officials were uptight about the exhibition and had begun their efforts to censor Suparak.

In his ‘defense’ to Snyder, Hoone recycles the words of Astria Suparak, used in her defense of the exhibition Hoone had demanded of her one month earlier.

Note in the correspondence below that Hoone makes Suparak justify her exhibition, down to artworks chosen and the title of the show. Hoone does this one month before the exhibition's opening date, subsequently delaying all production of the exhibition; this after he announced to The Warehouse Gallery staff that they will report directly to Domenic Iacono, rather than to him (the beginning of the ‘restructuring’ Hoone deemed necessary to exert his control over the Warehouse Gallery).

I offer this correspondence between Hoone and Suparak to point out that the University was involved in censoring Suparak through the actions of her supervisor, Jeffrey Hoone, the Executive Director of CMAC. As has been pointed out repeatedly, CMAC has no board of directors, nor has CMAC any by-laws governing the behavior of its executive. In this case Hoone was obstructing Suparak’s efforts to mount a show he characterized as “weak” in his self-appointed role of Uber-curator. This correspondence also offers a glimpse of Hoone’s management style.

Please read the correspondence below. After considering this documentation of Hoone and Suparak’s discourse over “the Female Gaze show” (COME ON: desire under the female gaze), it should become clear that the University has been involved in censoring Astria Suparak through the unchecked administrative actions of Jeffrey Hoone. I ask that the Administration of SU reverse Hoone’s decision to dismiss Ms. Suparak from the Warehouse Gallery and Syracuse University.

Respectfully,

Tom Sherman

Professor, Art Video

Department of Transmedia

Syracuse University

Addenda:

In chronological order:

-----Original Message-----
From: Jeffrey Joseph Hoone [mailto:jjhoone@syr.edu]
Sent: Thu 7/19/2007 11:23 PM
To: director@thewarehousegallery.org
Cc: Domenic Iacono
Subject: RE: Drawings by Juliet Jacobson

Astria,

We are going to have to do quite a bit of work to provide a context
and rationalization for exhibiting these pieces. Because she is a
young artist right out of graduate school, and that the work will be
clearly offensive to a good number of people, won't make it any
easier, or wether it is a risk worth taking.

These images will be a challenge for sophistacated art lovers, off
limits to any school groups, and certainily seen as controversial by
many. In making selections for this three person exhibition please let
me know how you considered the challenges of including these images
within the context of the gallery's goal of "engaging the community in
important issues." Your response should include a statement of
curatorial justification, and how the works are indespensible in a
three-person exhibition; plans for contextualizing the work and
presenting it to the media, and alerting gallery goers about the
explicit nature of the work. I would like to receive these materials
by Monday and then to meet with Domenic to dicuss how to move forward.

At that time we can also discuss the exhibition title to help clarify
and contextualize the exhibition. It is unfortunate that you chose to
send out the title of the exhibition before we concluded our
discussions about the wording. This is not how I had hoped to start
off the new year, but I look forward to receiving the materials I
requested and moving forward. Also please send the materials to
Domenic.

Jeff

Jeffrey Hoone
Executive Director Light Work
Executive Director Coalition of Museum and Art Centers (CMAC)
Syracuse University
316 Waverly Avenue
Syracuse, New York 13244

(315) 443-1300
jjhoone@syr.edu
www.lightwork.org
http://cmac.syr.edu/

-----Original Message-----
From: Astria Suparak
Sent: Sat 7/21/2007 12:42 PM
To: Jeffrey Joseph Hoone; director@thewarehousegallery.org
Cc: Domenic Iacono
Subject: Materials on the next exhibition at The Warehouse Gallery

Jeff and Domenic,

Attached you will find the written materials requested by Jeff.

I would like to meet on Tuesday afternoon to discuss final details for
the exhibition title.

Astria Suparak
Director, The Warehouse Gallery at Syracuse University
350 West Fayette St, Syracuse, NY 13202 USA
T: 315-443-6450 F: 315-443-6494
http://www.thewarehousegallery.org

The Warehouse Gallery's next exhibition, which I will refer to as The Female Gaze in this text, deals with the significant issues of gender and sexuality. Every day problematic imagery related to these areas are publicly displayed on television and in advertising and the news. In university environments, entire programs and courses revolve around these topics. Yet in Central New York, homosexual sex and explicit female desire are treated almost like taboos and are barely visible. These issues are important markers of our time.

The intention of this exhibition is not to shock people. It is to provide a springboard for discussion, to reveal what is not represented in popular culture, and to help balance out the overbearing imagery created by and for heterosexual males.

In the simplest understanding, this exhibition offers a reversal of what we see all the time: the sexualized, "available" female body. Nude or nearly nude female figures are witnessed daily by all age groups, across the world, via TV commercials, weekly newspapers and magazine ads, internet pop-ups, car adornments, and other outlets of mass culture. Even in the narrowest conception of art, or in the most classical reading of art history, the naked female form created for
male viewers reigns. A modern example: SU Art Galleries recently exhibited a painting by Mel Ramos depicting a heavily-bosomed nude woman behind a stag, playing on the slang term for breasts, "rack". The Female Gaze may be shocking to some simply because it provides images which are not commonly available. Each of us must endure depictions of the sexualized, passive female regularly. But the sexualized, passive male is suppressed, and suspiciously absent. The
male gaze viewing females as sex objects is expected and normalized. But the female gaze viewing males as sex objects is still considered deviant in 2007. This is one reason why using the activated term, "sexualizing" in the title of this exhibition is important; It focuses attention on the female enacting the sexual advance.

Within the downtown Syracuse community, three blocks from The Warehouse Gallery, are a gay bar (Rain), a gay dance club (Trexx), and a gay spa (Clinton St. Spa) that have no windows into their spaces, unlike their heterosexual counterparts. There isn't even visible signage on the street, in one case. The homosexual lifestyle continues to be treated as something that needs to be hidden, yet every day we are forced to observe expressions of heterosexuality. In The Female
Gaze, the delicate drawings of Juliet Jacobson disclose what is not represented in the open, through her loving depictions of interracial, homosexual male lovers.

Including work by three artists in this exhibition allows a multitude of ideas, experiences, and perspectives on the topic of female sexuality, as viewed by women artists in their late 20s through mid 30s, encompassing Third-wave Feminism. This carefully considered selection includes diverse media, imagery, formats, and practices, without overcrowding the space needed to contemplate these issues.

Rachel Rampleman, originally from the South, exhibits a video interview with traditional framing and structure, describing the idolization of a man, the fantasy and anticipation leading up to a
meeting, and the ensuing disappointment in the desired object's sexual skills. On view from Canadian Jo-Anne Balcaen are text based works, such as juxtaposed dictionary definitions which question the gendering of and the cultural baggage assigned to romantic phrases. Balcaen also
displays minimalist, abstract sculpture created out of balloons which points to the commercialization of courtship, the expectations of enjoyment, and the temporality of emotions like happiness.

From the West Coast, Juliet Jacobson's drawings are the only works in this exhibition that visually or realistically portray the male body. I realize the subjects that Jacobson represents will be difficult for some people. In large part, this will be because homosexual lovemaking is not portrayed as frequently as is the heterosexual act. This will also be due to the poorly represented perspective of the female gaze. Jacobson's drawings are the most literal illustration of the curatorial idea that there is a dearth of articulated female desire and a lack of sexualized, passive male bodies in mass culture and in the arts. Significantly, these complex works also speak to other interests and ideas. In a symbol set strongly grounded in the history of art, these densely composed, finely rendered drawings meditate upon life, generation and creativity, fragility, intimacy, love, vanity, morality, identity, alienation, universality, nature, death, eternity, and many other rich topics deeply tied to art history, literature, and current, critical issues in Central New York and beyond.

This exhibition addresses the psychological, social, cultural, and political dimensions of female desire, subjectivity, and pleasure. The three artists chosen for The Female Gaze are integral to adequately address the complexity inherent in this subject matter, providing a variety in art viewing experiences for our visitors, yet still maintaining a cohesive exhibition experience. This exhibition has the potential to expose any latent sexism and homophobia in a community that is accustomed to viewing sexualized female bodies but not sexualized male bodies, and displays of heterosexual love, but not homosexual love.

The questions this exhibition raises are:

- Why is "slut" such a bad term, and "stud" a positive one?
(Or, why is female desire considered deviant, whereas male desire is expected and excused of good manners, under rhetoric like, "boys will be boys"?)

- Do women and men feel differently about sex?
(Or, is there an essentialist difference between male and female sexuality?)

- Why is violent imagery more acceptable than that of consensual, loving sex?

- What are the relations between love and sex, if any?

WAYS IN WHICH THE GALLERY WILL NOTIFY VISITORS OF THE EXPLICIT NATURE
OF THE WORK:

- In the title of the exhibition.
The title will include a term such as "Sexualizing" or "Sex" to clearly indicate this subject matter.

- In the imagery of the publicity materials.
The postcard design, large window banner, outdoor sign, and press release will include a detail from Jacobson's drawings that indicate there are nude males in sexual situations. These images will not reveal genitalia, but may include kissing and bare male chests. See attached image.

- In additional signage.
Placed in the front gallery foyer and at the back entrance, visitors will be greeted with a free-standing sign that reads:

Attention: This exhibition contains renderings of human anatomy and sexuality.

HOW WE WILL PRESENT THE EXHIBITION TO THE MEDIA:
. The press release, email announcements, and other publicity materials will indicate the graphic nature of the works and the importance and relevance of these issues in a society that considers itself equal opportunity, not sexist, not homophobic, and not racist.

. The work will be contextualized in the realms of mass media imagery, art history, feminism, and major contemporary art exhibitions like WACK! Art and the Feminist Revolution at the Geffen Contemporary at L.A.'s MOCA and Global Feminisms at the Brooklyn Museum.

OTHER ISSUES:

The work will be accompanied by labels about the artists' intentions.

Because we've had many school groups visit The Warehouse Gallery's exhibitions in the past and will continue to host them in the future, we do not find that having one exhibition in which young children cannot attend a detriment. On average, we host about two visits per exhibition by this age group.

We may consider putting together a teaching aid with one of the Syracuse University courses relevant to this exhibition:
. ETS 441 Studies in Psychological Theories of Representation
. SOC 400 Selected Topics: Politics of Sexuality
. SOC 305 Sociology of Sex and Gender
. CRS 614/WSP 615 Communication, Power, and Gender
. WSP/SOC 435 Sexual Politics
. WSP 449 Women in Art
. ETS 360 Reading Gender and Sexualities
. SOC 305 Sociology of Sex Roles
. Ann Demo, Assistant Professor, Department of Communication and Rhetorical Studies spoke to us last week about her Fall 2007 course on the female gaze, and its relation to this exhibition.

-----Original Message-----
From: Jeffrey Joseph Hoone
Sent: Monday, July 23, 2007 11:59 AM
To: Astria Suparak; director@thewarehousegallery.org
Cc: Domenic Iacono
Subject: RE: Materials on the next exhibition at The Warehouse Gallery

Astria,

Attached are my comments concerning the exhibition Aw C'mon:
Sexualizing the Female Gaze to be discussed at our meeting with
Domenic on Tuesday.

Jeff

Jeffrey Hoone
Executive Director Light Work
Executive Director Coalition of Museum and Art Centers (CMAC)
Syracuse University
316 Waverly Avenue
Syracuse, New York 13244

(315) 443-1300
jjhoone@syr.edu
www.lightwork.org
http://cmac.syr.edu/

[Attachment]

Astria,

Your description of the proposed exhibition “Aw, C’mon: Sexualizing the Female Gaze” at the Warehouse Gallery” lacks the clarity and curatorial focus necessary to engage the audience in the important and complex issues of gender, sexuality and female desire.

The subtitle of the exhibition suggests that the exhibition will attempt to examine sexual desire from a female perspective as a response to the long history in art and culture of representing the female body as the object of the male gaze. Your description of the curatorial premise of the exhibition seems to want to encompass several topics relating to sexual representation. Sometimes you state that the topic is female sexuality and then also include male homosexual sex and rationale about gay bars without windows in downtown Syracuse as a premise for the exhibition. It feels like you are trying to make a statement about a topic you find of interest and using the artists to make your point. This is a problematic curatorial practice that I have discussed with you previously with the Glam Rock exhibition proposal.

What I expect, and have stated on numerous occasions, is that sound curatorial practice begins and ends with the process of illuminating and providing a context for the artists work so that the audience is better able to understand and appreciate their contribution to the ongoing dialogue of contemporary art practice.

You state in your description of the exhibition that, “homosexual lovemaking is not portrayed as frequently as is the heterosexual act. This will also be due to the poorly represented perspective of the female gaze. Jacobson's drawings are the most literal illustration of the curatorial idea that there is a dearth of articulated female desire and a lack of sexualized, passive male bodies in mass culture and in the arts.” I’m not sure how the lack of representation of homosexual lovemaking in art and culture is due to the poor representation of the female gaze. But you also include a laundry list of issues that you hope might also be raised by Jacobson’s work in particular, which furthers stretches the credibility of the intentions and capability of the exhibition. I’m also not sure how “Balancing out the overbearing imagery created by and for heterosexual males,” by countering it with images made by women viewing males as sex objects, accomplishes very much. It seems more like equal opportunity exploitation rather than an opportunity for a complex examination of desire and sexuality.

I also find it problematic that you use the painting by Mel Ramos included in an exhibition at the SUArt Galleries as an example of how “the female form created for male viewers reigns.” The painting was included in an exhibition of POP ART from the Galleries’ collection. The intent of many of the artists in the exhibition is to comment on and critique popular culture. Within that context Ramos’s painting can be viewed as critiquing the historical view of women as sex objects, or in the least raising those questions in the viewers mind. That you used this painting as the only example of how you see “the naked female form created for the male viewers reigns” is a very narrow perspective. I actually could see this painting included in an exhibition about the female gaze to create a more complex dialogue about sexual representation.

You mention that the exhibition will be contextualized within the realm of two recent exhibitions WACK! Art and the Feminist Revolution, and Global Feminisms. WACK ART was an historical exhibition ending in 1985 and both exhibitions were much larger and comprehensive that what is proposed. There are many artists included in Global Feminisms that could have been included in an exhibition here to introduce the CNY audience to important artists dealing with issues of gender, sexuality and representation including Catherine Opie, Kara Walker, Sam Taylor-Wood and others. You mention that the three artists you selected for the exhibition are all in their late 20s to early 30s and represent “Third –Wave Feminism” yet never elaborate on what that might mean. If indeed this is a movement or informed contemporary art practice this could be explored as a unifying theme for an exhibition. The current selection of the three artists and your multiple explanations of the variety of topics that unify their work is confusing and disjointed.

In describing how the exhibition will be presented to the public and the media you state that none of the public material including banners, outdoor signage, invitations and press images will contain genitalia. Yet it looks like there is exposed genitalia in the mock-up for the postcard you intend to send out as an announcement for the exhibition. This is clearly not something we can send out in the mail as a postcard.

In developing the mission and vision for the Warehouse Gallery as a space to exhibit contemporary art that engages the public in a dialogue about important issues of our life and times it would be expected that we address issues, idea, and images that would at times be challenging for the audience. In order to accomplish this successfully it is important that we approach such ideas and imagery with sound reasoning, thoughtful interpretation, and adequate context. I don’t feel that this has been accomplished for this exhibition and I look forward to meeting with you and Domenic on Tuesday to address these concerns.

Jeff

-----Original Message-----
From: Astria Suparak
Sent: Monday, July 23, 2007 1:33 PM
To: Jeffrey Joseph Hoone; Astria
Cc: Domenic Iacono; Frank Olive
Subject: Meeting Tuesday at TWG, 2pm?

Hello Domenic, Jeff, and Frank,

Are you able to meet at 2pm on Tuesday at the Warehouse Community Classroom?

Jeff, in order for me to better answer your questions, I need to know
whether you are asking me to defend the exhibition of these works at
this moment for you, or for the presentation of the exhibition to the
community.

The gallery has made agreements and arrangements with the artists to
exhibit their work beginning August 23rd. Other University departments
have booked artist lectures.

I am fully invested in this exhibition happening. We need to figure
out how to work together to make this work for all of us involved.

We can discuss these issues tomorrow at the meeting, or you can
respond via email.

Astria Suparak
Director, The Warehouse Gallery
350 West Fayette St, Syracuse, NY 13202 USA
T: 315-443-6450 F: 315-443-6494
http://www.thewarehousegallery.org

-----Original Message-----
From: Jeffrey Joseph Hoone
Sent: Mon 7/23/2007 2:17 PM
To: Astria Suparak; 'Astria'
Cc: Domenic Iacono; 'Frank Olive'
Subject: RE: Meeting Tuesday at TWG, 2pm?

Astria,

Presenting exhibitions of controversial work is challenging under the
best of circumstances. Those best circumstances include strong
curatorial justification, a reasoned contextual framework, and
compelling interpretive materials and programs. As I have stated "The
Female Gaze" is a weak and seriously flawed exhibition that also
contains controversial work that we will have to defend from this
point of weakness.

What we need to discuss tomorrow are options that include.

1. Cancelling or postponing the exhibition.

2. Moving forward with an exhibition that even despite the
controversial nature of some of the work is a curatorial thin
exhibition.

3. Changes or improvements that can be made in a short period of time
to improve the quality of the exhibition, its contextual framework,
and it interpretive materials and programs.

There are certainly problems with all three options and I look forward
to discussing them tomorrow.

Jeff

Zoe Beloff

2007-09-27T22:28:00.000-04:00

Dear Jeffrey Hoone,

Just to introduce myself. I am an Assistant Professor at Queens College in New York. I am also a filmmaker and artist. The reason I am writing to you is that I just heard that Astria Suparak has just been dismissed from her position at the Warehouse Gallery and that you are personally responsible for this dismissal.

Frankly I was shocked to hear this. I have known Astria in her capacity as curator both of video and of art for many years now. She is a really interesting, lively and motivated young arts professional. Clearly she was raising the profile of Syracuse in the arts community all over this country. She was doing important work. I would have thought that you would applaud Astria not dismissed her.

From a purely selfish perspective I was just about to contact her and ask if she might be interested in looking at a new body of work I am completing. In light of what has just happened I wouldn't consider contacting the Warehouse gallery.

I sincerely ask that you reconsider and reinstate Astria Surparak,

Yours truly,

Zoe Beloff

http://www.zoebeloff.com

"What CAN be shown CANNOT be said" L.W.

Ryan Tebo

2007-09-27T16:30:00.000-04:00

From Woody Allen’s Manhattan:

“-Has anybody read that Nazis are gonna march in New Jersey, you know?
             
-We should go there, get some guys together.
                   
-Get some bricks and baseball bats and explain things to 'em.

-There was this devastating satirical piece on that in the Times. 
 
-Well, a satirical piece in the Times is one thing, but bricks get right
to the point.
 
-But biting satire is better that physical force.
 
-No, physical force is better with Nazis.  It's hard to satirize a guy
with shiny boots.”


Clearly Cantor and her PR machine is worried about being embarassed.
You know what’s more embarrassing than blog posting?  A large group of
shouting protestors marching from now until the end of Friday night, or
until Astria is reinstated as gallery director.
  

By the way, I am not stating in any way a literal or figural connection
between Cantor, SU admin or Mr. Hoone and Nazis (and, as a pacifist,
I am also clearly not advocating violence).  The point of using this
quote is to say that visible, physical protest is usually more effective
than intellectual argument, which distance has made me guilty of.


Ryan Tebo
Cambridge, MA

Ted Passon

2007-09-27T16:01:00.000-04:00

To Whom It May Concern,

I was completely surprised by recent news that Astria Suparak is being
forced out of her role as the director of the Warehouse Gallery. I have

known and admired Astria's curatorial abilities for years. I run the
Small Change film
screening series in Philadelphia and Astria has consistenly been one of
our most captivating and beloved re-ocurring guests.

When I learned that she was offered a position at the Warehouse Gallery
my first thought was not "how lucky" for Astria but, how smart and
progressive of the
Warehouse Gallery to snatch up such a daring and obviously talented
up-and-coming
art-world star.

If you pay the slightest bit of attention to Astria's track record it
is clear that she is extremely creative
and has enough resources in the art world to make really exciting
things happen. I think the exhibits
she has curated thus far have proven that immensely.

I think the Warehouse Gallery should strongly re-consider it's position
in forcing out such a dynamic visionary who is clearly bringing
Syracuse
some of the contemporary art world's most promising and exciting work
and making the city a relevant and even competitive figure in the
national
arts landscape.

Best,
ted passon
Philadelphia

http://www.tedpasson.com

Kipp Whittaker

2007-09-27T13:15:00.000-04:00

Dear Jeff,

From what I’ve gathered from the blog and other sources, the reason for this decision is based on a difference in vision for the aesthetic future of the Warehouse Gallery. What this situation has shown the community and faculty is that you have a different aesthetic vision than the majority of people who wish to support Astria's endeavors here in Syracuse. As many people have stressed there has been no concrete reason made public for this decision, not even for Astria who is the conduit of this frustrating mess. So this is the explanation the community receives, nothing more. At least hold a meeting between you and those who feel differently about this situation. Please stop hiding behind your vague script and give the faculty and the students some real reasons behind your decision. Help us to understand your position, because ultimately the position of the majority, the people who this decision directly effects, want Astria to continue being a positive asset to such a fragile territory. I hope this whole mess also shows everyone that an art scene is not just one person working their butt off to make things interesting, which I feel Astria has most certainly done. It requires participation from everyone to show support, especially when something as unfortunate as this happens.

Best,
Kipp

Press Anthology

2007-09-27T13:13:00.000-04:00

PRESS ABOUT JEFFREY HOONE OF CMAC AT SYRACUSE UNIVERSITY FIRING ASTRIA SUPARAK AT THE WAREHOUSE GALLERY
as of September 27, 2007

ARTINFO
Syracuse Gallery Director's Dismissal Sparks Protests, September 21, 2007

ARTFORUM
INTERNATIONAL NEWS: Gallery Director’s Dismissal Ignites Syracuse Protest, September 21, 2007

ARTNOW ONLINE.COM
THE MAG: BREAKING NEWS, September 21, 2007

ASSONANCE
R.I.P For Syracuse Arts Scene?, September 20, 2007

BAD LIT
Save Astria!, September 24, 2007

THE BUFFALO NEWS
ArtsBeat: Claims of Censorship in Syracuse, September 25, 2007

THE DAILY ORANGE
Art Directors Firing Stuns Syracuse, September 19, 2007

THE DAILY ORANGE
City offers commission seat to dismissed Warehouse art director, September 26, 2007

FLASH ART
Syracuse Arts Community Unwilling to Let Dismissed Curator Go, 18 September 07

HALLWALLS AND ELSEWHERE
Shitstorm Hits Syracuse!, September 21, 2007

NEW YORK TIMES
Arts, Briefly: Gallery Director’s Dismissal Ignites Syracuse Protest, September 21, 2007

PHOENIX AND SALAMANDER
Astria Suparak and the boundaries, September 21, 2007

SYRACUSE POST-STANDARD
Art community stunned by curator's termination: campaign of blogs, letters, e-mails in support of Astria Suparak has been launched, September 19, 2007
PRESS ABOUT JEFFREY HOONE OF CMAC AT SYRACUSE UNIVERSITY FIRING ASTRIA SUPARAK AT THE WAREHOUSE GALLERY (CONT’D)
as of September 27, 2007

SYRACUSE POST-STANDARD
Hundreds turn out to support curator, September 21, 2007
SYRACUSE POST-STANDARD
The Astria Suparak firing: Up or down for West Fayette?, September 21, 2007
SYRACUSE POST-STANDARD
Forum: Astria Suparak, 9/22/07

SYRACUSE POST-STANDARD
Yes Men cancel show at Warehouse, September 20, 2007

SYRACUSE POST-STANDARD
News: Dismissed Warehouse curator named to new Public Arts Commission, 9/24/2007

SYRACUSE POST-STANDARD
Editorial Cartoon: Widescreen Cammuso, Sunday, September 23, 2007:

MISCELLANEOUS

Conservatism is Alive and Well at Syracuse University, September 19, 2007

Did anyone really think Chancellor Cantor would stop at HillTV?

BLOG POST: CARDONI, September 21, 2007

BLOG COMMENTS: CARDONI, September 19, 2007 12:43 PM

PUBLIC STATEMENT BY THE YES MEN, September 22, 2007

ARTINFO

Syracuse Gallery Director's Dismissal Sparks Protests

September 21, 2007
www.artinfo.com/articles/story/25680/syracuse_gallery_directors_dismissal_sparks_protests

SYRACUSE, N.Y.—The dismissal of the director of an art gallery associated with Syracuse University has spurred protests from local art professionals and university personnel, reports the New York Times.

Astria Suparak, director of the Warehouse Gallery since its founding last July, was told on September 7 by Jeffrey Hoone, who oversees the university’s art centers, that her employment would be terminated effective September 30. She says she was not given a reason beyond the restructuring of the gallery, although she adds, “My aesthetic is very different from his. I’m interested in street art, riot grrl, and D.I.Y. aesthetics." University officials deny that the dismissal has anything to do with the exhibitions Suparak mounted, but people in the college town’s arts community believe otherwise. Many have protested her dismissal at syracuse-warehouse.blogspot.com.

ARTFORUM
INTERNATIONAL NEWS: Gallery Director’s Dismissal Ignites Syracuse Protest

09.21.07
http://artforum.com/news/#news15839

The ouster of the founding director of an art gallery overseen by Syracuse University has drawn protest from academics and art professionals there, reports Nadja Sayev for the New York Times. The director, Astria Suparak, of the Warehouse Gallery, said that Jeffrey Hoone, who oversees the university’s art centers, had told her on September 7 that she would be dismissed effective September 30. She said he did not give a reason beyond saying that the gallery was being restructured. Carole Brzozowski, the dean of [the College of Visual and Performing Arts at] Syracuse University, said the content of gallery shows organized by Suparak had nothing to do with her dismissal. But people in the arts at Syracuse, including university art teachers, asserted that the ouster was related to risk-taking or innovative exhibitions she had organized since becoming the director last year. Suparak said of Hoone: “My aesthetic is very different from his.”

Artnow Online.com
The MAG: Breaking News
September 21, 2007
www.artnowonline.com/Magazine.php

Syracuse's arts community has been rocked with news of the dismissal of Astria Suparak, director and curator of The Warehouse Gallery, which is affiliated with Syracuse University. A campaign of blog entries, letters, e-mails, and letters to the editor in support of Suparak has been launched.

Assonance

Blog: Food and Musings in Syracuse, New York

R.I.P For Syracuse Arts Scene?
September 20th, 2007

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

Bad Lit
Blog: Underground Film and Indie Comics

Save Astria!
September 24, 2007

Astria Suparak is a phenomenal film and art curator. I caught a couple of her exhibits at past New York Underground Film Festivals, but for the past year she’s been the Director of the Warehouse Gallery in Syracuse, NY. I was actually gearing up to write a post on her current exhibit “Come On: Desire Under the Female Gaze” and a special screening next month.

However, today I just learned that Astria is being forced out of her post. Not much reason has been given about her letting go, but apparently it seems extremely abrupt. She’ll be out of her job at the end of the month. A lot of grassroots Syracuse support to re-instate Astria has popped up, so if you want to learn more and maybe do something to help I’ll just direct you to two websites devoted to the cause: Keep Astria! and Syracuse Loses Again. Currently there’s no info on Astria’s official site, but check that out, too.

- Mike Everleth
Los Angeles, CA

The Buffalo News

ArtsBeat: Claims of Censorship in Syracuse

(Former curator Astria Suparak in the exhibition "Faux Naturel" at Syracuse University's Warehouse Gallery in 2006.)

September 25, 2007
By Colin Dabkowski
http://buffalonews.typepad.com/artsbeat/2007/09/claims-of-censo.html

There's a fiery situation bubbling up in Syracuse that should be of vital interest for anyone concerned about censorship in the arts. A young curator, Astria Suparak, has been fired by Syracuse University from her position as director of the Warehouse Gallery, a position to which she was named in 2006.

Accusations are being traded back and forth over the firing, which the university characterizes simply and cryptically as "a personnel issue." Hundreds of Suparak's supporters, however, claim that the firing was the result of her unconventional and risque curatorial approach, especially as it applies to the gallery's current show "COME ON: Desire Under The Female Gaze," which Suparak programmed. That the exhibition contains pictures of male genitalia and other potentially "unpleasant" elements is prompting many to speculate that Suparak was fired because her approach was rubbing university officials, like Chancellor Nancy Cantor and Jeffrey Hoone, director of the University's Coalition of Museum and Art Centers.

The most surprising thing about this case so far is the fact that hundreds of people have taken Suparak's side. They have, as is unimaginable for even larger issues in more apathetic communities, actually taken to the streets, as Suparak's supporters did on Sept. 20, to express their frustration over this incredibly unpopular move by the university.

As we've seen in Buffalo with the surprisingly vitriolic debate over the Albright-Knox Art Gallery's decision to sell off important parts of its treasured collection, when the integrity or quality of our artists and institutions comes into question, people rise up and get angry.

The best we can hope, for our community as well as Syracuse's, is that the powers that be listen intently and act according to the public they serve.
THE Daily Orange
Art Directors Firing Stuns Syracuse
Megan Saucke
September 19, 2007
The sudden firing of The Warehouse Gallery's director left many in the Syracuse University community shocked and dismayed.
For most, including the dismissed director, Astria Suparak, the decision was mysterious and unexpected.
"I haven't talked to one person who wasn't shocked and appalled," said Allison Fox, a College of Visual and Performing Arts graduate student.
Recent SU graduate and former intern at the gallery Katie Skelly called the decision "unthinkable. … I really can't imagine what she could have done to make them fire her."
Jeffrey Hoone, executive director of the Coalition of Museums and Art Centers, took responsibility for Suparak's firing.
"Nobody else made this decision for me," Hoone said. "I made this decision in consultation with the human resources department."
Suparak, who has worked as curator and director of the gallery since June 2006, was given notice this past week. Since then, e-mails have been flying back and forth among faculty, students, artists and curators from all across the country trying to figure out what Hoone's reasoning could be.
The future of an upcoming exhibit by The Yes Men, a group of activists, has been in question since the announcement of Suparak's termination.
The Warehouse Gallery Web site stated that the exhibit had been canceled. This provoked a public outcry, especially from professors who had invested in it financially and had already incorporated the exhibit into their curriculum.
Hoone announced that he plans to work to keep the exhibit on the schedule and that he never canceled it in the first place.
Suparak, however, believes otherwise.
"He definitely told me it was canceled, and I asked very specifically," Suparak said.
Either way, there is a question whether The Yes Men will even do the show anymore without Suparak as director.
"I don't think they're going to come here without Astria," says Joanna Spitzner, a professor in the Foundation program at VPA. Hoone "hasn't developed that relationship with them."
"This is a bad decision that's really going to have serious implications for the future of the city's cultural life and spirit," said Tom Sherman, a professor of video and media theory.
Sherman said the firing has more to do with the current exhibit, "COME ON: Desire Under the Female Gaze," than The Yes Men. He said the original title of the current show contained the word "feminist," and Hoone demanded it be censored out.
Suparak agreed that Hoone did not want the word in the title of the exhibit. She said she had to change the title two additional times because Hoone didn't like the revised title.
Hoone denied that there was any controversy surrounding the exhibit.
An informational postcard about the exhibit was withdrawn from the prepared packages for first-year students at the last minute. The decision to do so was made by members of the Chancellor's Cabinet and Office of Public Affairs.
Suparak said she was surprised by this action because the design had been specifically approved for the packages.
The question of why Suparak was fired has still not been directly answered.
"I was not given a reason when I was fired," Suparak said. "He told me that he had high standards, and this was really confusing to me because I really feel like I've done a lot with my time here."
Hoone said legally there are things he cannot disclose. When asked to be more specific about Suparak's shortcomings to justify his decision, he began discussing window displays.
"This is personnel change," Hoone said, "in order to get the best mix of people and resources together to do that."
Supporters in Syracuse and across the country have mobilized in support of Suparak. A letter-writing campaign started at www.syracuse-warehouse.blogspot.com.
Suparak's supporters said she has fulfilled the gallery's mission beyond expectations. VPA professor Spitzner said Suparak has an "ability to connect with really interesting artists."
In fact, some have moved to the Syracuse area because of their desire to work with Suparak.
"I was looking for a job already, but meeting her really convinced me to take the job at Syracuse," said Frank Olive, assistant director at The Warehouse Gallery
Students also said she was doing a great job in enriching their experiences.
"She's definitely making this place younger, hipper, which we need desperately," said Stephanie Koenig, a VPA graduate student.
The blog, which was created in response to her firing, has an outpouring of support from the community. Many posts have mentioned surprise that Chancellor Nancy Cantor has not come out in support of Suparak.
Jan Pottie, a personal friend of Suparak's, said Suparak is very involved with committees having to do with Syracuse's art community such as the Public Arts Task Force and the Public Arts Commission.
Those supporting Suparak said her dedication and involvement in bridging the gap between the university and the downtown community runs parallel to Cantor's own vision of the Connective Corridor.
"Astria is organized, conscientious and precise," Pottie said. "But what really sets her apart is that she treats every exhibition as a work of art in and of itself, often adding elements of her own to enhance the experience of the audience."
"Imagine Syracuse actually has a good football team for once, and we have a really good coach, and then suddenly that coach is fired," gallery intern Skelly said.
"Clearly what The Warehouse Gallery has been to this community has been very active and dynamic and valuable and that is completely recognized," Ann Clarke, VPA associate dean, said.
The overwhelming support for Suparak has not made Hoone doubt his decision, however unpopular.
"I feel very confident in the decision," he said.
Suparak, on the other hand, is devastated by the decision.
"I had been working on the next two years of programming, and that was very exciting for me," she said. "It's too bad that everything's been canceled by what seems to be the position of one person."

THE DAILY ORANGE
City offers commission seat to dismissed Warehouse art director
By: Megan Saucke, Posted: 9/26/07
Astria Suparak's last day as director of The Warehouse Gallery will be Friday, but she might still play a significant role in the Syracuse art scene.

The Syracuse Common Council voted unanimously Monday to appoint Suparak to the city's Public Arts Commission. Earlier this month, she was dismissed from her position at the gallery.

"Her appointment legislation was actually done before her being let go," said Ryan McMahon, Syracuse common councilor. "She still has something to bring to the art community, so we thought that it was appropriate to nominate her."

While Suparak said she would like to take part in the 11-member volunteer commission, she is not sure if she will be able to stay in Syracuse.

Jeffrey Hoone, executive director of the Coalition of Museums and Art Centers at Syracuse University, took sole responsibility for dismissing Suparak on Sept. 7. He said firing Suparak is a part of restructuring the gallery's leadership, and that further details are confidential.

The Yes Men, a group of satirical imposters, whose act at the gallery was canceled earlier this month, said it will not exhibit at the gallery without Suparak.

"It's an honor to be respected by the city even if the university isn't going to," Suparak said Tuesday. She said the Public Arts Commission is an "important step" for the city of Syracuse.

The commission is responsible for creating a public art master plan "to enrich the visual and aesthetic environment of spaces within the City of Syracuse that are in some way accessible to the public," according to the Public Art Ordinance.

"It's clear that the city thinks Astria is important, and if the university doesn't make every effort to keep her here, they're making a big mistake," said Joanna Spitzner, a professor in the College of Visual and Performing Arts.

Suparak said she is waiting to see if the university will reinstate her. Failing to do so would be to "completely ignore the international art community and the community and its faculty, students, etc."

"I really don't know what the future holds for me. I've been trying to retain my position as director," she said. "If I can get a similar job with enough resources and staff to make an impact and make a difference, I would like to stay."

SU's decision

Despite receiving dozens of e-mails protesting the decision, Cantor continued her support of Hoone's decision to dismiss Suparak.

"This is a personnel decision and my role in that case is to make sure it was handled in an appropriate manner through our human resources department," Cantor said in an interview. "I assured myself that indeed there had been a process in place, and it had gone through appropriate channels."

Tom Sherman, professor of video and media theory, said as head of the gallery, Suparak was in line with the university's mission.

"In her job as a curator, she really did go out into the city and build bridges to the city like the university always talks about building," Sherman said.

Both Cantor and Hoone said the firing had nothing to do with censorship. But critics have raised questions concerning an exhibit called "COME ON: Desire under the female gaze," which is currently on display.

"This is specifically about working relationships in The Warehouse Gallery and restructuring The Warehouse Gallery going forth," Cantor said.

In mid-August, Hoone received an e-mail representing Cantor's cabinet that raised questions about the timing of the exhibit. In the e-mail, Matthew Snyder, director of communications and media relations for the division of student affairs, told Hoone that ads for the exhibit would be taken out of a packet given to incoming freshmen.

Hoone provided the e-mail to The Daily Orange on Tuesday after declining an interview.

Hoone always defended the decision to bring "COME ON" to the gallery, Cantor said, which features erotic sketches of men and women and exposure to genitals.

In his response to Snyder, Hoone wrote that the "work responds to our daily barrage of images that objectify young girls and women in the media. This is an issue that is very relevant to our student population and is consistent with our mission as an institution."

About 400 people attended the exhibit's opening on Sept. 20.

The Yes Men

The Yes Men, a group originally scheduled to come to The Warehouse from November to January, confirmed it will not exhibit without Suparak as the gallery's director.

"Astria was putting in the work to make up for the time that we didn't have," said Mike Bonanno, the group's co-founder. "So once she was gone, there was no way that we could expect to be able to do the show."

The act, which is controversial for its anti-capitalist statements, was canceled earlier this month, according to The Warehouse's Web site. Hoone said he didn't cancel the show and still wants the group to come.

Bonanno and Andy Bichlbaum founded The Yes Men, currently based in New York City, in 1999.

The act wasn't able to attend the Seattle protest against the World Trade Organization, so it created a satirical Web site. When the site was mistaken for the real thing, it got invited to speak at conferences.

The Yes Men have since made many appearances impersonating people in power such as Halliburton executives and other CEOs. Bichlbaum describes it as "dramatizing the criminality that goes on."

"Students really connect with the issues that they're calling attention to and also the way they do it because it's fun, it's playful," professor Spitzner said. "But it makes you really think a lot about our society and the role that corporations play in it."

© Copyright 2007 The Daily Orange
Flash Art:
THE WORLD’S LEADING ART MAGAZINE

Syracuse Arts Community Unwilling to Let Dismissed Curator Go

18 September 07
www.flashartonline.com

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.

HALLWALLS AND ELSEWHERE
Blog: the coming week's events at hallwalls contemporary arts center, buffalo, ny; other local listings; sundry filler material
Shitstorm Hits Syracuse!

September 21, 2007

Young curator Astria Suparak generated a great deal of excitement during her first year as Director of The Warehouse Gallery in Syracuse, NY. The recent news that she would be deaccessioned from her position in a "restructuring" move has upset and incensed a lot of people, in Syracuse and across the country. No one gets it and no one can imagine what Suparak might have done to merit her dismissal. Jeffrey Hoone, executive director of the Coalition of Museums and Art Centers, has taken full responsibility for the firing but has failed to detail any justification for the dismissal, falling back on the politically-convenient trope that there are issues he is unable to legally disclose.

I've met Astria, but don't know her personally. I have, however, in the past year, heard NOTHING BUT raves and bottomless enthusiasm for the program she developed at Warehouse and the energy she has injected into the local scene. It's disappointing, to say the least, to see the fantastic forward momentum of a young curator be interrupted so suddenly and emphatically.
New York Times
Arts, Briefly: Gallery Director’s Dismissal Ignites Syracuse Protest
Nadja Sayej
September 21, 2007

The ouster of the founding director of an art gallery overseen by Syracuse University has drawn protest from academics and art professionals there. The director, Astria Suparak, below, of the Warehouse Gallery, said that Jeffrey Hoone, who oversees the university’s art centers, had told her on Sept. 7 that she would be dismissed effective Sept. 30. She said he did not give a reason beyond saying that the gallery was being restructured. (In a telephone interview, Mr. Hoone said he could not discuss Ms. Suparak but that he was revamping the gallery’s leadership.) Carole Brzozowski, the dean of Syracuse University, said the content of gallery shows organized by Ms. Suparak had nothing to do with her dismissal. But people in the arts at Syracuse, including university art teachers, asserted that the ouster was related to risk-taking or innovative exhibitions she organized since becoming the director last year. (Many have posted protests of her dismissal at syracuse-warehouse.blogspot.com.) Ms. Suparak said of Mr. Hoone: “My aesthetic is very different from his. I’m interested in street art, riot grrl and D.I.Y. aesthetics.” A sign at the entrance to the gallery’s current show, “Come On: Desire Under the Female Gaze,” reads, “This exhibition contains work generally intended for mature audiences.” Ms. Suparak said it was posted at Mr. Hoone’s behest. NADJA SAYEJ
phoenix and salamander
Astria Suparak and the boundaries

September 21, 2007
http://phoenixandsalamander.wordpress.com/2007/09/21/astria-suparak-and-the-boundaries
It sounds like a band.
Astria Suparak, founding director of the Warehouse Gallery , a contemporary art gallery overseen by Syracuse University, my alma mater, has been dismissed by Jeffrey Hoone, overseer of the university’s art centers. His explanation is that the gallery is being restructured. Carol Brzozowski, dean of the Crouse College of Visual and Performing Arts, my college, states that the content of the shows Suparak curated had nothing to do with her dismissal. Sure. Most folks in the know say differently, that it was Ms. Suparak’s choice of topics for exhibitions. The New York Times quotes Suparak as describing her aesthetic as “…street art, riot grrl and D.I.Y.” An article in the Syracuse New Times, my old favorite (my friend J used to sell classified ads for them, weren’t they personal ads, J?) describes her latest exhibit, “Desire Under the Female Gaze” in this manner:
“Female artists explicitly express desire, fantasy, disappointment and pleasure in a variety of mediums to counterbalance the ubiquitous imagery of sexualized female bodies created for mainstream media.” Got all that? if not, just check out the website. www.thewarehousegallery.org At Mr. Hoone’s request, a sign posted at the entrance to the gallery currently reads “This exhibit contains work generally intended for mature audiences.” Oh quick, Mr. Hoone, save us from ourselves! Thank you so much for that edifying sign. I expected it to be about our love of shoes and shopping.
What rankles me about this (and here let me state that I agree with the faculty and students that assert that this is due to choice of show content and not ‘gallery restructuring’), is that if we cannot explore the more controversial aspects of art (and here let me state that I HARDLY consider this topic - female desire and mainstream sexuality - controversial) at a relatively liberal and private university, where can we explore it? And how can we assert that an artistic, educational institution is a place of inspiration, revelation and innovation if we restrict it at its rawest edge?
Of course, this exhibit is most likely not the straw that broke the uptight camel’s back. I don’t wonder that it was more likely shows from the past, or perhaps even shows from Astria’s lexicon that were never intended to be in Syracuse. (Many totally fascinating, by the way - check out her past exhibits on her website.)
All this stinks of corporate ties and money, money, money. Who is Syracuse University displeasing by keeping Astria and her partner Brett Kashmere on the payroll? Or is it a case of the right person for the job being offed in order to give her position to someone who brings more corporate money with them? It will be interesting to see who fills Astria’s sizeable, forward thinking and extremely funky shoes. I predict a safer, extremely calculated and dry replacement. Who is male.
Astria will be fine. She is a tremendous art mind, and her talents will be welcomed many many places where the powers are fearless and wise. That is where she belongs.
We, as students, faculty and alumni of Syracuse University and Crouse College, will not be so fine. We are discovering our pride in the limitless possibilities we were charged to develop sullied by the arbitrary boundaries enforced by a small group of people who have not our artistic freedom as a priority but corporate bargaining and abuse of power. Our trust and faith is broken. Where is S.U.’s spirit? Why are you no longer brave?
If you’d like to learn more about this situation, and voice your opinion, please check out the blog: http://www.syracuse-warehouse.blogspot.com/
SYRACUSE POST-STANDARD
Art community stunned by curator's termination: campaign of blogs, letters, e-mails in support of Astria Suparak has been launched.

By Melinda Johnson. Arts editor
Wednesday, September 19, 2007
Syracuse's arts community has been rocked with news of the dismissal of Astria Suparak, director and curator of The Warehouse Gallery. A campaign of blog entries, letters, e-mails, and letters to the editor in support of Suparak has been launched.
Suparak was the first director of the contemporary art gallery, which is affiliated with Syracuse University and housed at 350 W. Fayette St. While she was terminated earlier this month, Suparak will remain on the job until Sept. 30.
At the end of June, Suparak said her boss Jeffrey Hoone, executive director of the Coalition of Museum and Art Centers (CMAC) at Syracuse University, told her a reorganization was planned and she would report to Domenic Iacono, director of SU Art Galleries. She was told her position would remain unchanged.
On Sept. 7, Suparak said she was informed she was being "let go" during a four-minute meeting with Hoone. She described the meeting as having a "complete lack of clarity" and "decisions were very opaque."
"I'm taken aback by what seems to be dramatic decisions," Suparak said.
On Tuesday, Hoone said a personnel change has taken place. In a press release, he stated that conversations with Suparak began six months ago and included discussions with CMAC personnel and the human resources staff "that involves confidential issues and issues related to overall long-term goals and objectives."
Hoone said the gallery will continue with its mission and work with the community. "We'll go in the direction contemporary artists take us," he said by phone.
He said there will be "no gap" in the gallery's programming. Hoone also denied rumors of the cancellation of the November exhibit, "Keep It Slick: Infiltrating Capitalism With The Yes Men." "We are working with the artists to see if we can go forward with the exhibition."
Attempts to contact The Yes Men were unsuccessful.
Mick Mather, special projects coordinator at Cultural Resources Council, has worked with Suparak on two downtown public art projects and community outreach efforts.
"She's young, smart, very good at what she does," he said. He has been impressed to have "someone so forward-thinking."
Her departure will disrupt the connections she has forged with younger artists who are producing emerging art forms - electronica, technology and short films, Mather said.
"That is something that's going to be stunted," he said.
As with any "corporate behemoth," Mather said, a six-month paper trail is common when an employee is terminated. Of the process, he said, "it's never really transparent enough for the person who's going or the community."
Suparak, 29, said she accepted the position as director and curator of The Warehouse Gallery in June 2006 because it offered the ability to create a new contemporary art space from the outset.
She acknowledged that there had been some difficulties. "I thought we had dealt with each one effectively." She pointed to the success of her five major exhibitions, collaboration with international artists, media attention and turnout of 300 to 400 guests at opening receptions.
Suparak will host a Thursday reception for the current exhibition, "Come On: Desire Under the Female Gaze," considered by some to be controversial for its sexual content.

Syracuse Post-Standard

Hundreds turn out to support curator

Friday, September 21, 2007
Sean Kirst, Post-Standard Columnist
Hundreds of people were out walking Thursday evening on West Fayette Street. They stopped at the Delavan Art Gallery. They moved in and out of a jammed house at The Warehouse Gallery. They crossed the street to see an exhibit at the Redhouse.
Once they got there, they could not miss the big message that Redhouse managing director Natalia Mount wrote in chalk on the facade:
“Fight 4 creative freedom! Down with censorship!”
Mount said she wrote those words on general principle, and to demonstrate some new innovations at the Redhouse, where the staff wants to find a way to use chalk for spontaneous public art.
But Mount said she also wrote that message as a tribute to Astria Suparak, director and curator of Syracuse University’s nearby Warehouse Gallery, who learned this month that she is losing her job.
“I cannot imagine, for Astria, how this must feel,” Mount said. Jeffrey Hoone, who fired Suparak, says censorship was not the issue. He said the decision was based on personnel matters that are impossible to publicly discuss.
The appeal of The Warehouse, he predicted, will only grow stronger. “We’re really looking to the future with this gallery,” said Hoone, executive director of SU’s Coalition of Museums and Art Centers. The jagged feelings over Suparak’s release, he said, are “something we need to get through in order to build that space.”
The decision has brought the arts community to a boil, and incited open rebellion by some members of the SU faculty. Many maintain the firing is related to Suparak’s willingness to go out on the edge in such shows as "Come On: Desire Under the Female Gaze,” which includes male genitalia and homosexual intimacy.
Yet Courtney Rile, marketing and public relations director at the Delavan, said Suparak also has a “poignant” touch, and that her shows often focus on communal themes.
“She did one (show) called ‘Embracing Winter,’ and it had a 17-foot mitten,” Rile said. “Come on. Everyone in Syracuse can embrace that, and knows what it means.”
As for Suparak, 29, who mingled Thursday with supporters, she said she was “treated horribly” by Hoone, and that he told her that her work did not meet his standards.
What was lost on no one, on either side of the divide, was the way Thursday’s outpouring rose toward meeting the original vision for The Warehouse. When SU Chancellor Nancy Cantor proposed turning an old downtown furniture warehouse into classroom and gallery space, she spoke of a bond between the campus and the city that would bring life to dormant downtown streets.
That vibrancy was evident Thursday. Rile, of the Delavan, rode along as a guide on an “art bus” that brought dozens of art lovers from Rochester to Syracuse for a gallery tour, a new connection scheduled to routinely link galleries in the two cities. At the packed Warehouse Gallery, many locals in the crowd said they came in support of Suparak.
The real question is what happens on West Fayette Street, once she’s gone.
Kate Clark, who chairs the public arts task force of the community group known as 40 Below, said Suparak’s commitment to the city extended beyond SU. Clark said Suparak was a regular at city-coordinated Tomorrow’s Neighborhoods Today meetings for downtown, and that she provided hands-on advice for the “totem” project that turned old parking meter holders into totem poles.
“For me,” Clark said, “Astria has been a huge leader in the public arts in Syracuse.”
Mount and Marianne Dalton, gallery director at the Redhouse, spoke with regret of how Suparak’s departure will cost Syracuse a visit from the Yes Men, a group that identifies its members as “imposters” who run carefully orchestrated spoofs that lacerate international corporate policies.
The Yes Men, Mount said, could have drawn a curious mainstream crowd to the gallery district. They announced this week they will not come if Suparak is gone.
“It’s unbelievable, as a curator, to think about having your vision severed like that,” Dalton said. She said that Suparak “put us on the map.”
Many visitors said the university, if it had substantial grounds for the firing, should offer a detailed public explanation. Both Hoone and an SU spokesman said they can’t do it. But they said the debate proves how much the community has grown to care about The Warehouse, energy that Hoone contends will not leave with Suparak.
“In an odd way,” he said, “what this shows us is that we’re right on target to fill the need.”
Sean Kirst is a columnist with The Post-Standard. His columns appear Mondays, Wednesdays and Fridays. Suparak: Stay or go? The campaign to save Astria Suparak’s job at The Warehouse Gallery has gathered many messages of support at syracuse-warehouse.blogspot.com. Columnist Sean Kirst would like to know your feelings on the decision. Contact him by visiting his blog and forum at www.syracuse.com/kirst, by e-mailing him at skirst@syracuse.com, or by writing to him in care of The Post-Standard, Clinton Square, Syracuse 13221.

Syracuse Post-Standard

The Astria Suparak firing: Up or down for West Fayette?
September 21, 2007 12:10AM
Sean Kirst, Columnist

I had a few thoughts as I watched hundreds of art lovers Thursday night moving from The Delavan to The Red House to The Warehouse, along West Fayette Street.
I thought of how this would have been unimaginable 20 years ago, when The Warehouse was a warehouse and The Redhouse was a battered old tavern.
I thought of how incredible it would be, in this budding gallery district, if those chipped and battered railroad bridges were handed over to teams of artists as enormous examples of public art.
I thought of how much this district might achieve if this $56 million investment on the Near West Side comes to be.
And I thought of the irony of how this great burst of energy on a downtown street was potentially a form of a goodbye, touched off by the firing of a person hired with the mission of helping to generate that energy.
Astria Suparak, curator of The Warehouse Gallery, has been dismissed by the university. Jeffrey Hoone, the university official who dismissed her, said he is constrained from speaking publicly of the reasons, constraints that go with any personnel decision. In that void, angry members of the arts community contend that Suparak was let go for reasons from censorship to institutional jealousy at her success.
You can read many of those arguments in this blog, much of it assembled by Joanna Spitzner, an assistant professor at SU and one of those organizing support for Suparak.
I lead off the reader response with this note from Lonnie Chu, an instructor at SU and a community activist in Eastwood.
And I look forward to hearing your thoughts, one way or another, regarding West Fayette - and what happens after Suparak.
- Sean

Posted by sean on 09/21/07 at 12:32AM
A note from Lonnie Chu of Eastwood, whose e-mail first alerted me to the breadth of the reaction to Suparak's firing:
Sean,
I am outraged that Astria Suparak would be dismissed so suddenly and with so little transparency to the community. But I am not alone. I have been following with great interest the incredible number of letters of support, heartfelt and well written, that have been appearing on the Syracuse Warehouse blog
(http://syracuse-warehouse.blogspot.com/) They come from not only Syracuse, but from other cities, other states, even other countries.
Astria is a treasure that the city and the university need to support and nurture, for she is a one-woman Connective Corridor, making art fun, accessible, perhaps troubling, but always exciting.
There have been a number of themes expressed by those writing in. I'd like to summarize some of them here.
- Astria is a curator of international renown and unimpeachable professionalism. Letters of support have come in from students, professors at Syracuse University, and other places such as New York, Troy, Toronto, Montreal and Texas A&M University. She is highlighted in FlashArtonline.com "The World's Leading Art Magazine":
Syracuse Arts Community Unwilling to Let Dismissed Curator Go.
http://www.flashartonline.com/NEWS/18_09_Syracuse%20Arts%20Community.html
- Astria is a magnet that has attracted people to live in the city and artists to do shows here. In fact, "The Yes Men" agreed to come here because of Astria and have thus canceled their November exhibit because of her dismissal. It is not the Warehouse, it is Astria in the Warehouse that is attracting these artists. Without her, they don't want to be here. We can look forward to an exodus of those who came because of the excitement her work has generated and we can go back to getting used to being known as a "loser city."
- Astria has the skill and takes the time to build relationships with community members, organizations and businesses. She's been active in the downtown TNT and she and her visiting artists use the services and products of local vendors.
- The Warehouse Gallery does not just happen. It takes vision and connections like Astria's to make all of this happen. If she is made to leave, all of her work stops. Relationships will have been severed, trust will have been betrayed. Once that happens, it's very hard to start it up again. To paraphrase one writer, if you dynamite this span in the bridge that is the Connective Corridor, the whole thing can collapse. Astria's work has inspired hope in city residents. Take that away, and much of the progress we've been making can reverse itself.
- The timing of this dismissal does not bode well. Just when the most recent show, "COME ON: Desire Under The Female Gaze" is opening, and just when The Yes Men are about to come to town, Astria is suddenly fired. As one writer pointed out, it is very ironic that we learn of her dismissal on the same day as the Newhouse III dedication. Emblazoned on the outside wall of that building are the words of the First Amendment of the Constitution that protect freedom of speech. Yet Astria was made to change the original title for "COME ON" - apparently a "feminist gaze" was not acceptable. Now the appearance is that the entire theme is unacceptable. This may not be the case, but the impression it gives the outside world is seriously detrimental to Syracuse.
Caroline Szozda, Gallery Manager of the Delavan Art Gallery, expresses eloquently why Astria's dismissal is such a loss to Syracuse:
"Since opening in 2006, through Astria, the Warehouse Gallery has helped become a cornerstone of the area art scene going well beyond just the visual arts. In a very short period of time, it has gained a solid following from the students, artists and the community at large. She has been able to put together exciting, interesting events and exhibitions that most people would never suspect would/could happen in Syracuse. Through her work, she has helped enrich, rejuvenate and energize the people and community around her."
It is not too late to reinstate her. Syracuse does not have to be the loser any more.
Lonnie Chu

September 21 2007 at 12:09pm
Dear Sean,

[...] I'm writing here in response to your coverage of the arts community's response to the firing of Astria Suparak. I wanted to address something else briefly about the current show at the Warehouse. Besides bringing together artists from the northeast US centers and Canada so that Syracuse is an exciting artistic cross-roads, this show in particular is an exciting reflection of national trends in women's art.

Beginning last year, the Feminist Art Project (now based at Rutgers) began a series of events, symposiums, landmark exhibitions and traveling shows to commemorate the growth and current status of Feminist Art from the 1970's onward. While the uninformed (and the hostile) might think that "feminist art" is passe, out of date, a decades-old ancient history, these events suggest something else entirely.

Last winter, the Museum of Modern Art's week-long symposium on the future of feminist art was packed. Then the opening of the Sackler Center of Feminist Art at the Brooklyn Museum, which unveiled the new permanent home of Judy Chicago's "Dinner Party" and opened with the show "Global Feminisms," featuring younger women artists from around the world. There's been the WACK! exhibition on the West Coast, and the year-long celebrations in Washington DC of the 40th anniversary of the National Women's Art Museum. These events have revealed a lively and crowded field of women artists, and a mainstream museum and gallery structure that still under-represents them.

As a project of Women's Voices Radio/WAER 88.3 FM, Joan Burstyn and I undertook a project last winter to produce a series of shows that would link this national activity with CNY artists' work and concerns. Joan and I attended part of the MoMA symposium. Following up that trip, I returned to the Brooklyn Museum for the opening of the Sackler Center and the Global Feminisms show of younger artists. We produced four hour-long installments of "Visual Arts Near and Far" that aired on Women's Voices, boiled down from many hours of interviews with women artists, art educators, curators, collectors, & critics.

My point is that "Come On: Desire Under the Female Gaze" is right in tune with this surge of national activity. We know this because we went out of Syracuse to find that activity, interview people and look at work. And Astria Suparak brought a piece of that to the heart of downtown. "Come On" is a terrifically important and contemporary show to have in Syracuse and, far from being a fringe production, it's right in the flow of traffic of current larger art thinking and practice.

Thanks,
Nancy Keefe Rhodes
Syracuse Post-Standard
Forum
by syrakatzmeow, 9/22/07 13:42 ET
Re: Astria Suparak by sean, 9/22/07

In regard to the firing of Astria Suparak - Maybe you should be looking into the way that Jeff Hoone became "king of all art" of Syracuse. For many years, I was witness to the shoddy treatment afforded members and visitors to Community Darkrooms by Mr. Hoone, while those who could "contribute" to his cause (his own climb up the ladder of success) were were welcomed with open arms, and ingratiating gestures. For example, upon Nancy Cantor's selection as Chancellor, he pulled strings as fast as humanly possible to secure a painting for the University in her name by her favorite artist Sol LeWitt, and who knows what else. The next thing we knew, he is given dictatorial control over all art shown at the University - and then he went for the EVERSON! Thank goodness that Sandra Tropp had the backbone to stand up to this shameless comer!

It should be obvious to anyone who has seen the kind of tripe that Mr. Hoone has served up for years at the photography, and now, art galleries at SU that the main reason behind his having fired Ms. Suparak is that she has the kind of vision and ability to bring truly innovative, cutting-edge work to Syracuse that has eluded him. He was never qualified for this "king of all art" position - and HE is the one who should be released - and possibly replaced by Ms. Suparak!?

SYRACUSE POST-STANDARD

Yes Men cancel show at Warehouse

By Melinda Johnson, Arts editor
September 20, 2007

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.
SYRACUSE POST-STANDARD

News: Dismissed Warehouse curator named to new Public Arts Commission

Posted by civen
September 24, 2007 5:35PM

The Syracuse Common Council on Monday approved its appointments to the city's new Public Arts Commission.

Appointed were three city residents: Tere Paniagua, senior editor for the Point of Contact Gallery; Matt Waltz of the Central New York Community Foundation, who is also a musician; and Astria Suparak who was told Sept. 7 that she would lose her job as director at Syracuse University's Warehouse Gallery.

The council had originally decided to hold Suparak's appointment after it learned of her dismissal, but decided Monday that Suparak's qualifications went beyond her role at the Warehouse, said Council President Bea Gonzalez.

The council approved her appointment, and the others, 7-0, with two councilors absent. The commission, which will have 11 members after Mayor Matt Driscoll makes his appointments, is charged with reviewing public art proposals and formulating a Public Arts Master Plan.

SYRACUSE POST-STANDARD
Editorial Cartoon

Sunday, September 23, 2007:

Conservatism is Alive and Well at Syracuse University

A. Thomas
September 19, 2007

On the same day that Chief Justice of the United States John G. Roberts, Jr. delivered a keynote address on the First Amendment at Syracuse University, members of the University’s Administration are engaged in a deceitful whitewashing campaign. Call it “Operation: Obfuscation,” or “Operation: Let’s See How Long We Can Stonewall Before Everyone Forgets What Is Actually Going On.” (Anyone who has followed the last seven years of Bush Administration doublespeak will recognize this strategy). After recently censoring The Warehouse Gallery’s current exhibition, “COME ON: Desire Under the Female Gaze,” and canceling the upcoming exhibition by internationally-acclaimed, anti-corporate social activists, THE YES MEN, Jeffrey Hoone, Executive Director of Syracuse University's Coalition of Museum and Art Centers is (mis)informing people (through the aid of an auto-response form letter) that the show will go on as originally planned. This is an outright lie. The Yes Men have made it abundantly clear, to Hoone and to others at the university, that the SHOW WILL NOT GO ON.

“Keep It Slick: Infiltrating Capitalism with The Yes Men,” curated by outgoing Warehouse Gallery Director Astria Suparak, was scheduled to open TWO MONTHS from now. The real reason for Hoone’s cancellation of this major exhibition, which would’ve been the first of its kind anywhere in the world, has nothing to do with a “new structure and a revised and broader position for leadership of the Warehouse Gallery.” It has everything to do with old school taste, individual greed, conservative university politics, corporate power, and capitalist imperatives.
Did anyone really think Chancellor Cantor would stop at HillTV?

Warehouse Gallery Director, Astria Suparak, is on the chopping block for COME ON: Desire Under The Female Gaze, an art exhibition that explores "the dimensions of [female] desire".

According to the Warehouse Gallery press release, COME ON reveals what is not represented in popular culture and provides a counterbalance to the ubiquitous imagery of sexualized female bodies created for mainstream heterosexual male sensibilities.

A favorable review by Post Standard's art critic, Katherine Rushworth, describes the show as "not for the sexually repressed." Rushworth writes, "if you can get past the ubiquitous presence of the male sexual organ you might just be coaxed into thinking about gay sex, intimacy, morality and the fleeting nature of romance."

Chancellor Nancy Cantor and Jeff Hoone, Executive Director, Museum & Arts Centers, when confronted with ubiquitous imagery created for female sensibilites, had only one thought: CANCEL!

Hoone, presumably with Cantor's blessing, had already asserted his big ubiquitous authority over Suparak, forcing her to remove the word "feminist" from the title of Come On.

Remove the word "feminist"?

Apparently the word feminist is far too offensive for the sensibilities of Hoone and Chancellor Cantor (and also perhaps Rush Limbaugh?)

Unfortunately for Suparak (and for all of us) Hoone and Chancellor Nancy Cantor are so uncomfortable with a feminist come on that they have completely canceled Suparak's next show, The Yes Men , and fired Astria Suparak to boot!

Fired for personnel reasons? Or censored for personal reasons? Shame on these bullies.

The future of Astria Suparak at the Warehouse Gallery remains uncertain. The University, the Warehouse Gallery and the city of Syracuse, all stand to lose if Suparak is forced to leave.

-- D. Wilson
Blog Post: Cardoni

September 21, 2007
Dear Jesse Frasier,

Could you please post the poll question “Should Astria Suparak be retained/reinstated as Director of The Warehouse Gallery?”

I would vote YES to that wholeheartedly, which would mean Jeff Hoone would have to reverse what has clearly shown itself to be a wrong administrative decision on his part, as demonstrated by the virtual unanimity—or at least overwhelming preponderance—of pro-Astria postings from Syracuse U., Syracuse artists, and professional colleagues across the country.

But I don’t necessarily see grounds for Jeff’s resignation in that, which would just mean two valued contributors to our field would be out of jobs. (I would, however, join in calling for Jeff’s resignation if this really did turn out to be about censoring the Yes Men show, or controversial shows—or even just funky ones!—as a general policy.)

From their own blog comments, there seem to be people in Syracuse, unfortunately identifying themselves only as “Anonymous”—which I feel is cowardly, by the way—who obviously just don’t like Jeff, and would just as soon see him gone, on this pretext or any other that might arise. But I think our goal should be Astria’s reinstatement, and not Jeff’s resignation.

And I have no basis on which to vote for the dismantling of the CMAC, just because Jeff made the wrong call in this case, or might even be the wrong guy for the job. SUNY at Buffalo (a.k.a. UB) has a Director of UB Art Galleries, Dr. Sandra H. Olsen, who is a great administrator, supportive of her curator’s initiatives, and courageous in her support of provocative and controversial exhibitions of contemporary art in both university and community contexts. So such a structure can work, as long as it’s directed by the right leader, as UB’s is.

Whether Syracuse U.’s is appears seriously in question.

Sincerely,

Edmund Cardoni
Executive Director
Hallwalls Contemporary Arts Center
Buffalo, NY

Blog COMMENTS: Cardoni

September 19, 2007 12:43 PM
Ed Cardoni, Hallwalls said...
I'm intrigued by the comment of Anonymous (the first one on today's date). Not being part of Syracuse's art scene, but of Buffalo's, I'm not in a position to judge the validity of Anonymous's characterization of Jeff Hoone as "the Art Tsar." However, I DO know that for an arts community to have an "Art Tsar," or for anyone to aspire to be a community's "Art Tsar" would be a bad thing. (I guess I'm an Art Bolshevik that way, though not to the point of execution by firing squad.)
More to the point, I, too, have admired Lightwork, and Jeff's founding and directing of it, for many, many years. Its support for and programming of exquisite photography and photography publications by important emerging and established American and world photographers (including some controversial ones) is of national and international stature, and is unique, even among centers of photography. Buffalo's own equally excellent CEPA is, for example, very different from its fellow photo gallery down the Thruway, just as CEPA and Hallwalls, though born in the same place and time, started out and have grown up very differently, though we still work together very well.
So I very much agree with Anonymous here: it would indeed be a bad idea to make the Warehouse a second Lightwork in Syracuse, "Lightwork 2" as Anonymous calls it, if that is what Jeff is up to or has in mind, even remotely or unconsciously. As an Upstate NY colleague, I would very much discourage Jeff from using his position as Executive Director of Syracuse U.'s Coalition of Museums and Art Centers, i.e., an administrator (though he apparently has every authority to do so), to put his own curatorial stamp on the Warehouse, let alone shows he has already curated for Lightwork. I find it works better for administrators (which I am, too) to let curators do their thing without executive interference. And my own more informed curators here at Hallwalls, and my many more informed colleagues across the country, are quickly convincing me that the Warehouse has its own strong curatorial identity, that it is Astria Suparak's vision (and the artists she has invited to show there) that has given it that identity, that it has been a tonic for Syracuse's contemporary visual art scene (and SU's arts departments), and that it would be sorely missed were it changed in the way some people, including Anonymous, fear.

September 19, 2007 1:15 PM
Ed Cardoni, Hallwalls said...
P.S. Actually, I should've clicked on Anonymous's "hard and long" link first. It appears I was mistaken in believing Jeff was a founder of Lightwork; apparently he was hired in 1980, "only" 27 years ago (long enough!), but 7 years after Lightwork's founding in 1973, a year before Hallwalls' founding in 1974.
1980 was slightly before my time in the field (though not by much), so Jeff was director of Lightwork well before I got to Hallwalls, which was my entry into the field.
Public Statement by THE YES MEN

September 22, 2007

Dear People,

Thanks for all the support and encouragement regarding the canceled Syracuse show. We should make it clear that the only reason we agreed to do the show in the first place was because of Astria Suparak's curation and dedication to making it happen.

When Jeff Hoone contacted us last week to ask if we would mount the show despite her firing, we told him that we would not.

Surprisingly, this did not stop him from communicating to the press that we were going to do the show, which seems to have resulted in a bit of confusion.

In closing, just to be clear: we will not do the show in Syracuse without Astria. We are a bit baffled about why it was canceled in the first place, but the only man to ask about that is Mr. Hoone, and from our limited experience with him, extracting the truth may require something of an expert in that kind of activity, and we certainly want no part in that.

Best Wishes,

The Yes Men

Jan Pottie

2007-09-27T12:25:00.000-04:00

Lisa Jong-Soon Goodlin -- Jeffrey Hoone -- Matthew Snyder

2007-09-26T19:15:00.000-04:00

To Whom It May Concern:

I've copied below an email from Jeff Hoone regarding the "Come On" show. It
was written the day before the show opened in August, and it indirectly addresses the conjecture that Jeff fired Astria because of the subject matter of the show.

I think it's important to post this email because it shows that when some administrators objected to the exhibit, Jeff defended it. The obvious conclusion is that he did not fire Astria because of "Come On."

Like many other people involved in this discussion, I wish that better explanations were given for the changes at the gallery. Nonetheless, and tempting though it may be, blind speculation does not necessarily lead to the truth.

Lisa Jong-Soon Goodlin

------------------------------

From: Jeffrey Joseph Hoone
Sent: Wednesday, August 22, 2007 1:08 PM
To: Matthew R Snyder
Cc: Elaine M.S. Quick; Barry L Wells; Laura M Madelone; Anastasia Lynne
Urtz; Colleen O'Connor Bench; Thomas J Walsh; Domenic Iacono; Eric F
Spina
Subject: RE: "Come On" information for new students

Dear Colleagues,

I would like to respond to the email I recently received from Matthew Snyder
concerning the exhibition that opens at the Warehouse Gallery this week titled Come On: Desire Under the Female Gaze.

I find it troubling that certain conclusions were made about the exhibition
based solely on the exhibition announcement without considering the context
of the exhibition or the timely and important issues raised by the artists
in the exhibition. The exhibition includes work by three women artists in
their 20s and 30s who are inheritors of second-wave feminism whose work responds to our daily barrage of images that objectify young girls and women in the media. This is an issue that is very relevant to our student population and is consistent with our mission as an institution that embraces and encourages diversity in all its forms.

It was stated in the email that concerns about the exhibition ³is not with the art's appearance or content; rather, it is a question of timing, given that these potentially controversial materials will be juxtaposed with the development and student-welcoming events taking place in the Warehouse over the next few weeks.² I find this rationale odd to say the least, and again given the context of the exhibition it could certainly be part of ³student development² that places Syracuse University as a place that encourages the open and candid discussion of issues, ideas, and current events. The exhibition raises many questions of interest across many programs at the University including the LGBT Center within the Division of Student Affairs whose mission is ³To address current and pressing concerns of our day
related to gender identity, gender expression and sexual orientation.²

Finally, while it is not included in the email from Matt Snyder, I understand that there are plans to have counselors available at the Warehouse this Saturday in case students who view the exhibition may be so inclined to seek our their comfort. I find it beyond comprehension to think that students who grew up with full access to the graphic realities of the Internet, MTV, and ³Girls Gone Wild² videos would be so affected by an exhibition of artistic renderings that they would need the services of
counselors.

The mission of the Warehouse Gallery is to exhibit the work of contemporary artists whose work engages the audience in the important issues of our life and times. This exhibition and all the exhibitions in the Gallery are presented in a professional manner and provide contextual materials to aid the audience in a constructive process of engagement with the work in an educational and instructive manner. Contemporary artists will from time to time engage us with challenging work and ask difficult questions. I believe we are best served by engaging them in a dialogue rather than over reacting, ignoring or silencing their voice.

-------------------------

From: Matthew R Snyder
Sent: Tuesday, August 14, 2007 11:28 AM
To: Jeffrey Joseph Hoone
Cc: Elaine M.S. Quick; Barry L Wells; Laura M Madelone; Anastasia Lynne
Urtz; Colleen O'Connor Bench
Subject: "Come On" information for new students

Jeff:
I write to update you on a discussion of issues related to the Warehouse
Gallery's next exhibit, "Come On."

Late last week, members of the Chancellor's Cabinet and Public Affairs office raised questions about the exhibit. Their concern is not with the art's appearance or content; rather, it is a question of timing, given that these potentially controversial materials will be juxtaposed with the development and student-welcoming events taking place in the Warehouse over the next few weeks.

I understand that Tom Walsh, Eric Spina, Barry Wells, and Kevin Quinn have been discussing the issue at the Chancellor's request. As they are currently at the Chancellor's Administrative Conference at Minnowbrook, I have been asked to convey the following decisions to you:

-- The exhibit is to continue as planned, with the addition of a sign outside the gallery space indicating that the content is for mature audiences. Frank Olive, WG assistant director, has provided me with a very helpful briefing document on the exhibit; this has been shared with the Parents Office, Office of Orientation and Off-Campus Programs, and other administrative offices that may encounter students' or parents' questionsabout Come On during Syracuse Welcome.

-- The marketing materials for the exhibit that were to be placed in the ReadySet (new student welcome materials) will not be included after all. I am working with Bulk to arrange return of the materials to Elaine. If you would like to provide alternative materials--perhaps a general marketing piece/introduction to the Gallery--I would be happy to work with Elaine or someone else to include something in the ReadySet. The final package of the ReadySet is being assembled today and tomorrow, so we would need to move quickly.

Please let me know if you have any questions,
--Matt
********************************************************
Matthew R. Snyder
Director of Communications and Media Relations
Syracuse University Division of Student Affairs
Office of the Senior Vice President for Student Affairs
518 Crouse-Hinds Hall
Syracuse, NY 13244

Daily Orange Article -- Megan Saucke

2007-09-26T17:24:00.000-04:00

City offers commission seat to dismissed Warehouse art director

September 26, 2007
By Megan Saucke

Astria Suparak's last day as director of The Warehouse Gallery will be Friday, but she might still play a significant role in the Syracuse art scene.

The Syracuse Common Council voted unanimously Monday to appoint Suparak to the city's Public Arts Commission. Earlier this month, she was dismissed from her position at the gallery.

"Her appointment legislation was actually done before her being let go," said Ryan McMahon, Syracuse common councilor. "She still has something to bring to the art community, so we thought that it was appropriate to nominate her."

While Suparak said she would like to take part in the 11-member volunteer commission, she is not sure if she will be able to stay in Syracuse.

Jeffrey Hoone, executive director of the Coalition of Museums and Art Centers at Syracuse University, took sole responsibility for dismissing Suparak on Sept. 7. He said firing Suparak is a part of restructuring the gallery's leadership, and that further details are confidential.

The Yes Men, a group of satirical imposters, whose act at the gallery was canceled earlier this month, said it will not exhibit at the gallery without Suparak.

"It's an honor to be respected by the city even if the university isn't going to," Suparak said Tuesday. She said the Public Arts Commission is an "important step" for the city of Syracuse.

The commission is responsible for creating a public art master plan "to enrich the visual and aesthetic environment of spaces within the City of Syracuse that are in some way accessible to the public," according to the Public Art Ordinance.

"It's clear that the city thinks Astria is important, and if the university doesn't make every effort to keep her here, they're making a big mistake," said Joanna Spitzner, a professor in the College of Visual and Performing Arts.

Suparak said she is waiting to see if the university will reinstate her. Failing to do so would be to "completely ignore the international art community and the community and its faculty, students, etc."

"I really don't know what the future holds for me. I've been trying to retain my position as director," she said. "If I can get a similar job with enough resources and staff to make an impact and make a difference, I would like to stay."

SU's decision

Despite receiving dozens of e-mails protesting the decision, Cantor continued her support of Hoone's decision to dismiss Suparak.

"This is a personnel decision and my role in that case is to make sure it was handled in an appropriate manner through our human resources department," Cantor said in an interview. "I assured myself that indeed there had been a process in place, and it had gone through appropriate channels."

Tom Sherman, professor of video and media theory, said as head of the gallery, Suparak was in line with the university's mission.

"In her job as a curator, she really did go out into the city and build bridges to the city like the university always talks about building," Sherman said.

Both Cantor and Hoone said the firing had nothing to do with censorship. But critics have raised questions concerning an exhibit called "COME ON: Desire under the female gaze," which is currently on display.

"This is specifically about working relationships in The Warehouse Gallery and restructuring The Warehouse Gallery going forth," Cantor said.

In mid-August, Hoone received an e-mail representing Cantor's cabinet that raised questions about the timing of the exhibit. In the e-mail, Matthew Snyder, director of communications and media relations for the division of student affairs, told Hoone that ads for the exhibit would be taken out of a packet given to incoming freshmen.

Hoone provided the e-mail to The Daily Orange on Tuesday after declining an interview.

Hoone always defended the decision to bring "COME ON" to the gallery, Cantor said, which features erotic sketches of men and women and exposure to genitals.

In his response to Snyder, Hoone wrote that the "work responds to our daily barrage of images that objectify young girls and women in the media. This is an issue that is very relevant to our student population and is consistent with our mission as an institution."

About 400 people attended the exhibit's opening on Sept. 20.

The Yes Men

The Yes Men, a group originally scheduled to come to The Warehouse from November to January, confirmed it will not exhibit without Suparak as the gallery's director.

"Astria was putting in the work to make up for the time that we didn't have," said Mike Bonanno, the group's co-founder. "So once she was gone, there was no way that we could expect to be able to do the show."

The act, which is controversial for its anti-capitalist statements, was canceled earlier this month, according to The Warehouse's Web site. Hoone said he didn't cancel the show and still wants the group to come.

Bonanno and Andy Bichlbaum founded The Yes Men, currently based in New York City, in 1999.

The act wasn't able to attend the Seattle protest against the World Trade Organization, so it created a satirical Web site. When the site was mistaken for the real thing, it got invited to speak at conferences.

The Yes Men have since made many appearances impersonating people in power such as Halliburton executives and other CEOs. Bichlbaum describes it as "dramatizing the criminality that goes on."

"Students really connect with the issues that they're calling attention to and also the way they do it because it's fun, it's playful," professor Spitzner said. "But it makes you really think a lot about our society and the role that corporations play in it."

Source:
http://media.www.dailyorange.com/media/storage/paper522/news/2007/09/26/News/City-Offers.Commission.Seat.To.Dismissed.Warehouse.Art.Director-2991529.shtml

Jessica Posner

2007-09-26T10:56:00.000-04:00

Dear Chancellor Cantor and Mr. Hoone,

I am writing as an artist, Syracuse University student, and member of
the Syracuse community. Like so many of my fellow community members,
I am very confused and disheartened by the dismissal of Astria
Suparak from the Warehouse Gallery. Along with professors, students,
artists, and other member of the Syracuse Community, I have been able
to find no reason, logic, or solace under a unilateral and solitary
decision justified by trust and confidentiality.

Astria Suparak is an incredible resource for students, artists, the
Syracuse Arts Community, the global Arts community ,and the greater
Syracuse Community at large. She is connecting people, ideas, people
with ideas, forging discussions, and building community. There is no
greater proof of this than the outcry of support coming for her from
our community, and her recent, unanimous appointment to the
(volunteer) Syracuse Public Arts Commission. As you are well aware,
the arts is an incredible means for bringing people together. She has
done this. Ms. Suparak is an incredible individual and leader, who
as an individual has garnered the respect not only of artists,
students, professors, and individuals, but of the city of Syracuse
itself.

Chancellor Cantor and Mr. Hoone, I urge you to listen to our
Community and reinstate Astria Suparak.

If you have not already, please visit http://www.keepastria.com/ or
http://syracuse-warehouse.blogspot.com/ to see our community in
action. Or, you can simply google "Save Astria Suparak." Please be
sure to note the New York Times article (http://www.nytimes.com/
2007/09/21/arts/21arts.html?ref=todayspaper).

Thank you for your consideration,

Jessica Posner

Television, Radio, and Film '08, Newhouse School
Sculpture '08, CVPA
Syracuse University

Ghen Zando-Dennis

2007-09-26T02:24:00.001-04:00

To:
Jeffrey Hoone, Executive Director, CMAC
Nancy Cantor, Chancellor
Eric Spina, Vice Chancellor/Provost
Carole Brzozowski, Dean of CVPA

I am writing in support (and defense?) of Astria Suparak retaining her position as Director and Curator at the Warehouse Gallery. As a New York state based artist, teacher, and curator it did not take long for me to realize the potential for culturally relative and artistically innovative dialogue and engagement between the Syracuse community and the wide-ranging field of art that came with Astria Suparak's hire at The Warehouse Gallery. I am familiar with the upstate New York art scene and follow its transformations, evolutions, setbacks, and growth despite the odds against it not "being" New York City" and not having a strong economic infrastructure.

I have been following Ms. Suparak's inventive curatorial projects and collaborations since 1998, and recently brought high school students attending the New York State Summer School of the Media Arts in Ithaca to the Networked Nature exhibition, where my above-mentioned sentiment for thoughtful relevant artistic dialogue was confirmed - happening before my eyes - and thus my bafflement at learning of Astria Suparak's dismissal from The Warehouse Gallery this month.

Decoding a quote on the gallery's mission from Jeffrey Hoone, Executive Director, CMAC, is also baffling as it mirrors precisely what Ms. Suparak offered to The Warehouse Gallery, Syracuse University and the Syracuse community through her programming and local engagement:

"The guiding principle in the inception of the Gallery was the goal of positioning the arts as an important component of community
engagement by Syracuse University. As such, the Gallery has become an important venue for the exhibition of contemporary art. We have also defined its mission so that it can engage the community in a dialogue regarding the role the arts can play in illuminating the critical issues of our life and times.

I am writing to assure you that we recognize the importance of the Warehouse Gallery and our commitment to strong and inspired
Leadership (sic) for it."

Surely Hoone's reference to his commitment to strong and inspired leadership “engaging the community in a dialogue regarding the role arts can play in illuminating the critical issues of our life and times” does not refer to his own contribution to said leadership as far as the issue of Astria Suparak's dismissal is concerned. Furthermore, it is cowardly, unjust, and irresponsible to dismiss anyone without cause - doubly so if the opaque reasoning ("restructuring") is related to the artistic content of the curatorial projects.

Sincerely,

Ghen Zando-Dennis
Former Program Director, Squeaky Wheel, Buffalo
Professor, Department of Media Study, Queens College

Rita Gonzalez

2007-09-26T02:22:00.000-04:00

To: Nancy Cantor, Chancellor; Eric Spina, Vice Chancellor/Provost; Tom Walsh, Senior Vice President; Jeffrey Hoone, Executive Director, CMAC; and Carole Brzozowski, Dean of CVPA

I am writing to protest the unexpected dismissal of Director and Curator of the Warehouse Gallery at Syracuse University, Astria Suparak. I have been familiar with Ms. Suparak's curatorial years for ten years. As freelance curator and more recently in her position at the Warehouse Gallery, Ms. Suparak has developed a reputation as a risk-taking and intellectually curious curator. She single-handedly put the Warehouse Gallery on the map with her energetic programming which must be a tremendous draw to the student and art loving population in that region.

Ms. Suparak's dismissal seems motivated by ideological differences which is truly unfortunate. But what seems highly unethical and unprofessional is the manner in which Ms. Suparak was let go. Certainly her track record in her position--the sheer amount of programs and the numbers of attendees--do not merit such treatment.

I hope you realize that Ms. Suparak has given the Warehouse Gallery a kind of visibility that the organization previously lacked. I stand in support with the large number of Ms. Suparak's colleagues and supporters in asking you to overturn this decision.

Best,

Rita Gonzalez

Assistant Curator
Special Exhibitions
Los Angeles County Museum of Art
5905 Wilshire Boulevard
Los Angeles, CA 90036

Courtney Rile

2007-09-26T02:21:00.001-04:00

Dear Nancy Cantor,

It is with utmost urgency that I ask you to override Jeff Hoone's decision to remove Astria Superak as Director of The Warehouse Gallery. If this decision stands, you are threatening the very environment of collaboration and innovation that you have worked so hard to create. I understand there may be another vision for The Warehouse Gallery, but Ms. Superak's departure is leaving a scar that will not be easily forgotten. She has been far too successful in building relationships here in Syracuse to have them severed without repercussions.

What kind of message do you want to send? Firing your young liaison to the contemporary art world says those who are interested in innovative programming are not welcome here. I am a model graduate of Syracuse University- I came here from Philadelphia and stayed after graduating because I was so passionate about Syracuse's potential. After three years of working in the arts (Coordinator of Greenberg In Syracuse: Then and Now, which traveled to the Palitz Gallery at the Lubin House; Curator of Videohm at Ohm Lounge, Marketing and PR Coordinator of Delavan Art Gallery; Coordinator of Th3, The Third Thursday, etc.) I am sorry to say this decision has squashed my confidence in what I thought was an upward swing.

The arts here are delicate. Ms. Superak has done some favors for us through her presence here. This sentiment is echoed in the hundred testimonial letters written to Mr. Hoone over the past week from students, curators, professors and professional artists from as far and wide as Toronto, Montreal, Florida and Texas. You are certainly not doing any favors for us by allowing her to be fired. You, the Chancellor with such an inspiring vision, can and should step in to reverse Mr. Hoone's decision. Ms. Superak's level of support should be increased. A supervisor who understands Ms. Superak's vision should be assigned to The Warehouse Gallery. CMAC is supposedly a new model for the administration and operation of art centers and museums. This action sets a horrible precedent. Please realize this has become more than an issue in the Human Resources department. This is a sign of your commitment to forward thinking.

Thank you for bringing us this far. Please continue to support the innovation you have started.

-Courtney Rile

Carl Diehl

2007-09-26T02:19:00.001-04:00

It's incredibly disappointing and frustrating to hear that Astria
Suparak has been dismissed from her position at the Warehouse gallery.
Born and raised in Syracuse, I earned my BFA in Art Video at SU in
2000 before moving to the West Coast. As an undergrad, there was a
frustrating lack of opportunities and spaces for contemporary art
exhibits. Scattered DIY events never seemed to generate enough
momentum. It's been exciting to watch (from afar) the growing
contemporary arts presence in Syracuse over the last several years.
When I heard Suparak was going to be the Warehouse director, I was
very excited for Syracuse. I'd been impressed by her programs at
screenings elsewhere, and was certain that her enthusiastic efforts
would accelerate the Syracuse scene. From the acres of outrage
accumulated, it's obvious that the Syracuse community has similar
feelings. Suparak's dismissal is as unfortunate as it is unfathomable

Sincerely,
Carl Diehl

Andrea Vander Kooij

2007-09-26T02:17:00.001-04:00

To Whom It May Concern:

I am writing to express my support for Astria Suparak, and my dismay at
hearing that she has been dismissed without much explanation from her
position as curator at the Warehouse Gallery.

Astria, curated my work for the show Faux Naturel, and in all my
interactions with her, I have found her to be unfailingly creative and
professional. Her exhibitions at the Warehouse Gallery were fresh and
thought provoking, and did not fall into the possible formulaic pitfalls
that programming in galleries related to academic institutions are often
prone to. Her shows were original, and interesting to both audiences from
within academia, and art insiders as well as those who were not gallery
regulars. This is no easy feat. She has a gift for putting together an
engaging show that was still rigorous and thoughtful. Her energy and drive
were always accompanied by kindness and integrity. In working with her it
was clear to me how much she invested in the success of the gallery, and I
am greatly puzzled as to why the University of Syracuse would not wish to
continue to employ a curator who brings so much to her position. I hope
that in light of the feedback from so many people who have worked with
her, you will reconsider your decision.

Sincerely,

Andrea Vander Kooij
Artist
Montreal, Canada

Daniel Barrow

2007-09-26T02:16:00.000-04:00

To whom it may concern,

I am writing to express my disappointment upon hearing the news that Astria
Suparak has been asked to leave her position at the Warehouse Gallery.

I first met Ms. Suparak at the University of Manitoba where she had stopped
as part of an impressive tour across North America with a curatorial program
of exciting, new video work. Though few students had heard of Astria before,
the screening room was packed. Astria is tapped into the concerns and
interests of young artists and this was made evident in her curatorail
decisions and press materials.

I have since worked with Astria as an artist represented in a couple of her
touring video programs. These programs also toured extensively. Astria has
worked, seemingly tirelessly, to distribute and promote the work of young
exciting new artists – often these are artists who were driven entirely by
creativity and enthusiasm without any commercial participation in the art
world.

I was invited to perform last March at the Warehouse Gallery, and Astria was
a professional and exciting host. I fear U of Syracuse will regret their
decision to let such an ambitious and creative visionary leave their
institution. Ms Suparak's work is consequential and important. Please
reconsider this decision.

Sincerely,

Daniel Barrow
www.danielbarrow.com

Peter Forbes

2007-09-26T02:15:00.001-04:00

Subject: Astria Suparak being fired!

I can't believe that Astria Suparak is being fired from her position as director of Syracuse University's Warehouse Gallery! Why? It's outrageous! She has brought wonderfully gifted artists to her venue! For example, Juliet Jacobson, one of the artists currently exhibiting at the Warehouse Gallery. Her large, beautifully executed graphite drawings are creatively engaging and extremely well composed! Astria Suparak must be able to continue her tenure at the Warehouse Gallery or the Syracuse art scene will experience a very major unwarranted loss!

Peter Forbes
Sculptor
Syracuse, New York

Juliet Jacobson

2007-09-26T02:14:00.001-04:00

Dear Chancellor Cantor,

I am writing to praise Astria Suparak's work at the Warehouse Gallery and to address the termination of her position.

I've just returned home to Brooklyn from the opening of Come On: Desire Under the Female Gaze, an exhibition I had the privilege of participating in. If "the guiding principle in the inception of the Gallery was the goal of positioning the arts as an important component of community engagement," as Jeffrey Hoone says in his letter, I can state unequivocally that this goal has been met. The artists, professors, and students that I met in Syracuse were galvanized around Astria's situation. It was the topic for conversation and it was igniting self reflection. People were talking not so much about what would happen at the Warehouse Gallery but about how this decision would reflect on the Syracuse art community. There was a lot of hope in the talk surrounding what the community could become with Astria as a key member.

I know that Astria went to lengths to give an account of my work as a substantive addition to the show. In the time leading up to the exhibition she and I engaged in an email dialog about 3rd Wave Feminism. Because of her earnest and enthusiastic comportment toward the question, I was allowed a radical redress of my own relationship to Feminism. From this engagement I learned how substantive a curator's role can be. The gallery's stated vision concludes saying every exhibition will articulate the voice of the individual artist. Astria's commitment to this goal allowed me new insights into my own work and political platform.

Because Astria has so clearly engaged the community in dialog and because my interactions with her as an artist have been so rich I urge you to reconsider the termination of her position. Thank you for your time and consideration.

Sincerely,

Juliet Jacobson

Takeshi Murata

2007-09-26T02:13:00.001-04:00

I'm writing because I was just made aware of the news about Astria Suparak and the Warehouse Gallery.

Astria invited me to participate in Embracing Winter by screening one of my videos. I happily accepted because I had known Astria's past work over the years, and knew her direction guaranteed a great show. My girlfriend and I drove four hours out to Syracuse, and when we arrived, I was proud to see that the other artist's work in the show was amazing and everything was all installed with great consideration.

It was quickly clear that Astria's work had already made an impact. I spoke in Tom Sherman's class that afternoon, and later that night, many of his students trudged through 4 feet of snow to attend the opening at the Warehouse Gallery. I remember clearly from my own experience in college that getting student to attend a school related function after a day of classes is no easy feat. And there were also many other people who came out, including faculty, local residents, and local press. It was a dynamic mix of people, and a rewarding opening. Then the following day, Astria organized a lecture by artist Rudy Shepherd, which was also hugely thought provoking and well attended.

After returning home, one of the things that stayed with me from the whole experience was Astria's great enthusiasm for Syracuse, the school, the gallery, and most importantly the community. It was inspiring. She had given us a thick folder of everything going on in town and around the gallery, and also a personal tour pointing out all the important and historic places in Syracuse. Her talking about Syracuse make it feel like a place full of possibilities.

Well, I'll stop there and let you get on to the next letter. Needless to say it would be a huge mistake to let her go. But if you do, at least it will give all of us non-Syracuse people the hope of her heading up a program near us.

Sincerely,

Takeshi Murata

Frank McCauley

2007-09-26T02:12:00.000-04:00

Dear Jeffrey Hoone, Nancy Cantor, Eric Spina and Carole Brzozowski,

I am writing to express my extreme disappointment in the decision to remove Astria Suparak from her position at The Warehouse Gallery, and the subsequent cancellation of the exhibition of internationally recognized and respected, and not to mention one of the most exciting exhibitions to grace the City of Syracuse, The Yes Men. This error in judgment will not be contained locally. This is an embarrassment on the global scale, letting everyone know just how backwards thinking and allergic to progressive and positive programming Syracuse really is. On a personal note Astria has been one of the most inspiring, kind, helpful, supportive, and dedicated individuals I have ever met. The things which she has achieved at such an early age, and how quickly she has fostered growth and a sense of excitement in every facet of this struggling local art scene, has inspired and influenced me immeasurably. She brings a much-needed fresh perspective with an even hand. In short, Astria is exactly what Syracuse needs, she honestly is absolutely irreplaceable, and we will surely regret and reap the consequences of losing her if these efforts receive a cold shoulder. I implore you, reverse your decision, we have so much to gain from her presence and so much to lose in her absence.

My sincerest regards,

Frank McCauley
Director
Spark Contemporary Art Space

Ben Russell

2007-09-25T23:26:00.000-04:00

Dear Chancellor Cantor,

It is with no small amount of sorrow that I am writing to you in protest of Astria Suparak's impending dismissal as Director of the Warehouse Gallery. As a media artist, a film/video curator, and a Visiting Assistant Professor of Moving Image at the University of Illinois at Chicago, I have had the distinct pleasure of knowing Astria professionally for over seven years, and I have been consistently impressed with and inspired by the inventiveness, drive, and commitment that she has brought to her curatorial practice. Astria's support of experimental, underground, and alternate art practices through her own indefatigable work ethic has been invaluable to the arts community as a whole; as an active member of this community, I am perplexed as to why Astria is being removed from a position that has made manifest her strengths as a curator and has placed Syracuse University at the forefront of contemporary arts exhibition.

From her earlier days as a traveling film/video programmer to her regrettably tenuous present as Director of the Warehouse Gallery, I have been fortunate to bear witness to the growth in Astria's practice. Her dynamic, provocative, and rigorous approach to curation is one that I drew heavily from when I began an experimental film/video series in 2003 called Magic Lantern in Providence, Rhode Island. I invited Astria to show the "Quantum Leaps" program at Magic Lantern in 2006, and it was truly an honor to host her in a space that she had been a source of inspiration for. Since that time, it has been abundantly clear to me that the shows/screenings/lectures that she has organized in her all-too-brief tenure at the Warehouse Gallery are among the best she's ever put together, and while I have not been fortunate to visit any of the exhibitions in person, the press releases/ emails/ postcards I've received always make me wish that Syracuse was the next city over. I envy those who were able to see "Faux Naturel" and "Embracing Nature" and "COME ON," and I certainly sympathize with those Syracuse residents who will be unable to experience Astria's future curatorial projects if Mr. Hoone's inexplicable decision comes to fruition.

In closing, I'd like to say that while I haven't always agreed with Astria's programming choices, I've always been thankful to hear her voice above the din of what tends to be a cautious, careful, and joyless approach to the presentation of contemporary art. Disagreement and dissent are vital elements in the larger conversation that we're all engaged in - Astria's work has been critical in moving this discourse forward, and it will be a true shame if her dismissal comes to pass. While I have no doubt that Astria will move on to better things, the Syracuse community will be hard-pressed to do so in her absence. I strongly urge you to reconsider Mr. Hoone's decision.

Respectfully Yours,

Ben Russell
Visiting Assistant Professor in Moving Image, University of Illinois at Chicago

The Buffalo News Article -- Colin Dabkowski

2007-09-25T19:16:00.000-04:00

Claims of Censorship in Syracuse

(Former curator Astria Suparak in the exhibition "Faux Naturel" at Syracuse University's Warehouse Gallery in 2006.)

September 25, 2007
By Colin Dabkowski

There's a fiery situation bubbling up in Syracuse that should be of vital interest for anyone concerned about censorship in the arts. A young curator, Astria Suparak, has been fired by Syracuse University from her position as director of the Warehouse Gallery, a position to which she was named in 2006.

Accusations are being traded back and forth over the firing, which the university characterizes simply and cryptically as "a personnel issue." Hundreds of Suparak's supporters, however, claim that the firing was the result of her unconventional and risque curatorial approach, especially as it applies to the gallery's current show "COME ON: Desire Under The Female Gaze," which Suparak programmed. That the exhibition contains pictures of male genitalia and other potentially "unpleasant" elements is prompting many to speculate that Suparak was fired because her approach was rubbing university officials, like Chancellor Nancy Cantor and Jeffrey Hoone, director of the University's Coalition of Museum and Art Centers.

The most surprising thing about this case so far is the fact that hundreds of people have taken Suparak's side. They have, as is unimaginable for even larger issues in more apathetic communities, actually taken to the streets, as Suparak's supporters did on Sept. 20, to express their frustration over this incredibly unpopular move by the university.

As we've seen in Buffalo with the surprisingly vitriolic debate over the Albright-Knox Art Gallery's decision to sell off important parts of its treasured collection, when the integrity or quality of our artists and institutions comes into question, people rise up and get angry.

The best we can hope, for our community as well as Syracuse's, is that the powers that be listen intently and act according to the public they serve.

Source:
http://buffalonews.typepad.com/artsbeat/2007/09/claims-of-censo.html

Ryan Tebo

2007-09-25T17:32:00.000-04:00

Dear Mr. Hoone,

Frankly, I find your response insulting to my intelligence.  The sheer
abruptness with which thishas happened and the fact that this is
taking place mid-semester makes it difficult to believe that your
decision is based on "issues related to overall long-term goals and
objectives."  If this were true, then you would have done this
restructuring after the end of the spring semester or at least after
the fall semester.  If everything is as you say it is, then your
decisions seem rash, irresponsible, unstable and incredibly counter-
productive.  However, it is difficult not to be compelled to read a
more sinister intent behind these decisions.  This is why people
are responding in the way they are.  The most logical conclusion
is that of the many who have suggested that your decision is based
on censoring the content of Astria Suparak's exhibits.  You are
apparently responding to something in the immediate, not to the
long term.

I had nothing against you personally before this debacle, and
value your work to build Lightwork, but how do you expect the
community to respond to you when you respond to them with such
insulting disrespect to their intelligence?  Are you serving the
Syracuse community or are you serving yourself?  Give up your
obstinance and engage the community in a dialogue. The first step
is to retain Astria Suparak as director of the Warehouse Gallery. 
After that, a conversation can begin about the long-term goals
and objectives of the Warehouse Gallery. This is a conversation
that needs to involve the community for whom the gallery exists. 
Personally, I cannot understand why you would not be proud and
encouraging of Ms. Suparak's success as director of the Warehouse
Gallery.  Because of her success I also do not understand why it
is necessary for a major restructuring of the gallery at this point. 
What is your vision for the Warehouse Gallery and how can you
possibly justify that it should be your myopic vision alone that
defines its mission?


Sincerely,

Ryan Tebo
MFA Filmmaking, Syracuse University




"Dear Mr. Tebo,

A little more than two years ago the Warehouse Gallery was just an idea.
The guiding principle in the inception of the Gallery was the goal of
positioning the arts as an important component of community engagement
by Syracuse University.  As such, the Gallery has become an important
venue for the exhibition of contemporary art. We have also defined its
mission so that it can engage the community in a dialogue regarding the
role the arts can play in illuminating the critical issues of our life
and times.

There have been many individuals and groups, both at the University and
in the community, who have played crucial roles in moving the programs
at the Warehouse Gallery forward. As director of the Coalition of
Museums and Art Centers, my role in the process has included helping to
design and conceptualize the physical space of the Gallery, developing
the mission and vision for exhibitions and programs, developing a
windows exhibition space at the Gallery to display installations
commissioned by Central New York artists, and hiring the staff to run
the Gallery.

It is my responsibility to develop the right mix of organizational
structure, skills, talent, teamwork, and substance in order to achieve
those goals. I have made a decision to move forward toward achieving
those goals with a new structure and a revised and broader position for
leadership of the Warehouse Gallery.

This process started with conversations with Ms.Suparak six months ago
and included discussions with other CMAC personnel. These conversations
have also involved staff of Human Resources within a process that
involves confidential personnel issues and issues related to overall
long-term goals and objectives.  The final decision was mine.

I am writing to assure you that we recognize the importance of the
Warehouse Gallery and our commitment to strong and inspired leadership
for it. The programs at the Warehouse Gallery will continue to move
forward to achieve its envisioned potential.

I believe it is important to honor the commitment to the artists and to
the faculty who have pledged support to the exhibition "Keeping it
Slick: Infiltrating Capitalism with the Yes Men," planned for November
13, 2007 - January 26, 2008. I contacted the Yes Men on September 17,
2007 expressing our support of their work and our desire to continue
with the exhibition as planned. Unfortunately the Yes Men have decided
not to proceed with the exhibition.

I assure you that we will continue with a full year of programming in
the Gallery as we move forward to continue to build the Gallery as an
important venue for the community and for contemporary art in Syracuse.

Jeffrey Hoone
Executive Director
Coalition of Museum and Art Centers
Syracuse University
jjhoone@syr.edu"

Emily Roysdon

2007-09-25T17:26:00.000-04:00

To Whom it may concern,

The Warehouse Gallery has become an important venue in the recent past and this is in large part due to Astria Suparak's great mind. She was an excellent choice for you to hire, to put your gallery and institution on the cultural map, and it is a severe disservice to all that her firing is overshadowing the potential she initiated. Astria is a powerful ethical eloquent curator with great vision. She is also a woman and a feminist and has been on the front lines of contemporary art for a decade. Your dismissal of her and her programming reveals the weakness of your institution's vision and will damage your reputation for decades.

I believe you should make restitution with Astria.
Apologize to her, beg her to come back. Re-instate her excellent calendar of events and exhibitions. Write to newspapers and admit that you were wrong. Make a scholarship at your university for a brilliant undergraduate female art student to follow in her footsteps. And do it soon, as the whole of the art world is taking notice and your time is running out.

Sincerely,

Emily Roysdon

artist, co-founder and editor LTTR

Carolee Schneemann

2007-09-25T12:01:00.000-04:00

To All Concerned:

This is my note in support of the remarkable film and exhibit
programs organized by Astria Suparak at the Warehouse Gallery. It is
rare to find someone as dedicated, insightful, inspiring and
knowledgeable as she is in her field. It would be to the community's
benefit to reinstate and to support her creative contribution.

Sincerely,

Carolee Schneemann

Alison de Lima Greene

2007-09-25T11:48:00.000-04:00

Dear Astria,

Like many of us in the arts community I was shocked and dismayed by the news of your sudden dismissal at Syracuse. As you know, I have had the privilege of following your career since your first internship with Ralph McKay and the Andrea Frank Foundation, and I have always admired your commitment and professionalism. The critical intelligence you bring to all your work is outstanding.

Last year I visited Syracuse while taking part in a conference sponsored by Colgate University and Hamilton College. I was impressed by the remarkable spirit shared by the academic community. It seemed to me that the various schools had created an intellectual synergy that promoted the best in contemporary art and discourse. How disappointing to learn that Syracuse University no longer wishes to partake in such an endeavor.

Please know that despite this setback, your colleagues hold you in the highest regard,

Best wishes,

Alison

Alison de Lima Greene
Curator
Contemporary Art & Special Projects
Museum of Fine Arts, Houston
P.O. Box 6826
Houston, Texas 77265

Roger Beebe

2007-09-25T09:42:00.000-04:00

To Whom It May Concern:


My name is Roger Beebe, and I'm a filmmaker and Associate Professor of
Film and Media Studies at the University of Florida.  Early next
month, I'll be bringing a program of my short films to Syracuse, and
this show is happening thanks to the connections to the local art
scene that Astria Suparak provided me.  In fact, Syracuse had only
really come onto my radar screen as a possible stop on my two-month
East Coast tour because of Astria's presence there.  Astria has been a
significant figure in the experimental film scene for years now, and
her presence in Syracuse (after years of work as a NY- and then
Montreal-based itinerant programmer) was of note for that entirely
community.  Given my sense of the contributions she was making to
Syracuse and to the Warehouse Gallery, it was a shock to hear this
week that her job at the Gallery may now be in jeopardy.  I obviously
don't have a sense of the specific situation at the Gallery that
produced this situation, but I can assure you that from the outside,
firing Astria (and subsequently presumably losing her from your
community) will be the final chapter in what has, again from the
outside, seemed to be something of a renaissance in the contemporary
art scene in Syracuse.  I can only hope that you'll revisit this
impending decision in the light not just of internal concerns, but
also with an awareness of what this means for those of us in the
broader international community of filmmakers and programmers who
value Astria's work.


Sincerely,
Roger Beebe

Associate Professor
Film and Media Studies
English Department
University of Florida

Tara Hogan

2007-09-25T08:57:00.000-04:00

Dear members of the Syracuse community,

In regards to Astria's unjustified dismissal, I ask
you all to take a moment to consider how this is
positive. With so much feedback about Astria's stellar
performance, grace, and intelligence, how can you let
such a talented woman go? How would any of you feel if
you were let go without reason?

Syracuse is a progressive place but it is also
struggling due to talented people like Astria leaving
to find a more open minded place to express
themselves.

I expected more from all of you due to your time spent
in NYC.

How can you all play a role in the arts and let her go
without reason? Do you not have Master's Degrees? Did
you not have ideas to defend at one point? You are all
working on a well respected college campus where ideas
need defense and yet you prove none for Astria's
dismissal. It does not leave an inspiring impression
on the city or SU students.

I am an SU Alum, VPA, 99, and I have lived in this
artistically depressed city for 6 years. FOR THE FIRST
TIME EVER, with Astria's ideas and awareness I have
felt a pulse in the art community, especially on a
high end exhibition level.

I worked with Astria on the TH3 brochure as the lead
designer and was very impressed. She also helped put
forth the idea to produce the design as green as
possible.

She cares about this city and wants to raise
awareness.

I will send this article to the papers and proceed to
raise awareness to the fact that Syracuse loses way to
many talented people due to ignorance, negativity, and
greed. Negative energy produces more negative energy.
If you want a positive effect, have a positive
intention.

Sincerely,
Tara Hogan

Design / Illustration
http://www.inkandwit.com
http://www.tarahogan.etsy.com
http://www.tarahoganart.com

Annie MacDonell

2007-09-25T08:53:00.000-04:00

TO:

Jeffrey Hoone, Executive Director, CMAC,
Nancy Cantor, Chancellor,
Eric Spina, Vice Chancellor/Provost,
Carole Brzozowski, Dean of CVPA,

I am writing in support of Astria Suparak. As I am uninvolved in the affairs
of the gallery, and as I do not live in Syracuse, I don't know much about
the circumstances of her dismissal. But it mustn't have anything to do with
her competence, professionalism or creative vision, as all my experiences
and exchanges with Suparak have proved her to be highly capable in those
capacities.

Some of my work was include in the show Faux Naturel, in 2006. I have
followed the programming at the gallery with great interest since then.
Suparak's curatorial concerns are consistently relevant and intriguing. It
seems a terrible shame to halt her work now, when she has done so much, of
such high quality, in the little time that she has been at work there so
far.

The Warehouse Gallery has becoming the kind of institution of contemporary
art that is worth watching in the short time that Suparak has been there. I
understand that it is also a significant contributor to the art world of
Syracuse as well. If that is true than it is Suparak and her staff that have
made it such. Please reconsider your decision.

Thank you,
Annie MacDonell
Toronto, ON, Canada

Post-Standard -- News

2007-09-24T22:55:00.000-04:00

Dismissed Warehouse curator named to new Public Arts Commission

Posted by civen September 24, 2007 5:35PM

The Syracuse Common Council on Monday approved its appointments to the city's new Public Arts Commission.

Appointed were three city residents: Tere Paniagua, senior editor for the Point of Contact Gallery; Matt Waltz of the Central New York Community Foundation, who is also a musician; and Astria Suparak who was told Sept. 7 that she would lose her job as director at Syracuse University's Warehouse Gallery.

The council had originally decided to hold Suparak's appointment after it learned of her dismissal, but decided Monday that Suparak's qualifications went beyond her role at the Warehouse, said Council President Bea Gonzalez.

The council approved her appointment, and the others, 7-0, with two councilors absent. The commission, which will have 11 members after Mayor Matt Driscoll makes his appointments, is charged with reviewing public art proposals and formulating a Public Arts Master Plan.

Source:
http://blog.syracuse.com/news/2007/09/dismissed_warehouse_curator_na.html

Mike Everleth

2007-09-24T17:11:00.000-04:00

Save Astria!

Astria Suparak is a phenomenal film and art curator. I caught a couple of her exhibits at past New York Underground Film Festivals, but for the past year she’s been the Director of the Warehouse Gallery in Syracuse, NY. I was actually gearing up to write a post on her current exhibit “Come On: Desire Under the Female Gaze” and a special screening next month.

However, today I just learned that Astria is being forced out of her post. Not much reason has been given about her letting go, but apparently it seems extremely abrupt. She’ll be out of her job at the end of the month. A lot of grassroots Syracuse support to re-instate Astria has popped up, so if you want to learn more and maybe do something to help I’ll just direct you to two websites devoted to the cause: Keep Astria! and Syracuse Loses Again. Currently there’s no info on Astria’s official site, but check that out, too.

[Reposted from Bad Lit blog]

Lauren Cornell

2007-09-24T11:30:00.001-04:00

Dear Jeffrey Hoone, Tom Walsh, Nancy Cantor, Eric Spina and Carole Brzozowski,

For the past week my inbox has been flooded with emails in regards to Astria Suparak's dismissal. All these letters have been upset and confused.

Everyone who has worked with Astria Suparak knows how sharp, dedicated and responsible she is. When I met her in the late 90s, she was a new, inspiring figure in the art world. She had -- and continues to have -- fresh, forward-thinking ideas and a deep commitment to artists and institutions. Through her well-respected touring programs, Astria brought the practice of a rock band together with that of a curator, presenting emerging film/ video artists in venues that ranged from established institutions like Yerba Buena to public high schools in Santa Fe. Her curatorial practice is underlined by progressive goals, generosity and rigor. As I understand, it has always been Astria's mission to connect diverse audiences around art and ideas.

I am sorry that Syracuse is losing Astria. In her short time there, she proved herself an asset to the Warehouse Gallery and the University. Rhizome's tenth anniversary exhibition Networked Nature traveled to Warehouse. Astria installed it there in a fantastic new form and was wonderful to work with as usual: dedicated, detail-oriented and focused on the artists. It was evident that she cared deeply about the connection to Syracuse University's student body, as she was enthusiastic about the organization of talks and interpretative materials. I spoke with my colleague Marisa Olson, Networked Nature's curator, to a group of students about the show. When I returned to New York, Emily Vey Duke forwarded me a candid letter from a student who had attended the talk and was excited about the work and learning about new media art for the first time.

I served as one of Astria's references for this position. I remember being asked to describe her and speaking about her incredible commitment to emerging forms of art. I also predicted that her risk-taking program would turn attention towards Syracuse, which all of her shows have done. I regret that the greatest press has been brought through her dismissal. Surely, if she had continued to work with you, she would have continued to produce thoughtful, provocative shows that fill a vital and much-needed space in Syracuse's cultural landscape.

Yours sincerely,

Lauren Cornell
Executive Director
Rhizome
http://www.rhizome.org