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DTSTART;TZID=America/New_York:20260624T130000
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SUMMARY:Jenny Tango at 100 - a retrospective  including works by Robert Bunkin and Susan Grabel
DESCRIPTION:June 24 – July 12\, 2026\nWestbeth Gallery\n57 Bethune Street\, Inner Courtyard\,\nNew York\, NY 1001 \n \nOpening reception\, Saturday\, June 27\, 2-6 PM \nGallery hours: Wed.- Sunday\, 1-6PM\, and by appointment \nSpecial events: July 5\, 6 and 7\, 2026 \nPerformances of Women of Chelm\, by Suzanne Bernstein and Miryam Coppersmith will take place on Sunday\, July 5 at 3PM;\nMonday\, July 6* at 7PM and Tuesday\, July 7 at 7 PM\, at Westbeth Gallery\, with special late evening viewings of the exhibition Jenny@100. \n*July 6 is Jenny’s 100th Birthday\, and we’ll host a celebration beginning at 3PM…all invited! Refreshments will be served.\nInfo: Phone/text 347 979-4009 / rbunkin@mail.com \n \nImages: left\, Sacrificial Lambs and Rabbits\, c. 1948; Center\, Smile #2\, 1964; right\, Four Moods\, 2023 \nThis retrospective offers an overview of Jenny Tango’s 80+-year career as an artist.  \nTango (neé Florence Schoenbaum)\, born in Brooklyn\, was raised in Washington Heights to Eastern European Jewish immigrants. She attended Music and Art High School and was accepted into the Cooper Union at age 16\, completing her BA at Brooklyn College. She married GI poet/novelist Samuel Exler in 1948.\nThe young couple lived in the East Village; later\, moving to a NYC Housing Project in the Lower East Side\, and had their first daughter. They collaborated on a popular children’s book\, “Growing and Changing”\, published in 1957\, had a second daughter in 1956\, and moved to Flushing\, Queens. \nIn the early 1960s\, Tango returned to Brooklyn College\, earning her Master’s degree in painting; offered the choice of a clerical or teaching fellowship\, she chose the teaching fellowship\, the first female student to do so. Despite her artistic and intellectual abilities\, the faculty didn’t accept women\nas colleagues. As a result\, she penned a Fuck You thesis and gained notoriety with a series of proto- feminist paintings\, the Smile Series\, distorted self-portraits painted from a cracked mirror\, exhibited at Brooklyn College and later shown at the Aegis Gallery on 10 th Street. Exler taught art at the newly built public Springfield Gardens High School\, which served students from that community: Rosedale\, Rochdale Village\, Laurelton\, and Jamaica. The family moved to Laurelton\, and she became a popular teacher\, particularly beloved for her experimental spirit. She began to take a strong interest in avant-garde filmmaking\, particularly animation\, and bought a Bolex Super-8 movie camera with a tripod that allowed one to make single-frame animations\, which she encouraged her students to use. Exler taught painting\, art appreciation\, and filmmaking\, and introduced video. She was also an adjunct professor of drawing and art history at Queensboro Community College and wrote interviews of renowned film directors\, such as Sidney Lumet and William Friedkin\, for the Metropolitan Area Film Instructors Association (MAFIA) newsletter. \nHer restless creative spirit led her to experiment with a variety of media\, but she always returned to painting and drawing\, particularly self-portraiture. She was a remarkably skillful figurative painter and draftswoman. In the 1970’s\, she became active in the Women’s Movement\, wrote for and edited Women In The Arts Newsletter and the Women’s Caucus of the College Art Association newsletter. \nIn 1970\, she began to mentor Robert Bunkin\, an aspiring art student from Rochdale Village\, who took her filmmaking class; like her\, he was in love with art and film (animation in particular). They had a strong emotional and artistic bond\, and eventually became romantically attached. She left her husband in 1973\, and they have remained together since\, marrying in 1984\, after obtaining a divorce. \nIn 1976\, Florence Exler was reborn as Jenny Tango\, a name derived from a character in Brecht/Weill‘s Three Penny Opera\, a work that both Tango and Bunkin adored. The character of Jenny Diver was the source of her first name\, and the Tango Ballad\, sung by Jenny and Mack the Knife was the sourceof her surname. \nFrom 1986 to 1988\, the couple had an inspiring and productive sojourn in Florence\, Italy\, where Bunkin completed his undergraduate degree. They shared a studio in the complex of San Lorenzo\, a church designed by Brunelleschi\, and lived alongside the Michelangelo’s Medici Chapel and Laurentian Library\, among other Renaissance treasures. \nTango explored many visual media: animation\, artist’s books\, printmaking\, sculpture\, and comics. She created Cannibal Cut-Ups\, a comic strip that was included in a feminist collective of artist-commix creators (Bloody Wymmin) that she founded\, and Women of Chelm\, original stories based on mythical shtetl inhabitants\, The Wise Men of Chelm. She visited Chelm in Poland\, as part of her research for this book\, and used text based on interviews with friends who assumed characters she invented. Handwritten with border imagery and hand-crafted illustrations\, this project also inspired a picture history book\, The Jewish Community of Staten Island\, part of Images of America (Arcadia Publishing). \nIn the early 2000’s\, Tango embarked on a collaboration with Staten Island-based sculptor Susan Grabel: Project Venus\, a feminist investigation of aging female bodies. \nIn 2014\, at 88\, Tango (and Bunkin) joined the Westbeth Community. She continued to paint and draw long after retirement from teaching and political activism. Despite declining eyesight\, she still attends Westbeth’s Figure Drawing Group. \nTango never pursued commercial fame or notoriety\, but her independence\, skill\, and inventiveness resulted in a remarkably fresh\, original\, and relevant body of work. She maintained a commitment to representation and figuration despite the lack of artistic validation for that genre during much of her\nlifetime. \nThe exhibition will include a selection of portraits of Jenny Tango painted by Robert Bunkin\, and collaborative works with Susan Grabel.
URL:https://westbeth.org/event/jenny-tango-at-100-a-retrospective-with-including-works-by-robert-bunkin-and-susan-grabel/
LOCATION:Westbeth Gallery
CATEGORIES:Featured Events
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DTSTART;TZID=America/New_York:20260722T080000
DTEND;TZID=America/New_York:20260809T170000
DTSTAMP:20260617T024333Z
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SUMMARY:Two Way River
DESCRIPTION:Postcard \nLocation: Westbeth Gallery\, 55 Bethune St\, New York\, NY 10014\nExhibition Dates: July 22-August 9\, 2025\, Wed.–Sun. 1-6pm\nOpening Reception: Thursday\, July 23\, 6-9pm\nArtist’s Talk: July 25\, Saturday\, 3-4:30pm\nClosing Reception: August 9\, Sunday\, 4-6pm \nParticipating Artists:\n Desirée Alvarez (NYC)\n Sabra Booth (San Antonio\, TX)\n Margaret Craig (San Antonio\, TX)\n Diana Jensen (NYC)\n Patricia Melvin (NYC)\n Arthur Polendo (NYC)\n Susan Rostow (NYC)\n Sophie Sanders (NYC)\n Doerte Weber (San Antonio\, TX) \nNote: Visitors are also invited to bring clean items\, natural or otherwise\, associated with rivers\, for an audience participation installation. Instructions will be available at the gallery. \nThe group of artists in Two-Way River respond sensuously and conceptually to the\nmovement of rivers. Some reside in New York\, and others are based in San Antonio\, providing\ncomparisons between the Hudson River and waterways in South Central Texas.   \nThe Hudson estuary moves with the ocean’s tidal rhythms\, its entire 153 miles from Troy to New York Harbor. It traverses Lenape\, Mohican\, and Mohawk homelands and is known by the Lenape as Muhheakantuck\, “the river that flows both ways. This estuary embodies interconnectednessthrough its bidirectional movement\, continuing to be a muse for visual artists\, notably from the\neponymous Hudson River School painters until the present. The New York-based artists have\nresponded to the River\, through diverse processes. They scavenge\, upcycle\, and luxuriate in its\nsurfaces.\n    In comparison\, the Texas-based artists in this exhibition reflect their specific environmental\nconcerns and the regional colors of a more rural\, dry terrain.  San Antonio is known as the\n“River City” due to its celebrated Riverwalk built during the Great Depression as a major Works\nProgress Administration’s (WPA) project. These San Antonio artists weave together a complex\nbody of work that examines South Central Texas rivers on their vast journey to the Gulf of\nMexico\, border concerns along the Rio Grande River\, and broader implications for plastics in\nour water supply. Tidal streams form in the lower reaches of the Texas rivers\, reversing the\nrivers’ direction as they do in the Hudson River. The San Antonio River’s source\, called the Blue\nHole\, just north of downtown San Antonio\, sits on top of the Edward’s Aquifer’s artesian zones\nand is one of the largest and purest sources for water in the world. \nThroughout this multifaceted exhibition that features animations\, book arts\, cyanotypes\, fiber\nart\, installations\, paintings\, printmaking\, and sculpture\, the artists acknowledge rivers as a fertile\nsource for creation. Conceived as a way of honoring the Hudson River’s presence for the\nWestbeth Gallery and the local West Village neighborhoods\, the exhibition invites us to reflect\nbroadly upon the primacy of rivers as an enduring inspiration for artists in the North and\nSouthwest.
URL:https://westbeth.org/event/two-way-river/
LOCATION:Westbeth Gallery
CATEGORIES:Featured Events
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