Past Exhibits at The Gallery at Heimbold Visual Arts Center

Sarah Lawrence College’s Gallery at Heimbold Visual Arts Center is pleased to announce Yuyo, a solo exhibition by Julián Kreimer

April 2 – May 8, 2026

Sarah Lawrence College’s Gallery at Heimbold Visual Arts Center is pleased to announce the exhibition of  hold and release

January 21 – March 1, 2026

Sarah Lawrence College’s Gallery at Heimbold Visual Arts Center is pleased to announce exhibition reception of  Ansei Uchima: Selections

March 24 – June 8, 2025 | Closing reception June 7, 5 p.m.

Sarah Lawrence College’s Gallery at Heimbold Visual Arts Center is pleased to announce exhibition opening of  In the Room Featuring Works by Four Contemporary Photographers

Opening reception the week of January 27, 2025.

Sarah Lawrence College’s Gallery at Heimbold Visual Arts Center is pleased to announce exhibition opening of Mary Temple’s solo exhibition: And Roses Too.

On view: September 6 - October 13, 2024

Sarah Lawrence College’s Gallery at Heimbold Visual Arts Center is pleased to announce exhibition opening of Groundings: Care and Climate Justice with artists Emily Johnson (of the Yup’ik Nation), Cannupa Hanska Luger (of the Mandan, Hidatsa, and Arikara Nation, and the Lakota Nation), Courtney Desiree Morris, and Sarah Rosalena (Wixárika).

On view: March 26 - May 12, 2024

Artist Roundtable Event: March 26 at 6 pm Donnelly Film Theatre, Heimbold Visual Arts Center

This group show is the final exhibition in the Care and Climate Justice series.

Sarah Lawrence College’s Gallery at Heimbold Visual Arts Center is pleased to announce that Gabriela Salazar’s solo exhibition Observed will be on display from January 24 to February 25, 2024. Salazar was the inaugural artist in the Gallery’s Workspace Residency Program in fall 2023, and her exhibition is made possible by a grant from the Mellon Foundation.

Responding to the overwhelming scale of the global climate crisis, Salazar’s work focuses on the beauty, fragility, and temporality of the present. The climate crisis “impacts your day-to-day life: your body, your family, your environment,” as Salazar writes, describing how she transforms seemingly banal or unremarkable items into a meditation on an ever-grasping relationship to permanence, care, and safety.

If we change the way we look at things, do the things we look at change? encompasses works that articulate the path of Bonaventura's artistic life. It encapsulates her journey before and after her diagnosis of a rare form of dementia known as frontotemporal dementia, the behavioral variant, which led to her early retirement. Works from her highly experimental early collage work and altered postcards to the remarkably creative phase in the early stage with bvFTD. Throughout, willowy figures struggle with their entanglement with vibrant backgrounds, obscurely at odds with their wobbly counterparts. All parties seem accepting of the humorous and absurd feedback loop of aspiration and alienation. The exhibition will showcase an extensive collection of work created between 1995 and 2019, totaling over sixty works on wood and paper.

Student Exhibition 2023

April 25 – May 9, 2023

Lana Capron (Liquid Drawing),  Diana Hardage (Photograhic Fairytales), Maria Fleischman (Photographic Books), Ashleigh Bonnick (Artist Books) , Ashton Freeman (Artist Books), Kate Williams (Conceptual Art and the Photograph), Avila Edmonds-Doberenz (Surface and Substance: Painting with Acrylic), Conner Crosby (Performance Art), Beatrice Degroot (The Face), Jordan Hiedeman (Union Carbide Reconstruction), Skyler Young (New Genres: Diary Forms), (Advanced Printmaking) Megan Kang,  Christopher Crary, Aubrey Baker, Ellis Bishop, Ariana Brenig, Jillian Davis, Simon Herrera, Ella Lieberman,  Milan Margot, Lily Marshall, Samantha Nochimson, Ray Schleimer, Natalie Susa, Yuning Wang, Brenna Stevens (The Body Stops Here), Esther Eidenberg-Noppe (Free-Standing: Intro to Sculptural Form), Jane Joncha (New Genres: Drawing Machines),  Katherine Echeverri

Artist Peter Beyls thinks of the universe as one giant generative system revealing systemic behavior on numerous levels: from the unpredictable dynamics exposed in social structures to emergent functionality in the human brain to molecular interaction in cloud formations. In addition, much of his work develops from a fascination with complex dynamic behavior in found systems’ as observed both in nature and in products of human imagination. Such systems typically expose a particular identity while still offering boundless diversity within a given morphological scope. Beyls writes software that captures tiny aspects of human creativity and imagination to produce series of generative drawings as well as interactive audiovisual installations. A deep concern with the external attributes – the affective and materialist parameters of how the viewer engages with the work through embodied commitment – is key to his approach. https://www.peterbeyls.net

Featuring photography, painting, sculpture, drawing, screenprinting, and digital video, this show captures a diverse range of each professor’s art-making practice. Organized by the students, for the students, Convergence is an exhibition that beautifully expresses what it means to be a practicing artist. Each artist brings a different perspective to the exhibit, giving the students an opportunity to experience the wide-ranging art-making practices of their professors.

Participating artists:

Sophie Barbasch, Katie Bell, Claudia Bitrán, Angela Ferraiolo, Katie Garth, E.E. Ikeler, Vera Iliatova, Dawn Kasper, John O’Connor, Clifford Owens, Sarah Peters, Joel Sternfeld, Momoyo Torimitsu, Marion Wilson. Exhibition organized by Avery Moore ’23 and the Senior Studio class.

September 21 - December 4, 2022

Dawn Williams Boyd’s "cloth paintings" sheer size adds to their larger-than-life, often brutal subject matter. This exhibition is a collection of works that reflect a lifelong critique of social injustices and racial violence, epic battles with misogyny, and physical and psychological abuses of power. There is no such thing as neutral history. Using scraps of fabric, needles, and thread as her tools, Boyd painstakingly “paints” the entire surface of her quilts, layer upon layer, cutting, sewing, endlessly repurposing, building the surface into a formidable, authoritative source.

March 25 - June 5, 2022

Yevgeniya Baras and Pete Schulte is a joint effort between two artists that encapsulates the power of communication through art alone. The works assembled within the exhibition are vastly different, in size and medium, but have the startling power to communicate with each other. All untitled, the assembled works introduce an unspoken dialogue between both the artists and the pieces alike. Schulte’s preferred mediums of graphite, pigment, and paper contrast Baras’ loud expression of color, allowing for a unique narrative to develop.

November 29, 2021 – February 20, 2022

Audience/Camera/Performer assembled five artists; Rashayla Marie Brown, Kris Grey, Seung-Min Lee, Wanda Raimundi Ortiz, and Elliot Reed, who explore new approaches to lens-based, audience-sensitive performance art. The title of the exhibition is borrowed from Dan Graham’s influential performance cum-video Performance/Audience/Mirror (1975), in which the artist observes his audience (and vice-versa) reflected in a large mirror.

September 16 – October 24, 2021

Granite is as flexible in its use as it is hard in its form. It’s everywhere! From monuments to memorials, skyscrapers to kitchens—it is ground, wall, skin and foundation all at once. We think of granite when we think of tombstones just as we think of it when we think of countertops. Honed, it shines bright like wealth and 20th century finance. Rough, it registers as rusticated, old, stoic, and stately. Granite is made heavy by cultural value and expectation. It oscillates from two dimensional surface to three-dimensional form, from painting to sculpture.

March 22 – June 6, 2021

“In Donald Barthelme’s seminal 1968 Robert Kennedy Saved from Drowning, a narrator suddenly appears out of nowhere in the very last section of the short story and throws a rope out to the main character ‘K,’ who is close to being pulled under in a turbulent sea. With one end of the rope around his waist, the narrator braces himself against a rock and pulls ‘K’ out of the water, saving him from drowning.

“Like the narrator, I have spent my career as an artist dragging narratives to the shore, rescuing them from oblivion – saving them from being drowned in an ocean of both cultural and personal amnesia.” —Dan Hurlin

November 12, 2020 – February 14, 2021

Andrew Ross is a visual artist who centers his work around failing. signifiers and decontextualized images. His practice questions the steadfastness of caricatures, symbols, and products of mass distribution on a runaway timescale of plastic and other non-biodegradable substrates. Ross makes sculpture, drawings and digital prints in homage to the ingenuity of diaspora communities in reframing and repurposing fragments of the post-colonial landscape. He uses reverse engineering as a framework to drive his studio, clashing technologies associated with specific products with seemingly unrelated imagery or forms. Ross’s works are uncanny and familiar although their references are heavily abstracted and deconstructed.

September 14 – October 18, 2020

Gary Burnley’s work in Facing History explores dialogues between standard, but often opposing, representations of beauty, desire, influence and identity. Examining meaning through contrast, the physical collages and stereographic devices Burnley creates encourage dissociated images to merge and consolidate in the eye and mind of the viewer. Resulting in a union of optical rivalries, his amalgamations imagine strange bedfellows congruent for moments in time, space and reason.

January 21 – February 23

Kenneth Tam is a Brooklyn-based artist born in Queens, NY. His work often takes the form of video and sculpture and it's interested in reimagining the spaces and rituals that inform ideas about the male body and its performance. The work looks at ways in which hegemonic and normative forms of male subjectivity can be rearticulated to reveal spaces of intimacy vulnerability and even loss.

November 12 - December 8, 2019 

Tishan Hsu is an artist whose practice has attempted to convey an embodied technology. Hsu’s interest in technology has not been in the use of a particular apparatus but the perception of a technological affect. His work has included paintings, digital media projections and sculpture.

September 10 - October 13, 2019

How much of our lives, past and present, have we imbued in the spaces we live in? In Swing State, Ann Toebbe takes a personal look at this question from capturing her relatives’ midwestern homes to her mother’s collection of German Hummels. Swing states are in constant flux, which is a feeling Toebbe relates to as she enters the middle of her life. Where do we go from here and where have we been?