Other Exhibitions at Warehouse Gallery


Organized by Astria Suparak
For Warehouse Gallery at Syracuse University, Syracuse, NY
2006 – 2007

As gallery director and curator, Astria Suparak oversaw the foundational year of Syracuse University’s first contemporary art gallery. She conceived and developed all programs and services for the 2,000 square-foot main gallery plus several community art spaces in the large multi-use building. During her tenure, Suparak and her team mounted 20 solo and group exhibitions of emerging and accomplished artists, as well as screenings, performances, lectures, and other events. She also commissioned regional artists to create installations for an adjacent street-level window gallery. C Magazine wrote of Suparak’s term, “the exhibitions and programs she puts together speak about a range of issues, and her sense of social justice is comprehensive and critical.”





Organized by Marisa Olson, Editor and Curator for Rhizome, New York
April 17 – July 17, 2007

C5 Corporation, Futurefarmers, Shih Chieh Huang, Philip Ross, Stephen Vitiello, Gail Wight

New exhibition uses innovative technology to combine art, science and politics

The Warehouse Gallery presents Networked Nature, a group exhibition that inventively explores the meaning and representation of “nature,” from the perspective of networked culture. The featured works employ various scientific processes and locative media, such as global positioning systems (GPS) and robotics, and take the form of installations, video and sound art. Together, they make new contributions to the discourses of extant genres, such as sculpture, earth works and landscape imagery, while also demonstrating the scientific beauty and complexity of electronic and digital art.

Networked Nature premiered at Foxy Production in New York City and was expanded for The Warehouse Gallery.



April 19, 2007
5-8pm: Bits + Bytes Reception

April 18, 2007
5:30: Lecture by Marisa Olson, Curator + Lauren Cornell, Executive Director of Rhizome
@ Kittredge Auditorium, Syracuse University



FLASH ART: Domenico Quaranta, “Natura e tecnologia.” No. 263, April-May 2007: p. 57.


Katherine Rushworth, “Nature in a Networked Age,” 27 May 2007: p. 14.

Jenna McKnight, “Watching the grass – I mean mold – grow,” 16 May 2007.

This one is a winner! The multimedia show, “Networked Nature,” features seven installations that explore the meaning of nature in our hyper-connected, techno world. The exhibit is sparse, but thought provoking and distinct…

Astria Suparak, the gallery director, deserves hearty applause for presenting work that is stimulating and unusual.

SYRACUSE NEW TIMES: “On the Wire.” 18 April 2007: p.27. 



Exhibitions organized by Astria Suparak at Syracuse University included selections from the collections of the S.U. art centers and affiliated non-profit organizations such as SUArt Galleries, Light Work, Special Collections Research Center and the Community Folk Art Center.

Highlights include: Haunting Renaissance images by Albrecht Dürer and Lucas Cranach; sharp social commentary by Goya; Martin Lewis’ sweltering New York nocturne, Glow of the City; a pair of chromed Art Deco poodles by Boris Lovet-Lorski; a photo from Chan Chao’s series of Burmese Rebels (also chosen for the 2002 Whitney Biennial); photos by Carrie Mae Weems; a Dinh Q. Lê weaving combining images from the Vietnam War with stills from popular movies; the collaborative team Max Becher and Andrea Robbins’s series German Indians; classic images taken for Life magazine by Margaret Bourke-White, alongside her view camera and its travel case; 19th century sideshow performers from the Ronald G. Becker Collection of Charles Eisenmann Photographs; the first comic strip character, the Yellow Kid, created by Richard Outcault; playful sketches by the Bauhaus architect Marcel Breuer; masks from West Africa and Mexico (wooden Liberian visors, once part of the National Museum of African Art, Smithsonian Institution, incorporate natural materials such as feathers and hair; the devil faces flourished with festive paint are from the Mexican folk art collection of Alejandro Garcia, director of SU’s School of Social Work).

The finale of the show is the back room (the former vault of the building), devoted to The Warehouse Gallery’s dreamy projection of the future. An enticing list of upcoming initiatives includes an Art Happy Hour for downtowners, a series highlighting young art collectives across North America, and a store for affordable, handcrafted art objects, among others. The gallery’s mission is to engage the community in a dialogue regarding the role the arts can play in illuminating the critical issues of our times. Visitors can interact with the displays: a plant-shaped chalkboard asks viewers what they’d like to see in The Warehouse Gallery, clipboards gather information from potential collaborators, labeled Polaroids virtually introduce audiences to one another, and submission applications are dispensed.


Local artist commissions

The gallery commissioned three Central New York artists to create installations for the street-level windows facing the busy intersection of West Fayette and West Streets in downtown Syracuse.



The gallery produced six exhibitions by local artists for the Community Art Spaces located within the building.