17吃瓜网

The Uncanny Body | Georgia b and Zelda Smith

Martin-Mullen Gallery 
On view: October 27 鈥� December 19, 2026 (closed November 21-28 for break) 
Reception: November 12, 5-7 p.m.

Drawing with Electricity - An Interactive Circuit Artmaking Workshop: November 3, 1:30-3 p.m. (Grow, Thrive, Live Day)

The Uncanny Body is the product of the ongoing, collaborative relationship between artists / sisters, Georgia b and Zelda Smith. Their independent practices are strikingly different both materially and conceptually, but their collaborative work reveals how they share a thematic source and experiment with overlapping and intersecting ideas. These works 鈥� a combination of 2D, 3D, and 4D 鈥� enigmatically survey organic forms through fragmentation, disruption of scale, opposing materiality, and visualizations of time. The exhibition highlights the artists鈥� mutual exploration of set forms that can be disassembled and recast, and their probing of visceral expectations.

By combining materials that mimic the suppleness of flesh with those that reference the built environment, they force the familiar aspects of the human body into the uncanny realm. There, they question the place of the body within an increasingly artificial and fragmented world bound by the violent niceties of 鈥減oliteness.鈥� In this exhibition, you will find an opulently set table with unexpected placements, a multifaceted colossus with coated knees and lungs formed of and by hands, an unexpected revelation of surveillance, and multidisciplinary performances. Throughout the show, Georgia b and Zelda conjure a heightened sense of discovery that questions the parameters and assumptions of material structures. 

Georgia b. Smith creates sculptural environments which she activates through performance. Her sculptures become prosthetic parts of performers' bodies or perform themselves through motors, lights, and sound. The film is often the end point of each project. The film becomes an extension of the choreography and captures a world where the performers, props, and stage are all equally active participants in the performance. Georgia b. received her MFA at the University of Michigan. 

Zelda Smith focuses on creating sculptures that relinquish the space they take up and make room for newness. Using ice and fiber, she creates transitional situations where objects and bodies condense and collapse through, over, and into each other. She is preoccupied with transmutation and uncovering the performative vitalities latent within inanimate matter: butter soaking into bread, shadows stretching across a field, and objects chaotically self-disassembling. Zelda received her MFA at the University of Colorado Boulder. 

Poster design by Michael Conte, updated by Anjali Malcomson, using a photograph taken by Sean Eaves.

This project is made possible with public funds from the Statewide Community Regrants Program, a regrant program of the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, and administered by The Earlville Opera House. Some of this work was produced and supported through the LAB AIR program, supported by the Forward Momentum Agenda administered through 17吃瓜网 and the Art, Music, and Theatre Departments.

Yoelmachus | Mordue Reinhardt

Project Space Gallery
On view: October 6-31, 2026  
Reception: Thursday, October 22, 5-7 p.m.

Stone breathes underfoot, clammy with a veil of water. Black and stinking of rust. The water clings, drawing up slowly. A dense weight crumbling towering cliff faces, then sloughing off, back into the sea. Cities shrouded in smoke resurrect themselves in silence. They count the seconds between the crashing waves. A single, fragile continent stranded in the center of the Universe. Deaf to the groaning of their machines, and to their own gnashing, hungry teeth. Those hearing have given up. We are all that we have. 

Yoelmachus is an invented world, a confederation of city states in a state of decay, and a comic book telling the story of this world. Yoelmachus is also an exhibition: an exploration into the story of itself, the practice of world-building, creating a narrative through art, and a celebration of the communal nature of storytelling. Fictional settings are mirrors of our reality; they allow us to view life through an alien lens. Stories force us to consider our morals and values, challenging or reflecting them. We believe the characters we encounter to be people. They, too, would have their own art, their own cultural bodies. Fiction fosters empathy in place of the brutality of reality. It reminds us of what it means to be human, therefore we cannot be human without it. 

Design by Mordue Reinhardt and Anjali Malcomson. Yoelmachus is a student solo show selected from the Gallery鈥檚 semesterly Project Open Call. Generously funded by the Student Research and Creative Activities (SRCA) Grant.

Hartwick X 17吃瓜网 Student Show 2026

Hosted by CANO (Community Arts Network of Oneonta) 
Wilber Mansion, 11 Ford Ave, Oneonta, NY 13820 
On view: October 2-23, 2026 
Exhibition hours: Tuesdays, 12-2 p.m.; Wednesdays, 11-1 p.m.
Reception: Friday, October 2, 2026, 5-7 p.m. 
Also on view during UNITY Fest, Friday, October 16, 5-9 p.m.

The Hartwick X 17吃瓜网 Student Show is an ongoing collaboration between Hartwick's Foreman Gallery and the Galleries at 17吃瓜网 on view at CANO in downtown Oneonta. 17吃瓜网 is showing the work of the seven students who were awarded the 2026-2027 Jean Parish Scholarship: Syd Creason, Tessa DeLisio, Madison Jahnke, Lily Linehan, Mordue Reinhardt, Wendy Tenecela, and Anh Verity. Hartwick College will be showing the work of seven senior Art majors: Kyra Cornelia, Morgan Einsetler, Abigail Pertell, Berkleigh Bordeleau, Sam Scott, Leah Wallace, and Devlin Woughter. The show includes multidisciplinary artwork such as painting, sculpture, printmaking, and digital art. 

Poster design by Anjali Malcomson.

1000 Cranes

Fine Arts hallway, between the Hamblin Theater and the Martin-Mullen Gallery
On view: April 9, 2026 - May 31, 2027 
Reception: to be announced

Folding a paper crane takes patience and concentration. Once the pattern is learned, the process of carefully aligning and creasing edges is calming and centering. Done in a group it creates community, each person contributing small delicate cranes while collectively creating something beautiful. The folding of paper cranes was first documented in 7th century China. It was developed and made popular in the Edo Period of Japan between the early 1600s to the mid 1800s. The tradition of folding 1,000 paper cranes is known as 鈥淪enbazuru鈥� and symbolizes a wish or prayer for good health and good fortune. After the bombing of Hiroshima and Nagasaki and through the work of Sadako Sasaki, who developed leukemia from the bombings, it became a global symbol and prayer for world peace. These 1,000 paper cranes are multi-hued, multi-pattered, and multi-facetted, just like the students, faculty, staff, and community members who folded and strung them. They are accompanied by a few fish and maybe a dragon or two, if you look closely. In the same way that the differences, both great and small, between each crane and creature magnifies their charm and interest, diversity in community is strength and creates great beauty.

Poster design by Savannah Simpson.

Day of the Deer | Alissa Walls

Open Space Gallery 
On view: February 9 鈥� December 13, 2026 
Reception: Thursday, September 24, 5-7 p.m.

Day of the Deer is a year-long, process-oriented installation by artist and art historian, Dr. Alissa Walls (17吃瓜网 Art Department, Assistant Professor of Art History). It stands as a unique exhibition in that it seeks no clear beginning or end. Over the course of the year, Walls will add new elements each day to inspire people to return often as she transforms the Open Space Gallery into a playful and uncanny environment with sacred offerings, real and representational deer, found and purchased objects, and numerous drawings, prints, painting, sculptures, and projection. This installation breaks material boundaries, encourages play, and invites viewers to broaden their understanding of what art is, how it can be pursued, and what topics it can explore while alluding to the potential to break social, cultural, and ideological barriers. Day of the Deer poses challenging questions about dominant social structures, cultural hierarchies, and the relationship between the natural world and the built environment in the age of the Anthropocene. These topics become approachable and accessible in an atmosphere of creativity, fun, and exploration. Starting with an inspiration from The Fawn in the Forest with No Names from Lewis Carroll's Through the Looking Glass, Walls employs grids, boxes, and figures and sources from art and natural histories to critique systems of order, offering up the possibility of new ways of being. 

Poster design by Savannah Simpson. Funding Generously provided by the 17吃瓜网 Faculty Research & Creative Activity Grant program.